Extra-illustration (Grangerising) of the Diary of Samuel Pepys: around 730 engravings and prints, selected and mounted, ready for insertion in H. B. Wheatley's six-volume edition and the two later volumes , mostly dating late C18th-1920s.

Samuel Pepys; Henry B. Wheatley; extra-illustration; Grangerising
Publication details: 
[ London and elsewhere. Mostly between the late eighteenth century and the 1920s. ]
SKU: 20293

The fashion for extra-illustration – the filling of a printed volume with additional illustrations, manuscripts and other related matter – arose in England in the late eighteenth century. Historical and antiquarian works leant themselves to such treatment, and one book in particular, James Granger's 'Biographical History of England' (1869), which was frequently augmented in this way, gave another name to the practice: 'Grangerising'. Pepys's diary is another work well-suited to the practice, and the present collection of around 730 illustrations was carefully assembled in the early years of the twentieth century (ending in the 1920s) by an unknown party for the express purpose of insertion in Henry B. Wheatley's six-volume 1893 edition p;lus the two later volumes. The compiler has chosen illustrations – many of them rare and unusual images – linked, however tenuously, with Pepys, on a wide range of topics, including: people celebrated and obscure referred to by or associated with the diarist, from Inigo Jones and the Earl of Rochester to Pierre Gassendi and John Frederick Friesendorff; locations in London (such as 'The Dutch Church, Austin Friars', 'Prerogative Will Office, Doctor's Commons', 'Vestry-room, formerly Court of Arches, St. Mary-le-Bow', 'The Poultry Counter', 'Barnet Physic Well', 'Herald's [sic] College, Bennet's Hill') and elsewhere (for example country seats); maps; plans; customs; and historical scenes. The collection comprises around 730 illustrations, housed in four sturdy box files. It is in good condition, and could easily be applied to the purpose for which it was intended. Almost all the illustrations are in black and white, ranging in size from around 17 x 28 cm (a fold-out) to 7 x 5.5 cm. Perhaps a third are original engravings, with most of the others photographic reproductions, from books and magazines, of earlier paintings and engravings. Also present are a few photographic plates and early postcards. An oddity is an original and attractive (if simplified) drawing reproducing an engraving of 'Johannes Fredericus à Friesendorff Baronettus Angliae [sic]', 'P Willomson Sculpsit', for which the compiler notes that he paid 10s 6d. Each of the illustrations is mounted on a 23.5 x 18.5 piece of paper, and each is given a thick border in black ink. Almost all the mounts have illustrations on one side only, very few carry illustrations on both sides. The mounts carry directions for placement, i.e. 'VI 282', meaning p.282 of vol.6 of Wheatley's edition. A handful of captions are emended in ink, and there are occasional manuscript notes on the mounts, one of them – to a photographic print of a painting of Viscount Brouncker – indicating the seriousness of the compiler: 'This is Visct Brouncker 3rd Visct in spite of title on R[ight] lower corner. Asked at N[ational]. P[ortrait]. G[allery]. He was brother of Lord Brouncker 2nd Visct'. Almost all the illustrations date from the period between the late eighteenth-century (among the earliest being some of the views – including John Petro's 'Stone Henge' – published by Alexander Hogg in 1786) and the 1920s. Among the few exceptions are the originals of William Faithorne's striking 1667 portrait of 'Orinda' (the poet Katherine Phillips), and Robert White's 1692 portrait of 'Georgius Stradling S.T.P.', and his 1702 portrait of Dr Joseph Beaumont. A handful of the illustrations, such as the originals of George Cruikshank's 1845 satirical print 'Stirring up the Great Fire of London' and of Phiz's 1841 'Drink the Plague; Drink the Plague', stretch the connection with Pepys to the limit.