The first known "Metamorphoses" were published in London in 1650, with both "Harlequin's Metamorphoses" and "The beginning, progress and end of man" appearing in that year.

"Harlequin's Metamorphoses" (1650):

Published in London by Martin George in 1650, specific details about this work are scarce. It is believed to be among the earliest metamorphic books, possibly featuring the character Harlequin undergoing various transformations, aligning with the theatrical traditions of the time.

"The Beginning, Progress and End of Man" (1650):This work was published in London in 1650 by B. Alsop for T. Dunster. It comprises a series of illustrations with flaps that, when lifted, depict the stages of human life from creation to death, serving as a moral and religious commentary. These books often used visual transformations to depict themes such as the life span of mankind, the fall of Adam and Eve, or allegories about human mortality and the transient nature of life.( *According to Harlequinade researcher Jacqueline Reid-Walsh, it can be seen only on an (old) microfilm in the British library - she also reports that it was one sided only in black & white with flaps and woodcut images. It was 17.78 cm by 29.21 cm)

Walsh also emphasizes the role of early publishers in advancing the tradition of turn-up or metamorphosis books during the late 18th century. She identifies several notable figures and their contributions, which were instrumental in shaping this interactive literary form: William Tringham (1768), E. Tringham, Henry Wass, and John Merry (1770), and H. Roberts (1771).

The genre of metamorphic books gained popularity in the 17th and 18th centuries, with publishers like Robert Sayer producing similar works in the late 18th century. According to George Speaight, Robert Sayer published sixteen turn-ups.These books were not only entertaining but also served educational and moral purposes, reflecting the societal values of their time.Sayer revitalized the flap book format with his first publication, Adam and Eve, in 1767. He later expanded to themes inspired by pantomimes, such as The King and the Clown (referenced in Laurie and Whittle's 1795 catalog, after they acquired Sayer's business). Scholar Ifan Kyle Fletcher confirms the publication date of Sayer’s second flap book, October 26, 1767, noting its likely pantomime influence.

Sayer's books sold for sixpence, making them accessible to a wide audience, including children from less affluent families. The affordability of the black-and-white editions contributed to their popularity as they reached a broader demographic. Hand-colored editions, on the other hand, sold for one shilling, double the price of the plain versions.

Vintage Pop-Up Books was fortunate enough to acquire a hand-colored copy. It was snapped up by a collector almost immediately :) - But not before we took some good photos: Title: Ein Brief an mich und Dich By: Johann Jakob Kaspar Ensslin (1790-1865) in Reutlingen
photos by vintagepopupbooks.com

Thus, by the 18th century, the form evolved with the rise of harlequinades, which were inspired by the theatrical pantomimes of the same era. While the form of flap books remained, their content shifted in many cases. Harlequinade flap books adapted stories from the stage, introducing comedic or fantastical transformations instead of purely moral or religious themes. Characters like Harlequin, Columbine, and clowns became central figures, creating a lighter, more entertainment-focused experience. Some harlequinades retained moral undertones, blending lessons with humor or drama.

In the late 18th century, the popularity of "turn-up" or metamorphosis books, initiated by Robert Sayer, led to other booksellers adopting similar format, including Thomas Hughes and George Martin

Harlequinades were first published in the United States c.1787, At the end of the eighteenth/beginning of the nineteenth century a changed-up and expanded set of verses, attributed to Benjamin Sands, began to be published in the United States in both English and German versions.

The American illustrations of The Beginning, Progress, and End of Man are noted to differ from the illustrations in the 1654 English edition. This implies that while the books shared the same format, the American versions featured unique illustrations, possibly by American artists or engravers like James Poupard.


Although the 1787 date is not specifically confirmed as the first printed edition, there is a conjectural date of 1787 proposed based on available manuscript evidence - The first that we have found is: 1787 edition of Metamorphosis; or, A Transformation of Pictures, with Poetical Explanations, for the Amusement of Young Persons, published by Robert Porter in Philadelphia. Citation below:

( Penn State University Libraries. (n.d.). Union Catalog of Early Movable Books: A Catalog of 17th to 19th Century Narrative Media for and by Children. from https://openpublishing.psu.edu/play/content/metamorphosis-or-transformation-picture)

Joseph Rakestraw, a Philadelphia-based printer active in the early 19th century, published "Metamorphosis; or, a Transformation of Pictures, with Poetical Explanations, for the Amusement of Young Persons." This work, authored by Benjamin Sands, featured illustrations by James Poupard.

Vintage Pop-Up Books acquired a later edition printed by Joseph Rakeshaw and published by Samual Wood in 1814: His editions date back to at least 1811, with subsequent publications in 1813, 1814, and 1815. (no longer available for sale)
photos by vintagepopupbooks.com




Note: To identify the first printing of Joseph Rakestraw's 1814 edition, check the title-page imprint, specifically the length of "New-York:" (19mm) and any variations in the corner ornaments, particularly the presence and placement of dots. The first printing will have simpler corner ornaments, often without dots or with a specific dot pattern, while later editions will show more complex variations in the corner designs. Scholars like Harry B. Weiss and Welsh have provided detailed descriptions of the variations in these editions. They’ve noted the differences in the corner ornaments and how they evolved across different printings, emphasizing how each edition introduced new elements while maintaining some consistency with the earlier works.( From: American Antiquarian Society. (n.d.). Proceedings of the American Antiquarian Society, 316. Retrieved December 22, 2024, from https://www.americanantiquarian.org/proceedings/44497945.pdf.)

Dozens or editions would be published over the next 90 years. For instance, an 1807 edition was published in Philadelphia by Solomon Wieatt, and an 1817 edition was released in New York by Samuel Wood and Sons. Other examples include: G. Strong (Philadelphia) Strong published an edition of Metamorphosis in 1834, Hugh Anderson (Cadiz, Ohio): Anderson, both the publisher and engraver, produced an edition in 1836 Theodore F. Scheffer (Harrisburg, PA): Scheffer's edition, printed in 1857 There were quite a few more - see Worldcat.

The last one* that we know of was published in 1875 in Pottersville, N.J. by W. Hazen. (See our site for images and availability of this edition) *Worldcat.org "showing all editions for 'Metamorphosis; or, a transformation of pictures, with poetical explanations, for the amusement of young persons"

Again, Vintage Pop-Up Books was fortunate enough to acquire a copy. And also again, it was snapped up by a collector almost immediately :)
Metamorphosis; or a Transformation of Pictures, with Poetical Explanations, for the Amusement of Young Persons, (14.2 × 8.7 cm) - 1875, Author: Benjamin Sands, Publisher: WM Hazen & Co, Pottersville, Hunterdon Co. NJ -
Photos by vintagepopupbooks.com



To explore the various editions of this work, you can search for "Metamorphosis; or, a Transformation of Pictures" on WorldCat, a comprehensive global catalog of library collections. This resource will provide detailed information on different editions, their publication dates, and the libraries where they are available.

No two versions of these books are exactly the same.

Other notes:

Robert Sayer: The Entrepreneur Behind Harlequinades (1725–1794)

Sayer was a prominent British publisher and seller of prints, maps, and maritime charts during the Georgian era. Born in Sunderland, England, he became a leading figure in London's print trade, operating from 53 Fleet Street near the Golden Buck.

His entry into the publishing world was facilitated by family connections. His brother, James, married Mary Overton, the widow of print seller Philip Overton and daughter-in-law of John Overton. Through this marriage, Sayer became involved in the Overton business, managing the Golden Buck by 1748 and eventually taking over the enterprise. In 1760, Sayer moved his operations a few doors east on Fleet Street, establishing himself at what would become 53 Fleet Street. He collaborated with various partners over the years, including John Bennett, with whom he formed the firm Sayer & Bennett. This partnership lasted until Bennett's mental health declined, leading to its dissolution in 1785. Subsequently, Sayer brought in assistants Robert Laurie and James Whittle, renaming the business Robert Sayer & Co.

Sayer continued his publishing activities until his health declined around 1792. He retired to Bath, England, where he passed away on January 29, 1794. After his death, his assistants, Robert Laurie and James Whittle, took over the business, continuing the legacy of map and print publishing.

James Poupard: A Multifaceted Engraver of Early America

James Poupard worked in Philadelphia between 1769 and 1807, with his earliest known engraving dating back to 1774. He is also known for illustrations in Croxall’s Fables of Aesop (1777) and other works. His name appears on the engravings in Metamorphosis, was a French engraver born in Martinique. Initially an actor, Poupard transitioned to engraving and established himself in Philadelphia by 1772. In that year, he advertised in the Pennsylvania Gazette as an "Engraver, Jeweler, and Goldsmith" operating on Front Street, Philadelphia.

Poupard was an active and prolific engraver, contributing to newspapers, seals, and books. His earliest known engraving is thought to have appeared in the Philadelphia Gazette on June 29, 1774. Between 1793 and 1817, Poupard is consistently listed in Philadelphia directories, identified as a "seal" and "die engraver." Around 1814, he relocated to New York, where he continued to work with publishers, producing engravings for various projects.

Although James and his wife were devout Methodists with strong religious convictions, accounts suggest that Poupard had a penchant for a lively social life, indulging in "riotous" behavior when away from home and in convivial company. Later in his career, Poupard relocated to New York City, where he continued his engraving work. His name appears in New York directories in 1814,

Some of his achievements

1. Engravings in Metamorphosis: Poupard's name is prominently associated with the engravings in the Metamorphosis, a book showcasing his technical skill in producing detailed illustrations. The engraving blocks used by Poupard (the engraver associated with Metamorphosis books) were in use for several decades. By 1807, the blocks had developed “breaks,” which are likely wear marks or damages from prolonged use in printing.

2. Seal Design: In January 1791, George Wythe wrote to Thomas Jefferson, recommending Poupard as the engraver for the seal of the High Court of Chancery of Virginia. Jefferson supported this choice, showcasing Poupard’s reputation as a skilled engraver. ( American Engravers Upon Copper and Steel: Biographical Sketches by David McNeely Stauffer and Mantle Fielding (1907), page 214.)

3. Government Work: On January 24, 1793, Alexander Hamilton included James Poupard in a financial report to George Washington. Poupard was paid for creating one large silver office seal and twelve brass office seals for public offices in the Northwest Territory, demonstrating his role in official government projects. (

4. Founders Online, National Archives: Correspondence involving Thomas Jefferson, George Wythe, Alexander Hamilton, and George Washington. These letters provide direct insights into Poupard’s government-related projects.)

Benjamin Sands: The author or adapter of the verses in Metamorphosis:

Benjamin Sands (1759–1840) was an American poet and writer, best known for his work Metamorphosis; or, A Transformation of Pictures, with Poetical Explanations, for the Amusement of Young Persons. Born on May 29, 1759, in Cow Neck, New York, Sands was the son of Nathaniel Sands and grew up during a time of significant change in American society. He married Amy Hallock, and together they had a daughter, Esther Sands Earl.

Published initially around 1787, Metamorphosis became a widely popular children's book in both English and German versions. The work featured illustrations by James Poupard and was brought to print by publishers such as Joseph Rakestraw in Philadelphia.

Sands was deeply rooted in his community and valued family and moral instruction, themes reflected in his writings. He passed away on August 31, 1840, in Marlborough.


Publisher: Samuel Wood

The publisher of this metamorphosis was Samuel Wood, who started with a small second-hand book store early in 1804 at 362 Pearl Street in New York City. After he installed a small printing press he began publishing children's books. In 1810 Wood relocated to a larger store at 357 Pearl Street.

In 1815 (A year after this metamorphosis was published)Wood partnered with his sons, Samuel S. and John, and the company became known as "Samuel Wood and Sons".


References:

For those interested in exploring George Speaight's research further, particularly his article "Harlequinade Turn-Ups," it is available in Theatre Notebook, Volume 45, No. 2 (1991), published by the Society for Theatre Research. You can access this issue through the Society for Theatre Research's website: https://www.str.org.uk/product/vol-45-no-2/.

American Antiquarian Society. (n.d.). Proceedings of the American Antiquarian Society, 316. This article discusses the history and characteristics of early movable books, with a focus on Metamorphosis and related works. Retrieved December 22, 2024, from https://www.americanantiquarian.org/proceedings/44497945.pdf.

The Henry Ford. "Metamorphosis Booklet, Artifact ID 542287." The Henry Ford Digital Collections, accessed December 02, 2024. https://www.thehenryford.org/collections-and-research/digital-collections/artifact/542287.

Welch, d'A. A. (1972). American children's books: A bibliography of books printed in the United States and England, 1660–1860. Worcester, MA: American Antiquarian Society.

Wikipedia contributors. (n.d.). Robert Sayer. In Wikipedia. Retrieved December 22, 2024, from https://en.wikipedia.org/wiki/Robert_Sayer

Haining, P. (1979). Movable Books: An Illustrated History. London: New English Library.

Weiss, Harry B. "Metamorphoses and Harlequinades," The American Book Collector, vol. 2, Aug./Sept. 1932, pp. 100–112.

Stauffer, David McNeely, & Mantle Fielding. American Engravers Upon Copper and Steel: Biographical Sketches. New York: B. Franklin, 1907.

WikiTree contributors. (n.d.). Benjamin Y. Sands (1759–1840). WikiTree. Retrieved December 22, 2024, from https://www.wikitree.com/wiki/Sands-2160

FamilySearch contributors. (n.d.). Benjamin Y. Sands (1759–1840). FamilySearch. Retrieved December 02, 2024, from https://ancestors.familysearch.org/en/LC7S-XVR/benjamin-y-sands-1759-1840

Stauffer, D. M., & Fielding, M. (1907). American Engravers Upon Copper and Steel: Biographical Sketches. New York: B. Franklin. (p. 214).Includes biographical details on James Poupard and his contributions as an engraver.

Poupard: National Archives. (n.d.). Founders Online: Correspondence involving Thomas Jefferson, George Wythe, Alexander Hamilton, and George Washington. Retrieved December 10, 2024, from https://founders.archives.gov.