APPENDIX II.
SOME MISCELLANEOUS WORK OF ROBERT SEYMOUR EXECUTED BETWEEN 1822 AND 1836.
“Views from the Poets.” “The Devil on Two Sticks.” “Ovid.” “Demosthenes.” Views of Newstead Abbey, Margate, Dover, etc. Designs for “Benevolence, Friendship, and Death.” “Quarrels of the Poets.” “Anatomical Theatre.” “Vanities of the Human Race.” “The Happy Family.” “The Gin-shop.” “The Sleepwalker.” “The Sluggard.” “Don Juan.” “The Economist.” “The Chemist.” “The March of Intellect.” “The Great Joss and his Playthings.” “The R——l Speech.” The Works of Wordsworth, Southey, Gay, and other poets. Robinson’s “History and Antiquities of Enfield.” Shakspeare’s “Seven Ages.” Hogarth’s “Apprentices,” and “Rake’s Progress.” “Uncle Timothy.” Views of London. Sporting Almanacks. “Percy Anecdotes.” “Book of Martyrs.” “Portraits of Public Characters.” “Death in London.” “Spectre Bride.” “Midnight Embrace.” “The Red King.” “The Ghost with ye Golden Casket.” “The Devil’s Ladder.” “Assisting, Resisting, and Desisting.”
Contributions to “Friendship’s Offering.” 1824-36.
“Seymour’s Comic Annual: a Perennial of Fun.”
Miss Louisa Sheridan’s “Comic Offering.” 1831-1835.
“The National Omnibus,” a journal of literature, etc. (designs on wood, with Cruikshank), 1831-1832; “The Comic Magazine,” 1832-1834; Richardson’s “Minor Drama,” 1827-1830; Piers Shafton Granton’s “Vagaries in Quest of the Wild and Wonderful”; “Mrs. Greece and her Rough Lovers” [Russia and Turkey] (McLean), 1828; “How to Spell Harrowgate” (C. King), 1828; “Going by Steam” (G. King); “The Political Bellman”; “A Musical Genius” (G. Creed); “A Man of Taste and Feeling” (G. Creed).
The following, among others, for McLean, in 1829.
“Search after Happiness” (two plates); Portrait of O’Connell; “Buonaparte in his Study”; “State of the Nation”; “Treasure Seeking”; “The Raft”; “O’Connell’s Dream”; “London”; “Plot Discovered”; “Death of the Giraffe” (a series of plates); “Rival Actresses”; “Moments of Reflection”; “Ennui”; “The Ear-wig”; “The Lost Key”; “The Man Wot Steers”; “Raising the Wind”; “Catholic State Wagon.”
“The Looking Glass” (a series of political and other caricatures, in which he was assisted by William Heath). 1830-1836.
“Sycophant Saints and Sabbath Sinners.” Circa 1832.
[With Isaac Robert Cruikshank.] “Cruikshank at Home,” and “The Odd Volume.” 1836.
“The Omnibus” (a series of humorous etchings on copper); and “The Heiress” (six plates, each consisting of about five subjects).
Upwards of three hundred designs on wood for “Figaro in London.” 1831-1836.
“Valpurgis; or, the Devil’s Festival.” Four woodcuts. (Kidd.) 1831.
“The Extraordinary Black Book” (an exposition of the incomes of the aristocracy, Church, civil list, list of sinecurists, etc.), one caricature plate. 1831.
“The Comic Magazine.” 1831-1834.
“Maxims and Hints for an Angler” (twelve beautifully-finished drawings on stone).
“The Schoolmaster Abroad” (aimed at Lord Brougham’s educational movement).
“New Readings by Old Authors” (a small lithographic series comprising upwards of three hundred plates, the subjects being suggested by readings in Shakespeare, Schiller’s “William Tell,” and Byron’s “Giaour.”)
Several hundred illustrations for Maddeley, the publisher.
The “Humorous Sketches”; “Hood’s Comic Almanack,” 1836 (thirteen woodcuts); “Squib Annual of Poetry, Politics, and Personalities” (twelve designs); [with Cruikshank] “Sayings worth Hearing, and Secrets worth Knowing”; “Terrific Penny Magazine”; T. K. Hervey’s “Book of Christmas,” 1836; the early plates to “Pickwick”; some of the plates to the “Pocket Magazine” (Robins’ series), eleven vols., etc., etc.