The Story of Reynard the Fox. A New Version - David Vedder, Gustav Canton (illustrator) 1847 - David Bogue, London - Second Edition Lithographed by David Vedder’s son-in-law Frederick Schenck (Schenck & McFarlane, Edinburgh), and considered on its appearance ‘the best edition of this famous story yet presented in England’ (London Literary Gazette, 1852).

Illustrated by Gustav Canton of Munich and Dusseldorf, with 9 two-tone lithographic plates, 5 colour lithographic plates, 1 in-text engraving, 8 vignettes, and 19 decorated letter pieces.

‘Vedder’s book is splendidly illustrated by the German artist Gustav Canton, but modestly so and in keeping with a text which has been carefully expurgated and made suitable for decent young people... Vedder’s text is based on the 1706 English verse translation of Hartmann Schopper’s 1569 Latin text, this, in turn, is based, via a 1544 High German shortened translation, on that of the 1498 Lübeck Low German, and thence back to the Flemish on which Caxton drew.’ - Kenneth Varty,
Reynard the Fox: Cultural Metamorphoses and Social Engagement in the Beast Epic [171].

‘The illustration of Reynard the Fox, will always be a tempting one to artists who possess the gift of humorously indicating human character, passions, follies, and infirmities, in brute form. This power is in the command of Gustav Canton ; whose humour, readiness, and clever combination, are considerable, — marred, however, by an unfortunate vulgarity of artistic style, at any rate as represented in these lithographs.’ - Review of this edition in
The Spectator, January 1847.
  David Vedder (1790–1854), Scottish poet, son of a small proprietor, was born in the parish of Deerness, near Kirkwall, Orkney, in 1790. Receiving little or no education, and being ‘pretty well grown before he could read or write’ (Grant Wilson, Poet and Poetry of Scotland), he at length read extensively, and seems ultimately to have and seems ultimately to have mastered French, Italian, and German. Early left an orphan, he went to sea, and when twenty-two became captain of a Greenland whaler, which he commanded for several years. In 1815 he was appointed first officer of an armed cruiser, and in 1820 became a tide-surveyor, officiating successively at Montrose, Kirkcaldy, Dundee, and Leith. Retiring on a pension in 1852, he died at Newington, Edinburgh, on 11 Feb. 1854, and was buried in the Grange cemetery, Edinburgh. Vedder was survived by his widow, by a son in the royal navy, and by two daughters, one of whom was married to Frederick Schenck, a well-known Edinburgh lithographer.

Vedder wrote and translated verse from a comparatively early age. In 1828 he published ‘The Covenanters' Communion, and other Poems,’ the title-piece comprising fifty-seven vigourous and opinionative Spenserian stanzas, and several of the lyrics being well turned and vivacious. In 1832 appeared ‘Orcadian Sketches,’ a prose and verse miscellany, largely representing the results of direct observation and disciplined experience. In 1830 De Quincey and others supported Vedder's ‘Edinburgh Literary Gazette,’ in opposition to the ‘Edinburgh Literary Journal’ of Henry Glassford Bell [q. v.] In 1832 he published a very popular memoir of Scott, freely compiled from Jeffrey's ‘Essays’ and other sources. He edited in 1839 ‘Poetical Remains of Robert Fraser,’ a Kirkcaldy poet, and in 1842 issued a collected edition of his own ‘Poems, Legendary, Lyrical, and Descriptive,’ illustrated by Walter Geikie, the distinguished delineator of Scottish character. With lyric movement usually correct and fluent, Vedder commands at once a certain frank humour, and a pathos unfeigned and manly. His scripture transcripts are marked by grace and reserve. His lyric, ‘The Temple of Nature,’ was a favourite with Dr. Chalmers, who frequently recited it to his students (Gilfillan, Prefatory Memoir to Poems, Lyrics, and Sketches, p. xxii). Vedder collaborated with Frederick Schenck in ‘The Pictorial Gift-Book of Lays and Lithography,’ 1842. In 1852 he published, in one volume quarto, his ‘Story of Reynard the Fox; new version, illustrated by Gustav Canton of Munich.’ With lithographs by Schenck and MacFarlane, this was considered on its appearance ‘the best edition of this famous story yet presented in England’ (London Literary Gazette, 1852, p. 789). Vedder contributed letterpress to Geikie's ‘Etchings,’ and he is represented in the supplementary volume of George Thomson's ‘Scottish Melodies,’ in Blackie's ‘Book of Scottish Song’ (1844), and ‘Whistle-Binkie’ (1853). He wrote for the ‘Edinburgh Literary Journal,’ Constable's ‘Edinburgh Magazine,’ the ‘Christian Herald,’ ‘Tait's Magazine,’ and ‘Chambers's Journal.’ George Gilfillan edited, with memoir, a posthumous undated volume of Vedder's ‘Poems, Lyrics, and Sketches’ (1878?). [Thomas Wilson Bayne,
Dictionary of National Biography, 1885-1900, Volume 58 [United Presbyterian Mag. 1854; Gilfillan's Memoir; Rogers's Modern Scottish Minstrel].

Gustav Jacob Canton (1813-85) was a German landscape and animal painter and illustrator of the Düsseldorfer School. His illustrations from The Story of Reynard the Fox, by David Vedder, were particularly well-known in London.

Quarto (book size 26.8x21.2cm), pp. xiv 76 [4]. Second edition, publication date based upon the revue of the second edition written in the Spectator Magzine of January 1857. First edition was published in 1853.
  Bound by Thomas Williams, 10 Chapel Street, Camarthen, in quarter black morocco over marbled boards, with paper title label lettered in black to front board, all edges gilt.   Condition: Very good, spine ends chipped, sunning to board edges, some scattered foxing, one or two small watermarks to plates, chip to lower corner of last plate not affecting image   Ref: 108586   Price: HK$ 1,200