The Tenterden Aesop

tenterden, aesop, fables, fable, sacheverell, cliff, jeremiah cliff

  • ‘A City Mouse and a Country Mouse’ alongside ‘A Lion and an Ass’, hand-drawn illustrations by Jeremiah Cliff

    ‘A City Mouse and a Country Mouse’ alongside ‘A Lion and an Ass’, hand-drawn illustrations by Jeremiah Cliff, owner of the book in about 1711, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708. Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Jeremiah Cliff, owner of the book in about 1711
    ‘A City Mouse and a Country Mouse’ alongside ‘A Lion and an Ass’
    Hand-drawn illustrations in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.

  • ‘An Ass and a Whelp’ and ‘A Lion and a Mouse’, hand-drawn illustrations by Jeremiah Cliff

    ‘An Ass and a Whelp’ and ‘A Lion and a Mouse’, hand-drawn illustrations by Jeremiah Cliff, owner of the book in about 1711, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708. Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Jeremiah Cliff, owner of the book in about 1711
    ‘An Ass and a Whelp’ and ‘A Lion and a Mouse’
    Hand-drawn illustrations
    In a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.

  • ‘Cocks and a Partridge’ and ‘A Bragging Traveller’, hand-drawn illustrations by Jeremiah Cliff

    ‘Cocks and a Partridge’ and ‘A Bragging Traveller’, hand-drawn illustrations by Jeremiah Cliff, owner of the book in about 1711, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708. Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Jeremiah Cliff, owner of the book in about 1711
    ‘Cocks and a Partridge’ and ‘A Bragging Traveller’
    Hand-drawn illustrations
    In a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.

  • ‘A Fortune Teller’, and ‘A Cunning Woman’

    ‘A Fortune Teller’, and ‘A Cunning Woman’, and ‘An Astrologer and a Traveler’, hand-drawn illustrations by Jeremiah Cliff, owner of the book in about 1711, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange (1708). Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Jeremiah Cliff, owner of the book in about 1711
    ‘A Fortune Teller’, and ‘A Cunning Woman’, and ‘An Astrologer and a Traveler’
    Hand-drawn illustrations
    In a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.

  • ‘A Dog and a Wolf’, and ‘A Lyon and a Bull’

    ‘A Dog and a Wolf’, and ‘A Lyon and a Bull’, and ‘A Lyon in Love’, hand-drawn illustrations by Jeremiah Cliff, owner of the book in about 1711, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange (1708). Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Jeremiah Cliff, owner of the book in about 1711
    'A Dog and a Wolf', and 'A Lyon and a Bull', and 'A Lyon in Love'
    Hand-drawn illustrations
    In a copy of Fables of Aesop and other eminent mythologists by Roger L'Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.

  • ‘A Council of Birds for Chusing more Kings’, and ‘A Woman That Would Needs Die for Her Husband’

    ‘A Council of Birds for Chusing more Kings’, and ‘A Woman That Would Needs Die for Her Husband’, hand-drawn illustrations by Jeremiah Cliff, owner of the book in about 1711, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708. Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Jeremiah Cliff, owner of the book in about 1711
    ‘A Council of Birds for Chusing more Kings’, and ‘A Woman That Would Needs Die for Her Husband’
    Hand-drawn illustrations
    In a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.

  • ‘A Bull and a Ram’, and ‘A Widow and a Green Ass’

    ‘A Bull and a Ram’, and ‘A Widow and a Green Ass’, hand-drawn illustrations by Jeremiah Cliff, owner of the book in about 1711, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708. Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Jeremiah Cliff, owner of the book in about 1711
    ‘A Bull and a Ram’, and ‘A Widow and a Green Ass’
    Hand-drawn illustrations
    In a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.

  • ‘Women and Churches’, hand-drawn illustrations by Jeremiah Cliff

    ‘Women and Churches’, hand-drawn illustrations by Jeremiah Cliff, owner of the book in about 1711, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708. Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Jeremiah Cliff, owner of the book in about 1711
    ‘Women and Churches’
    Hand-drawn illustrations
    In a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.

  • ‘A Spider and Gout’, hand-drawn illustrations by Jeremiah Cliff

    ‘A Spider and Gout’, hand-drawn illustrations by Jeremiah Cliff, owner of the book in about 1711, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708. Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Jeremiah Cliff, owner of the book in about 1711
    ‘A Spider and Gout’
    Hand-drawn illustrations
    In a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.

  • Signature of Sarah Cliff, owner in about 1736

    Signature of Sarah Cliff, owner in about 1736, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708. Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Signature of Sarah Cliff (owner in about 1736)
    In a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.

  • Signature of Jeremiah Cliff, owner in about 1711

    Signature of Jeremiah Cliff, owner in about 1711, in a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708. Printed for R. Sare in London. National Art Library Pressmark: Safe 6.A.10

    Signature of Jeremiah Cliff, owner in about 1711
    In a copy of Fables of Aesop and other eminent mythologists by Roger L’Estrange, 1708
    Printed for R. Sare in London
    National Art Library Pressmark: Safe 6.A.10

    What makes this early 18th century English edition of Aesop’s Fables special is the complete series of illustrations painted on the margins throughout by its first owner, Jeremiah Cliff, within a few years of the publication date.

    Jeremiah Cliff has recently been identified as an apothecary living in the town of Tenterden, in Kent. Apothecaries performed the functions of modern-day pharmacists, but also traded in other goods including artists’ pigments, which might suggest why Cliff took up painting as a hobby.

    Though amateur in style, his images are full of detail and humour, as well as observations of daily life. He has a feel for page design, and the placement of his figures within the tiny spaces available is careful and often witty. He also uses compositional motifs found in published fable illustrations, and his marginal notes cross-refer to another edition of the Fables: clearly he was a cultivated person, perhaps with a large library of his own.