The Project Gutenberg eBook of Gallery of Comicalities, by Robert and George Cruikshank.

London:
Charles Hindley,
41, Booksellers' Row, St. Clement Danes, Strand, w.c.

THE
GALLERY OF COMICALITIES.

Most of the " Comicalities " here re-produced in fac simile first appeared in the columns of Bell's Life in London and Sporting Chronicle during the years 1827-8 and 9, and caused an unprecedented increase in the weekly sale of that journal.

As a painter of Life and Nature , in all their truth and eccentricity, George Cruikshank may be truly said to stand unrivalled, and to be only equalled, even in former times by the inimitable Hogarth . The present Series has been principally selected from " Cruikshank's Illustrations of Time and Phrenology ," and his Illustrations to Mr. Wright's " Mornings at Bow Street " and the sequel entitled " More Mornings at Bow Street "—works which are replete with wit and humour.

Robert Cruikshank , the elder brother of George Cruikshank, Illustrated many books, &c., including Pierce Egan's, " The Finish to the Adventures of Tom, Jerry , and Logic , in their pursuits through Life in and out of London," 1827. Died March 13, 1856. Aged 65 years.

Robert Seymour , a graphic humourist was born in London, about the year 1800. He was apprenticed to Mr. Thomas Vaughan, a pattern-drawer in Spitalfields, and his practice in that department of art appears to have given him the facility and accuracy of pencil for which he was afterwards so distinguished. Within a very short period of fulfilling his term of apprenticeship, he commenced, on his own account, as a painter in oils, and must have been tolerably expert at that early age, as already in the spring of 1822, we find him exhibiting a picture of some pretensions at the Royal Academy.

He executed various other oil paintings about this period, but the more pressing demand on his talents was for drawings on wood, a mode of book illustration then in great vogue. The various illustrated books and periodicals published for the next ten or twelve years bespeak his popularity and industry in that department.

Although Seymour's hands were full of commissions for drawing on wood, he was always desirous of practice in a more independent department of art, feeling that the engraver, however competent, frequently failed to communicate the full force of his drawing. He, therefore, determined—where possible, on etching or engraving his own designs on copper or steel. He was very successful in full length sketches of public characters, and has left us many life-like portraits of members of the Turf and Drama between 1830 and 1836.

But of all Seymour's various works his "Humorous Sketches" were his prime favourites, and will best perpetuate his name. They were first published between the years 1834 and 1836, in detached prints at 3d. each, by Mr. Richard Carlisle, of Fleet Street. The entire collection was subsequently engraved on steel, and published in 1838, with letterpress description by Crowquill (Alfred Henry Forrester), the popular humourist of the day.

Figaro in London—the popular predecessor of Punch, edited and published by Gilbert A'Beckett from December 1831 to 1836—contains nearly 300 woodcuts after Seymour. They were also published separately as "Seymour's Caricature Gallery," and after his death were all re-published on six large sheets, each containing 20 subjects, as "Seymour's Comic Scrap Sheets."

Seymour's connection with the publication and illustration of the now famous Pickwick Papers is well known to the reading world by the printed statement of Mrs. Seymour, and Charles Dickens' own account of the origin of the Pickwick Papers, to need repetition.

THE
DRUNKARD'S
PROGRESS ,

IN
TWELVE STEPS,

FROM
DESIGNS

BY
ROBERT SEYMOUR.

Circa 1829.

GALLERY
OF
COMICALITIES,

Embracing humorous
SKETCHES

BY
The Brothers
R. and G. CRUIKSHANK,
And others.

Circa 1827-8-9.

"A Beak," says Jem Bee, in his slang Dictionary, "is the Sitting Magistrate, or one who walks or rides abroad, seeking whom he may quod, or whose lawful (query, UNLAWFUL ) amusements he may curtail."

Here we have a Portrait of a celebrated Gentleman of this description in the East, together with a couple of his customers, whose colloquy may be instructive:

——"The superiority of some men is merely local. They are great, because their associates are little."— Dr. Johnson.

STEAMERS v. STAGES;

OR,

ANDREW AND HIS SPOUSE.

AN AQUATIC EXCURSION BY STEAM AND BOAT .

Illustrated with Humourous Designs
by
ROBERT CRUIKSHANK.

" Coach, Sir! Lord love your soul, the coach has been gone these three quarters of an hour; it's the most regglarest coach as is, and always starts to a minute! "

" You dont say so! Lawks! vot a precious row my vife vill kick up! She's a coming arter me as fast as she can trot! "

" Gentlemen, it was a very fine Oyster, indeed! The Court awards you a shell each! "

" A guinea to a shilling on Jack ! Time's up! It's all over! Jack's won the day! I'm blest if we shan't all be lagged! "

" Not with those who tell the truth, and as I am one of that sort, you will know I mean what I say in future; but sit down 'better late than never.'—Mary bring the fragments. "

" Drat your black carcase! we'll make something of you at last, if we skin you! Go it, Molly! rub his life time out! "

" You arn't the rigglar Dustman, blow ye! For a farden I'd break your blessed conk! "

Boniface : " Mizzle, you warmint, you an't paid your old score; No more chalk here!—so take that! "

" Come along, you old willain; I'll teach you to be going arter the wenches; I'll shew you who wears the breeches you—! "

"Now, then, my jolly Sportsman! I've got more money than the Parson of the parish! Those as don't play can't vin and those as are here arn't there! I'd hould any of you, from a tanner to a soverin, or ten, as you don't tell which thimble the pea is under." "It's there, Sir"—"I barr tellings"—"I'll go it again."—"Vat you don't see don't look at, and what you do see don't tell. I'll hould you a soverin, Sir, that you don't tell me vitch thimble the pea is under."—"Lay him, Sir (in a whisper); it's under the middle'un I'll go you halves."—"Lay him another; that's right."—I'm blow'd but we've lost: who'd a thought it!"—Smack goes the flat's hat over his eyes; exit the confederates with a loud laugh.

Go it, Bob !—pull away?—here's the Traps ;—cut away, my kiddy, good luck to you!—Kim aup, Neddy!—kim aup!—blow you, kim aup!—That's the ticket!

" Well to be sure, that is a picture! I must have a sirloin for Christmas-day. It warms the cockles of one's heart to think of it! "

" You be smothered, you old Brimstome!—barring I'm a thief, and fond of the men, what can you say to my prejudice? "

" Say but the word, my dear Susan, and you're mine for ever; we shall be as happy as the day is long! "

" Out o' my sight, you villain! I wish I had never seen your ugly mug—you have been the curse of my life! "

Traveller : " Having made myself comfortable, I must now look to my nag, for these ostlers are sorry dogs. "

Ostler : " Aye, you may look, old Bald-face; but as you can't tell no tales, why, its better you should go without your feed than I without my pot. "

" I love music, and I don't see why I shouldn't enjoy myself—besides its a charity to my sick neighbour: it will soothe him to a gentle slumber! "

" Oh, dear! oh, dear—was ever poor devil so tortured!—that infernal noise will be the death of me! "

" Johnny, you wretch! you're not going to leave me here with these 'orned hanimals? For the love you bear me, come back and help me over!"—"I'm blessed if I do!—'number one' is the first law of nature, so here goes! Come along Fowler! "

" 'Twill DO for you, my good friend—it is an infallible remedy for all diseases! "

" Hulloa! take care of that ere dog, I'm blow'd if he arn't as mad as a March hare! He's bolted with his mistress's kittle, and I'm splashed if he arn't got the HYDRAPHOBIA , or he wouldn't go past the pump in such a hurry. "

" Pity the froze out gardeners! "—" I will my poor fellows. I'll provide you with a WARM reception when you come to me. "

[ Taken from life during the Mutiny at Greenwich Hospital on the Birthday of his present Majesty. ]

" Shiver my timbers!—here's a go!—no grog on the King's Birthday!—I'm blest if I don't strike! "

——"Here ye are my ready money customers; you have 'em here at THREE YARDS A PENNY . First of all:—

We frequently meet with the pieman in old prints; and in Hogarth's "March to Finchley," there he stands in the very centre of the crowd, grinning with delight at the adroitness of one robbery, while he is himself the victim of another. We learn from this admirable figure by the greatest painter of English life, that the pieman of the last century perambulated the streets in professional costume; and we gather further, from the burly dimensions of his wares that he kept his trade alive by the laudable practice of giving "a good pennyworth for a penny." Justice compels us to observe that his successors of a later generation have not been very conscientious observers of this maxim.

The engraving represents an old "London Crier," one William Liston, from a drawing for which he purposely stood in 1826.

This "public character" was born in the City of Glasgow. He became a soldier in the waggon-train commanded by Colonel Hamilton, and served under the Duke of York in Holland, where, on the 6th of October, 1799, he lost his right arm and left leg, and his place in the army. His misfortunes thrust distinction upon him. From having been a private in the ranks, where he would have remained undistinguished, he became one of the popular street-characters of his day.

Buy a Broom? was formerly a very popular London-cry, when it was usually rendered thus:—" Puy a Proom, puy a prooms? a leetle one for ze papy, and a pig vons for ze lady: Puy a Proom? " Fifty years ago Madame Vestris charmed the town by her singing—

But time and fashion has swept both the brooms and the girls from our shores.—Madame Vestris lies head-to-head with Charles Mathews in Kensal Green Cemetery. Tempus omnia revelat.

"Here you have the last speech and dying vords, life, character, and behaviour of the hunfortunate malefactor that vos hexecuted this morning hopposite the Debtor's door, in the Hold Bailey! together with a full confession of the hoffence vherewith he was found guilty—befor a hupright Judge and a himpartial Jury! Here you have likewise a copy of the most hinfectionate letter, written by the criminal in the condemned cell the night after —I mean the night afore his hexecution, to his innocent vife and hunoffending babbies—with a copy of werses consarning the same—all for the small charge of von halfpenny.

"Hearth-stones! Do you want any hearth-stones? Now, my maids, here's your right sort—reg'lar good'uns, and no mistake—vorth two o'your shop harticles, and at half the price. Now my pretty von, lay out a tanner , and charge your missus a bob —and no cheating neither! the cook has always a right to make her market penny and to assist a poor cove like me in the bargain.

The late George Cruikshank, whose pencil was ever distinguished by power of decision in every character he sketched, and whose close observation of passing men and manners was unrivalled by any artist of his day, contributed the "London Barrow-woman" to the pages of Hone's Every-Day Book in 1826 from his own recollection of her.

There cannot be a better representation of "Guy Fawkes," as he was borne about the metropolis in effigy in the days "When George the Third was King," than the above sketch by George Cruikshank.

Husband : Now then, Old Gal; cook us about another pound and a half of our home made bacon, and, then I do think I shall 'ave done for this once.

Wife : Yes! Tom, but recollect that Parson said on Sunday last, that poor folks, since the 'provements of cookery eat about twice as much as nature requires.

Husband : Well! then we can't do no better than practice what Parson preaches about, can we?

From a brochure entitled the " Green Bag : or, a Dainty Dish to set before a King." Published by Hone, and illustrated by Geo. Cruikshank.

the LAST THIS SEASON.—ARGYLL ROOMS, Thursday next , June 28.—For Boxes to view the Masquerade (without mixing in the motley group), Domino, Character, and other Tickets, &c., apply to the Committee, at Mr. Charles Wright's, Opera Colonnade, Haymarket, who will supply the Wines on the occasion.

The above sketch was taken from nature in the Isle of Anglesea last Autumn, from a spot not far from the seat of the Noble Marquess, who derives his title from the Island. It presents an excellent profile of the Marquess, and has often excited the attention and surprise of the passing travellers. At a moment when his Lordship is so deservedly popular the publication of this curiosity may not be unacceptable to our readers.

Spoken. —She was such a divine creature! I fell in love with her the moment I saw her. I looked languishing at her, and she did the same at me; then she gave such a sigh—such a heavy one!—you might have heard it!——

Spoken. —She was an angel! such a natural sort of woman! She wore a bustle—that wasn't very natural, though—it was rather a largish one; I suppose, upon a moderate calculation, it would have reached——

In 1836, Mr. T. D. Rice, who had previously appeared at the Surrey Theatre, in "Bone Squash Diablo," made his first appearance at the Adelphi, in a farcical Burletta, called "A Flight to America; or, Twelve Hours in New York". The sketch, written for him by Mr. Leman Rede, introduced Rice as a nigger, Yates as a Frenchman, and Mrs. Stirling as Sally Snow—a coloured belle, Miss Daly, John Reeve, and Buckstone strengthened the cast. "Jump Jim Crow" caught the fancy of the town at once, and the familiar tune was soon to be heard everywhere. Rice stayed through the whole season, playing an engagement of twenty one weeks, then considered something extraordinary. For a long period he performed at the Adelphi and the Pavilion Theatres the same evening, and it was calculated that in so doing he had travelled considerably more than a thousand miles, while being encored five times at each theatre for 126 nights, it was easy to set down the figure of 1,260 as representing the number of times he had sung "Jim Crow," during that period. Rice cleared by this engagement eleven hundred pounds. A street-ballad of the day informed the public that it could have:—

There were a hundred-and-one versions of "Jim Crow," fresh stanzas being added from day to day on the passing events, for the most part written by Leman Rede, and Buckstone, the honorarium offered by Rice being one shilling per line. We select the above from the first version as sung at the Surrey Theatre.

Works by Mr. CHARLES HINDLEY ,

TO BE HAD OF

Messrs. Reeves and Turner,

196, Strand, London, W.C.,

AND OF

Charles Hindley, the Younger .

41, Booksellers' Row, St. Clement Danes,

Strand, London, W.C.

THE OLD BOOK COLLECTORS MISCELLANY; or, a Collection of Readable Reprints of Literary Rarities. 3 vols. £1 11s. 6d.

SELECTION OF THE WORKS OF JOHN TAYLOR, The Water Poet . £1 1s. 0d.

THE ROXBURGHE BALLADS. 2 vols. £1 5s. 0d.

CURIOSITIES OF STREET LITERATURE: comprising " Cocks " or " Catch-pennies ." A large and curious assortment of Street-Drolleries, Squibs, Comic Tales, Dying-Speeches, and Confessions, etc., etc. £1 1s. 0d.

LIFE AND TIMES OF JAMES CATNACH, late of the Seven Dials, Ballad Monger . Cuts by Bewick and others. 12s. 6d.

A HISTORY OF THE CRIES OF LONDON. Ancient and Modern: containing over three hundred woodcuts, of which seventy are by Bewick. Crown 8vo. 7s. 6d. Postage 6d.

THE HISTORY OF THE CATNACH PRESS. At Berwick-upon-Tweed, Alnwick, and Newcastle upon-Tyne, in Northumberland; and Seven Dials, London. Cuts by Bewick, etc. Crown 8vo. 6s. Postage 6d.

*** END OF THE PROJECT GUTENBERG EBOOK GALLERY OF COMICALITIES; EMBRACING HUMOROUS SKETCHES ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org . If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate .

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org .

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

The Project Gutenberg eBook of Gallery of Comicalities; Embracing Humorous Sketches

GALLERY
OF
COMICALITIES;
EMBRACING HUMOROUS
SKETCHES

THE
GALLERY OF COMICALITIES.

THE FULL PROJECT GUTENBERG LICENSE

The Project Gutenberg eBook of Gallery of Comicalities; Embracing Humorous Sketches

GALLERY OF COMICALITIES; EMBRACING HUMOROUS SKETCHES

THE GALLERY OF COMICALITIES.

THE FULL PROJECT GUTENBERG LICENSE

GALLERY
OF
COMICALITIES;
EMBRACING HUMOROUS
SKETCHES

THE
GALLERY OF COMICALITIES.