Books with author George Cruikshank

DICK WHITTINGTON was but a very little boy when his father and mo- ther died, indeed so young that he knew neither of them, nor the place he was bom in. After strolling about the country, as ragged as a colt, for along time, he met with a waggoner, going to London, who gave him leave to walk all the way by the side of his waggon without paying a farthing for his pass- age, which very much pleased little Whittington, for he sadly wanted to see London ; as he had heard the streets were paved with gold, his intention was to get a hat full : but how great was his disappointment to find the streets covered with dirt, and himself without food, friends, money, or any person to give him a character. In this situation,Dick askedcharityof several people, and, at length, half dead for want of food, he laid himself down at the door of Mr. Fitzwarren, a mer- chant. Cicely, the cook, first saw him, and told him to go about his business. At this moment the merchant came home, and began to scold the boy for sitting at his door, and bid him go to work : Whittington replied, that he would work, if any one would employ him, only for some victuals, for he had eaten nothing for three days, was a poor country lad, and nobody would give him work. He then endeavoured to get up, but was so weak that he fell down again ; this excited compassion in the merchant, and he ordered the footman to take him in, and give him meat and drink, and

The Wonderful Story of Blue Beard, and His Last Wife by George CruikshankMANY years ago, a noble castle stood on the side of a hill, surrounded by the most beautiful gardens, groves, and fields. It was the residence of a man amazingly rich; and who therefore had the rooms of his castle furnished with all the elegance that opulence could obtain.Almost every one would suppose, that there could hardly be a happier man than the possessor of so much wealth, and such a stately dwelling: but it is not in the power of riches to give happiness; nor can splendor remove every cause of sorrow and discontent.It was the misfortune of this gentleman to be somewhat disfigured, by the extraordinary circumstance of having a blue beard. His general complexion was fair; and the hair on his head was of a light brown colour. It is therefore no wonder that, with a blue beard, his appearance should be considered so remarkable as to be almost forbidding; indeed it was thought so strange, that he was known only by the name of Blue Beard.One of the chief misfortunes which this deformity produced, was the unwillingness which every young lady felt, even to be in his company. It was in vain that his costly carriages and Arabian horses were continually admired; it was in vain that his wealth was constantly mentioned in conversation; none of the young ladies would speak to him, or meet him.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

It is fair to characterise the three suites of original water-colour drawings, as executed by our artist, as unique examples of the great George Cruikshank's special individual proficiency as an exponent of this branch of technical dexterity. More-over, it may be regarded as a fortunate circumstance that the three works, here reproduced with amazing fidelity in facsimile, represent happily the very chefs d'oeuvre of his wonderful productions; in their respective categories, preserving the best examples of his remarkable genius as an imaginative creator of vivid pictures, alike stirring and animated, and representing at one glance his vast dramatic powers, his mastery of the humorous side of life, and the intensity he was consistently able to infuse into terrible and tragic scenes. It is noteworthy that the inimitable artist George Cruikshank but rarely pro-duced finished water-colour drawings; the bulk of his prolific and familiarly rec-ognised designs for book illustrations were mostly dainty pencil sketches, occa-sionally finished in pen and ink. It is a problem difficult to solve satisfactorily whether, beyond the three memorable instances of the works here reproduced in facsimile, there are in existence any other complete suites of original illustrations by George Cruikshank—that is to say, fully executed by his master hand as finished water-colour drawings. Tinted sketches may be found in the prized possessions of Cruikshank collectors, and spirited studies for many of his favourite and most successful subjects have been cleverly touched in with watercolours; for instance, such as certain of his original drawings as designed for the illustrations of Harri-son Ainsworth's Tower of London, and the clever historical and picturesque series of Windsor Castle designs; these are, however, to be regarded as exceptional cases, for the bulk of these most successful and popular designs were carefully executed in pencil, or occasionally outlined with the pen, and highly finished with washes of warm sepia. It is worthy of recollection that Cruikshank was a most dexterous artist in this monochrome branch, his earlier artistic experiences having been al-most exclusively in the walk of aqua-tinted etchings; all his early book illustrations, his caricatures, and satirical plates—social or political—were uniformly etched by his hand in the most spirited fashion, after his ready sketches and rough studies, and when the outline etching was bitten in, Cruikshank elaborately worked out his colour suggestions, for light and shade, with a brush over the first-etched outline, in tones of sepia or Indian ink, for the guidance of the professional 'aquatinters'—the school of artists to whose trained skill was entrusted the task of completing these plates to produce the effect of highly finished washed drawings in mono-chrome. By this, his youthful practice, George Cruikshank had acquired remarka-ble dexterity, his original pen-and-ink designs, and the outline etchings, after his earlier book illustrations, being worked up in monochrome to the dainty finish of delicate miniatures, in which art both his father Isaac and his brother Isaac Robert were first-class proficients, as he himself has recorded with pride in describing the special gifts and qualifications which distinguished the Cruikshank family.

Excerpt from The History of Dick Whittington, Lord Mayor of London: With the Adventures of His CatDick whittington was but a very little boy when his father and mo ther died, indeed so young that he knew neither of them, nor the place he was born in. After strolling about the country, as ragged as a colt, for along time, he met with a waggoner, going to London, who gave him leave to walk all the way by the side of his waggon Without paying a farthing for his pass age, which very much pleased little Whittington, for be sadly wanted to see London; as he had heard the streets were paved with gold, his intention was to get a hat full: but how great was his disappointment to find the streets covered with dirt, and himself.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This classic collection of Grimm's Fairy Tales was originally published in 1868. It contains over 50 of the Brothers Grimm's classic tales such as Tom Thumb, Snow-Drop, The Golden Goose, Hansel and Grettel, The Frog Prince and many more. Here the tales are decorated by the original illustrations of the famous George Cruikshank. A timeless addition to anyone's bookshelf. Pook Press are working to republish these classic works in affordable, high quality, colour editions, using the original text and artwork so these works can delight another generation of children.

This is a single-volume collection of three books illustrated in watercolors by George Cruikshank. The book includes the text of Oliver Twist by Charles Dickens, The Miser's Daughter by William Harrison Ainsworth and History of the Irish Rebellion in 1798 and Emmett's Insurrection in 1803 by W. H. Maxwell. Each literary work includes full-page color plates, each protected by a tissue guard. There are 27 plates for Oliver Twist, 20 for The Miser's Daughter, and 21 for History of the Irish Rebellion.

About the Book Humour (Brit.) or humor (Amer.) is the ability of experiences, such as stories, books, or visual still or moving pictures, to provoke laughter and provide amusement. Books that are humorous include comedy novels, satirical novels, black comedy books, joke books, cartoons and humorous essays. About us Leopold Classic Library has the goal of making available to readers the classic books that have been out of print for decades. While these books may have occasional imperfections, we consider that only hand checking of every page ensures readable content without poor picture quality, blurred or missing text etc. That's why we: republish only hand checked books; that are high quality; enabling readers to see classic books in original formats; that are unlikely to have missing or blurred pages. You can search "Leopold Classic Library" in categories of your interest to find other books in our extensive collection. Happy reading!