IX. Collaboration or Coincidence

Despite many similarities, the text itself, the publishing history and the choices of views would all point to a fair amount of coincidence in the publication of these two works on precisely the same day. Additionally, we also have two publishers experiencing a change in direction in their publishing behaviour at about the same time, coinciding as it does with the advent of a new technology which needed no small amount of investment and a certain amount of confidence. Robert Jennings had produced ephemeral works of a one-off nature before he began to direct his attentions to illustrated guide books. Henry Fisher’s general stock in trade had been religious works when based in Liverpool. With their faith in steel engravings came a desire to make the most of the new technique and the cost-saving opportunities this offered. Letter-press was not what steel plates were used for. They were ideal for printing large numbers of illustrations and both publishers grasped their opportunity.

Nevertheless, both publishers would have been aware of each other’s publications and in the close environment of a London brimming with publishers, engravers and artists as well as authors, word would have spread when it came to larger projects. Both Moore’s History and Fisher’s Illustrated would have needed a certain amount of planning and contributors. With nearly 50 experienced contributors it is surprising that only one of the artists, W H Bartlett, and one of the engravers, Henry Wallis, produced plates for both works. Artists and engravers may well have recommended each other and Schmollinger and James Bingley were known to have shared accommodation at one point. Last but not least E W Brayley would contribute an impressive amount of text to both projects. 

The list of dedications includes many names which occur in both works, but these were the top ten names in Devon at that time and every publisher would have included them if they felt it would improve sales. Previous illustrated works had not concentrated on buildings but on views and an interesting aspect is perhaps the variety of dedications in each work. These were also moderately wealthy landowners with country seats but selected more for their residences than their credentials. They would have been aware of the intending serial publication of a large illustrated work and were more than probably willing subscribers at 1s. per month. The lure of having their property illustrated in a popular work, plus the attraction of being mentioned was possibly sufficient enticement. But these were also people influential enough to advertise the works by word of mouth and, presumably, bring in a few more welcome subscriptions.

The variety of views chosen shows a large number of overlaps but the illustrations are never copied from each other and many views would have been sorely missed if left out. We have seen Fisher was keen to exploit town scenes but the opportunities for this in rural Devon and Cornwall were meagre. The majority of plates depict, when not a stately home, attractive countryside with only a few scenes of more modern developments such as the new town halls, public libraries, bridges and canals.

Fig. 23. Title Page to Devon Illustrated included in Fisher No. 1.

Both works projected a total of 94 views and two maps, however, as we have seen the volume of letterpress for each varied tremendously. Fisher seems to have planned and stuck to a serial enterprise of 36 issues, exactly 3 years in production with the completed work on sale in 1832, issuing a book which was attractive and readable. It would seem, on the other hand, that Moore overran and although the plates would have been completed after 47 months there was further delay and final binding of volumes could not take place until 1836. Moore would have been about 63 when the first parts issue was delivered. This was in some ways his “Magnus opus”. He would manage to see his work finally complete, but we do not know for certain how this came about. He mentions in the letter to Oliver that the publishers had severed the partnership, one of whom had since died and the project in the hands of his incompetent son. We may never know the full details of how the book was eventually completed with final letterpress and maps. Perhaps W C Featherstone took over the project. With the added input from local people such as Browne and Colliver, this seems a possibility, given more credence with his imprint on the index pages. Although distributed as a quarterly number, it was never reprinted.

Fisher, however, was able to exploit his plates and the illustrations were reprinted in a number of different publications and it is these which we find most often at the antiquarian markets. The imprint of George Virtue, a well-known London publisher, is found on later reprints and we know that Fisher was keen to reuse plates, as seen in his Drawing Room books. Although among the first of the counties of England to be covered, Devon and Cornwall would not be the last and many other counties followed over the next years.

Fig. 23. Title Page to Cornwall Illustrated included in Fisher No. 28.

Both works projected a total of 94 views and two maps, however, as we have seen the volume of letterpress for each varied tremendously. Fisher seems to have planned and stuck to a serial enterprise of 36 issues, exactly 3 years in production with the completed work on sale in 1832, issuing a book which was attractive and readable. It would seem, on the other hand, that Moore overran and although the plates would have been completed after 47 months there was further delay and final binding of volumes could not take place until 1836. Moore would have been about 63 when the first parts issue was delivered. This was in some ways his “Magnus opus”. He would manage to see his work finally complete, but we do not know for certain how this came about. He mentions in the letter to Oliver that the publishers had severed the partnership, one of whom had since died and the project in the hands of his incompetent son. We may never know the full details of how the book was eventually completed with final letterpress and maps. Perhaps W C Featherstone took over the project. With the added input from local people such as Brown and Colliver, this seems a possibility, given more credence with his imprint on the index pages. On the other hand it is possible that Richard Taylor printed all the letterpress but never signed Volume II. Perhaps Featherstone was only responsible for binding but added his imprint to the last free side of the letterpress. Could Colliver be the final publisher, but utilising the already finished title pages from 1829? 

Moore's work does not seem to have been a financial success on any front, but was probably part of Jennings' learning curve and gave him much needed experiene in serial publications and steel printing. Although distributed as a quarterly number, it was never reissued, although there appears to be new type layout in the large paper copies seen..

Fisher, however, was able to exploit his plates and the illustrations were reprinted in a number of different publications and it is these which we find most often at the antiquarian markets. The imprint of George Virtue, a well-known London publisher, is found on later reprints and we know that Fisher was keen to reuse plates, as seen in his Drawing Room books. Although among the first of the counties of England to be covered, Devon and Cornwall would not be the last and many other counties followed over the next years.

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