John Lacy as Teague in Sir Robert Howard's The committee [graphic] / [Augustus Toedteberg].

John Lacy as Teague in Sir Robert Howard's The committee [graphic] / [Augustus Toedteberg].

[late 19th cent.]

1 item in 1 vol. : pen and ink ; 12 3/4 x 8 3/4 in.

paper

All the works by Toedteberg that Folger owns are theatrical portraits copied after rare prints. They are either contained in volumes which were grangerized by Toedteberg or are individual items which were purchased from the sale of Toedteberg's collection. Some of the pieces are signed by him but most are unsigned. All of them, however, at one time passed through his hands and many may have been the work of his pen. They have been grouped together in this file for that reason.

Artist: Toedteberg was an inlayer and copiest of rare prints. The sale catalog of Toedteberg's collection lists a copy of the print from which this portrait was taken (see history section) as item no. 2246.

Full figure, standing to front, looking to right, in cloak and cap, with hands clasped in front. 'Lacy' in pencil at bottom, unsigned.

History: Drawing is after a portrait by John Michael Wright of Lacy standing in his three favorite characters, Teague in The committee, Scruple in The cheats and Galliard in The variety. The portrait was engraved, in reverse, by W. Hopkins and published by Wm. Smith in 1825 (Harv. cat., no.1 under Lacy's entry). This sketch is taken from the engraving of Wright's original portrait (FSL has copy, ART Vol d45 no.32, which lacks imprint).

Provenance: Item is contained in an extra-illustrated volume of the Daly edition of Merry Wives of Windsor. The volume was purchased by the Folgers from the auction of the Augustin Daly collection held by the American Art Galleries in 1900. According to the sales catalog, item no. 736, the book was inlaid to folio by Augustus Toedteberg and is a unique copy.

Subject: Lacy was a Restoration actor whose Teague was much admired by Samuel Pepys. He was also noted for his portrayal of Falstaff. Subject identification is taken from the engraving.

The art collection of the Folger Shakespeare Library includes many volumes of extra illustrated books, several of which formerly belonged to the library of the theatrical manager Augustin Daly. Many of these extra-illustrated volumes were inlaid and organized by Augustus Toedteberg, a professional inlayer and repairer of prints who resided in Brooklyn, N.Y. in the 1870's to 1890's.

The known facts concerning Toedteberg are few. He was the grangerizer of the Daly copy of Joseph Norton Ireland's Records of the New York stage (a work extended by him from 2 to 33 volumes) and of Daly's souvenir books of his Shakespearean productions (many of which are now in the Folger collection). Toedteberg also published a work, in 1893, entitled Portraits of actors reproduced from rare originals for Augustus Toedteberg. The Folger Library has a few letters in its ms. collection addressed from Toedteberg to Augustin Daly concerning Toedteberg's grangerizing work. His theatrical collection, which consisted of numerous books, prints, drawings, autographs and playbills, was sold at auction by the Anderson Co., New York, 1903-1904.

The volumes which Toedteberg grangerized also contain a number of watercolor portraits, copied after rare prints, which are signed by a Victor Moblard who may have been under the employ of Toedteberg. Moblard's style of painting and writing is rather distinct and even where he has not signed his name it is easy to spot his work, In cases where his signature or initials appear, or where the style gives evidence of his work, the item has been entered under his name. In all cases, where known, a subject entry has been given for the original artist of the print from which Moblard was copying. No biographical information has been located on Moblard. The user is referred to records under Moblard, Victor, for additional works from the Toedteberg shop.

This record contains unverified data from old cards and may contain incorrect or incomplete text. Please consult Curator for assistance.

Toedteberg's collection of theatrical prints was extensive and it is assumed that he drew on this collection as a resource for his grangerizing endeavors. It appears that he was in the habit of copying, in ink or watercolor, rare prints, or having rare prints copied by others, perhaps when he was able to obtain only one copy of the original print.

United States.

ART Vol. b28 no.25v