Lloyd E. Cotsen (1929-2017): A Gift in His Memory from the Friends of the Princeton University Library

Lloyd E. Cotsen slipped away on May 8th after eighty-eight years of  life lived to the fullest–digging for antiquities, selling soap in the package he designed, and flying around the world on business, which also included tracking down Japanese ikebana baskets, folk art and textiles for the corporation’s art collection.  Then there was the parallel project of amassing of illustrated children’s books from around the world and through time, original artwork, prints, educational toys, and all kinds of other wonderful and surprising things that became the research collection of the Cotsen Children’s Library in Firestone.  Mr. Cotsen’s energy was as legendary as his generosity–not just with money, but with time and most importantly, of himself.

To honor him  as one of the Princeton University Library’s greatest donors, the Friends  have presented to the Cotsen Children’s Library with a magnificent pen-and-ink drawing  by one of Mr. Cotsen’s favorite illustrators, Charles Robinson (1870-1937).

Charles was the son of an artist and his two brothers Thomas Heath and William Heath Robinson were also gifted artists in their own right. Charles illustrated many children’s books, including Aesop’s fables, Mother Goose, the fairy tales of the Brothers Grimm and Hans Christian Anderson, Carroll’s Alice’s Adventures in Wonderland, Frances Hodgson Burnett’s The Secret Garden, and Robert Louis Stevenson’s A Child’s Garden of Verses.  Robinson’s books are well represented in the Cotsen collection along with three picture letters to the daughter of a fellow artist and the finished artwork for two books, Songs of Love and Praise (1907) and The Reign of King Oberon.(1902).


The large drawing the Friends have presented to Cotsen  is signed “Charles Robinson 1916” and mounted on board. It was in a private collection for half a century before being purchased by the Friends.  It is a wonderful example of Robinson’s characteristic attention to layout, framing, and lettering.  Mr. Cotsen was always attracted to pictures of children reading and I’m sure he would have been enchanted by this one of a pretty girl with light shoulder-length hair seated on a divan who has dropped a nursery rhyme picture book on the floor.

Detail of the open book at the girl’s feet. [Pen and ink drawing of reader daydreaming]. [London?]: Charles Robinson, 1916. (Cotsen 7659917)

She seems to be daydreaming and the characters that populate in her mind are projected on the wall behind her.

Detail showing the head of a strange beast with horns concealed in the foliage covering the walls of the castle, and the fair lady watching the progress of the handsome young man on horseback.

For some reason, Robinson decided to redraw the girl’s head on a different paper stock, which was carefully cut out, and pasted over the original one.

The sixty-four dollar question is, was this image ever published?  Was it a design for an annual cover?  A poster?  Where did it appear? Some lucky person will have the fun of discovering more about the creation of this  lovely tribute to children who love stories.

A heartfelt thank you to the Friends for such a thoughtful, appropriate tribute to our founder, whose spirit will always be a source of inspiration and creativity to us at Cotsen.

Picture Bibles for Children from the 1760s: John Newbery versus Edward Ryland in the Marketplace

Everyone has heard of John Newbery, the first publisher of the modern children’s book and namesake of the American Library Association’s annual award for the most distinguished contribution to American children’s literature.  It is more or less taken for granted that he set the gold standard for children’s books of his own times because of his success in associating his name with quality.

There was someone who made more elegant and expensive books for young readers than John Newbery,  but his career is not discussed in the standard histories of English children’s books.  Only a few collectors know the name of engraver Edward Ryland, whose shop was at No. 67 in the Old Bailey and his beautiful books are highly desirable and expensive when they come on the market.  This post will highlight his first publication for young readers: An Abridgement of Scripture History Designed for the Amusement and Improvement of Children: wherein the most Striking Actions in the Old Testament are Made Plain to the Youngest Capabilities (1765).  Cotsen is lucky enough to have two copies: a rebound one with plain engravings and another one with hand-colored engravings bound with its companion volume on the New Testament in an edition binding of gold tooled red leather.

The front board of Cotsen 1907. The volume with both titles illustrated with a total of 124 engravings was available for 5 shillings. Newbery’s little Bible abridgment had sixty-four relief metal cuts, was half as tall and cost six pence.

Each of the Ryland Bible abridgments also boasted a handsome “book plate”  for a young owner to proudly inscribe her name, as Miss Elizabeth Bentham did.

Here is the title page spread, with an allegorical frontispiece designed by the well-known artist Samuel Wale and engraved by the equally famous Charles Grignion.  The description below the picture explains that Science, the lady in the cloak, is leading the young Bishop of Osnaburg to Wisdom seated on the dias.  The toddler bishop was the second son of George III, Prince Frederick, Duke of Albany and York.  The book’s dedicatee, he was twoish when it was published.  He was intended for a career in the military…

Wale and Grignion’s engravings measure 75 x 88 mm or 3 x 3.5 inches and there is one on every page.

Plate II “The History of the Fall.” This and the following image are more or less actual size. (Cotsen 1907)

Plate VII “The burning of Sodom and Gomorrah.” (Cotsen 1907)

For purposes of comparison, here are two additional plates from Cotsen’s other copy, whose engraved plates are not hand-colored.

Plate IV “The History of the Flood, or General Deluge.” An Abridgement of Scripture History… London: Edwd. Ryland, MDCCLXV [1765]. (Cotsen 357)

Plate V “The Confusion of Tongues” (aka the tower of Babel). (Cotsen 357)

Put John Newbery’s History of the Holy Bible Abridged (1764) next to Ryland’s and the differences in production values are immediately obvious.  Newbery’s volume measures just 10 x 7 centimeters as opposed to the 18  of Ryland’s.  Newbery’s History has 61 soft metal relief cuts, but they are tiny.  At just 45 x 35 mm, the quality of the cutting is workmanlike.   Reproduced larger than actual size here, their shortcomings are cruelly exposed.

The Fall of Man from The Holy Bible Abridged. London: John Newbery, 1764. (Cotsen 34087)

The burning of Sodom and Gomorrah. (Cotsen 34087)

Then as now, consumers got what they paid for.  But far more people in the 1760s could afford six pence for a Newbery Bible abridgment that would fit in a pocket.  The Newbery was cheap enough that some families could put down the money for a copy for each of their children (subscribers’ lists often reveal several children with the same last name at the same address).   Far fewer could invest in a children’s Bible designed to flatter a little prince.  And that may go a long way to explain why Edward Ryland’s children’s books survive in so few copies that almost no one knows how splendid they were…