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diff --git a/old/65994-0.txt b/old/65994-0.txt deleted file mode 100644 index 364dca7..0000000 --- a/old/65994-0.txt +++ /dev/null @@ -1,1892 +0,0 @@ -The Project Gutenberg eBook of Modern book illustrators and their work, by -Charles Geoffre Holme - -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. - -Title: Modern book illustrators and their work - -Author: M. C. Salaman - -Editor: Charles Geoffre Holme - -Contributor: Ernest G. Halton - -Release Date: August 5, 2021 [eBook #65994] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Chuck Greif and the Online Distributed Proofreading Team at - http://www.pgdp.net (This file was produced from images - available at The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK MODERN BOOK ILLUSTRATORS AND THEIR -WORK *** - - - - - MODERN BOOK - ILLUSTRATORS - AND THEIR WORK - - - - - MODERN BOOK - ILLUSTRATORS - AND THEIR WORK - - EDITED BY C. GEOFFREY HOLME - AND ERNEST G. HALTON - - TEXT - BY M. C. SALAMAN - - - MCMXIV - “THE STUDIO” LTD. - LONDON, PARIS, NEW YORK - - - - -PREFATORY NOTE - - -The Editors desire to express their thanks to the artists whose work is -represented for the valuable assistance they have rendered in the -preparation of this volume. They also wish to acknowledge the courtesy -of the following publishers who have kindly given permission for -illustrations from their books to appear: Messrs. B. T. Batsford; -Messrs. George Bell and Sons; Messrs. A. and C. Black; Messrs. Blackie -and Son; Messrs. Chatto and Windus; Messrs. Constable and Co.; Messrs. -J. M. Dent and Sons; Mr. T. N. Foulis; Messrs. George G. Harrap and Co.; -Mr. William Heinemann; Messrs. Hodder and Stoughton; Mr. John Lane; -Messrs. Sampson Low, Marston, and Co.; Messrs. Macmillan and Co.; -Messrs. Maunsel and Co.; Mr. David Nutt; Messrs. Alston Rivers; Messrs. -Otto Schulze and Co.; and Mr. Philip Lee Warner. The title of the book -and the name of the publisher are given under each of these -illustrations. - -[Illustration: _BY EDMUND J. SULLIVAN. FROM “SARTOR RESARTUS”_ (_G. BELL -& SONS_)] - -[Illustration: _BY R. ANNING BELL. FROM “POEMS BY JOHN KEATS” (GEORGE -BELL & SONS)_] - - - - -LIST OF ARTISTS WHOSE WORK IS REPRODUCED IN THIS VOLUME - - -PAGE - -Armfield, Maxwell.....13 - -Ball, F. H......14 - -Batten, J. D......15-19 - -Bell, R. Anning, A.R.A., R.W.S......vi, viii, 20-25 - -Brangwyn, Frank, A.R.A., R.E., P.R.B.A......26-29 - -Brickdale, Eleanor Fortescue-, A.R.W.S......30-33 - -Brock, C. E......34-38 - -Brock, H. M., R.I......39-44 - -Bull, René.....45-48 - -Calthrop, Dion Clayton.....49-51 - -Cameron, D. Y., A.R.A., A.R.S.A., A.R.W.S......52 - -Campbell, John P......53-55 - -Clarke, Harry.....56, 57 - -Crane, Walter, R.W.S......58-60 - -Dulac, Edmund.....61-63 - -Elvery, Beatrice.....64 - -Flint, W. Russell, A.R.W.S......65 - -Griggs, F. L......67-70 - -Hankey, W. Lee, R.E......71-73 - -Hargrave, John.....74, 75 - -Henderson, Keith.....76 - -Hill, Vernon.....77-80 - -Horton, W. T......81-83 - -Jones, A. Garth.....84, 85 - -Jones, Sydney R......86-88 - -King, Jessie M......89-91 - -Maxwell, Donald.....92 - -Metcalfe, Gerald.....93-97 - -Nelson, Harold.....98-100 - -New, Edmund H......101-106 - -Orr, Monro S......107-109 - -Orr, Stewart.....110, 111 - -Park, Carton Moore.....112-116 - -Payne, Dorothy M......117, 118 - -Rackham, Arthur, R.W.S......119-124 - -Reynolds, Frank, R.I......125-128 - -Robertson, W. Graham, R.B.A......129-132 - -Robinson, Charles.....133-144 - -Robinson, W. Heath.....145-153 - -Rose, R. T......154, 155 - -Rountree, Harry.....156 - -Shaw, Byam, A.R.W.S......157-165 - -Sinclair, Helen M......166, 167 - -Southall, Joseph E......168 - -Sullivan, Edmund J., A.R.W.S......v, 169-174 - -Thomson, Hugh.....175-181 - -Wade, Charles.....182-184 - -Wiles, Frank.....185, 186 - -Williams, R. James.....187, 188 - -Yeats, Jack B., R.H.A......189-192 - -[Illustration: _BY R. ANNING BELL FROM “A MIDSUMMER NIGHT’S DREAM” (J. -M. DENT AND SONS)_] - - - - -BRITISH BOOK-ILLUSTRATION. BY MALCOLM C. SALAMAN - - -Who does not love a picture-book? Yet how few comparatively still love -it for anything but the pleasure of recognizing images mentally familiar -or readily suggested--personalities, incidents, scenes--irrespective of -any sensuous gratification from artistic qualities of presentation, of -design, of composition! How few, in short, appreciate the distinction -between illustration that is merely reproductive and illustration that -is both interpretative and decorative! This appreciation is certainly on -the increase, but, much as the artists and the makers of books are doing -to stimulate it, much remains to do. The appeal of the picture-book is -universal; but the Book Beautiful, in which the printed text and the -illustrative scheme are conceived as a decorative whole, is as yet a -rare thing. How much our joy in a book may be enhanced by pictorial -embellishment must depend, of course, upon our individual conception of -illustration in relation to the permanent elements of pictorial art. - -That most human of book-lovers, Charles Lamb, admitted that he preferred -to read Shakespeare, not in the First Folio, but in the common editions -with plates so execrably bad that they served as maps, or modest -remembrancers, to the text without pretending any supposable emulation -with it. But we must remember that Boydell’s Shakespeare Gallery -engravings were then the example--the awful example, one might say--of -the highest illustration of the poet, Sir John Gilbert’s vigorous -dramatic illustrative designs being, of course, of much later date. -Perhaps few of us would not have agreed with Lamb in his day. In our own -day, however, we have come to look in book-illustration for something -more than “maps, or modest remembrancers, to the text.” We are coming, -in fact, if we have not already come, to demand of illustration that it -shall not merely interpret for us the literary idea, or the mental image -suggested by it, but that it shall do this with decorative effect--that -it shall take its place upon the page with charm, dignity, and beauty. -We are thus aiming at a higher standard of artistic book-illustration, -which certain modern tendencies and achievements, as well as certain -wider developments in the crafts of reproduction, have enabled us to -conceive. - -I do not pretend, of course, that in all of the great mass of -book-illustration to-day there is any attempt to conform to this -artistic standard--though the general average is higher. Let us -therefore be clear as to what we mean by artistic illustration. To be -regarded as a work of art, I take it, any graphic illustration must be -composed of intrinsic decorative elements; its pictorial expression of -the visualized idea must be controlled by such qualities, with -harmonious balance, of form and tone as could in themselves give -satisfaction as design or pattern apart from any question of literary or -dramatic significance. When the expressive elements are perfectly fused -with the decorative, then we get great illustration which may outlive -all changes and fashions of taste. Thus, if we look with a sense of -pictorial art at William Blake’s illustrations to the Book of Job or his -own poems, at the noble woodcut designs of Millais, Sandys, Boyd -Houghton, and the other great illustrators of the “sixties,” or at -Aubrey Beardsley’s “Rape of the Lock” designs, we shall see why all -these illustrations are likely to live for their own sakes as works of -art, and we shall gather confidence in the permanent artistic value of -not a little of the book-illustration being done to-day. We shall also -understand why so much of the popular illustration of the period -immediately preceding the “sixties” has died with the literature that -called it forth; why even the immortal “Phiz” lives artistically chiefly -because the types and episodes he made visually familiar to us have long -been absorbed in our popular memories; why even the great George -Cruikshank, with his infinity of illustrative invention and wit, his -enormous range and facility of graphic expression, yet with his passion -for significant detail uncontrolled by the decorative instinct, seems -quite old-fashioned--old-fashioned as no drawing of Charles Keene’s, -whatever contemporary phase of life it presented, could ever become. - -The art of book-illustration in England has been of slow growth, and -till recent times its development has been sporadic. This has depended -largely on the mediums of reproduction which happened to be ready to the -designer’s hand, although on occasion men of genius, such as Blake and -Bewick, have found for themselves the means for their pictorial needs, -and have incidentally enriched the method’s possibilities. English -book-illustration can scarcely be said to have had any distinctive -existence before the eighteenth century, although the earliest printed -books had pictorial woodcuts upon their pages. These were of a more or -less primitive character, and bore little illustrative relation to the -literary text, being frequently of foreign origin and serving again and -again for various books. The printers would seem to have used them -without any definitely decorative or illustrative intention, and, as a -matter of fact, in the England of Caxton’s day, and for some decades -later, the graphic arts were not in a condition to offer much to the -service of the new art of printing. Native design had little artistic -significance, and English wood-engraving was still in the crudest -state, even at a time when in Germany Dürer, Burgkmair, Lucas -Cranach, and Holbein were using the woodcut for imperishable -illustration--imperishable because of its intrinsic artistic qualities. - -When, in the middle of the sixteenth century, copper-plate engraving was -belatedly introduced into this country it was soon employed to add to -the attractiveness of the printed book. Indeed, it is in the books of -the period that we must in a great measure trace the progress of the -engraver’s art in England, though the illustrator’s was still largely to -seek. Few books of any importance in the sixteenth and seventeenth -centuries were published without an engraved title-page or frontispiece, -or both, ornately designed, often with the author’s portrait set amid -allegorical or symbolic suggestions of the book’s contents. Many of -these pictorial title-pages and frontispieces have a quaint artistic -charm, though their significance is for the most part literary and -fantastic. Occasionally, as in the case of Elstrack’s ponderous -frontispiece to Sir Walter Raleigh’s “History of the World,” we find the -author thinking it necessary to explain “The Minde of the Front,” but, -as the engravers’ names only appeared on the plates, we must suppose -them to have been also the designers, and so we may associate with the -beginnings of book-illustration in this country the names of William -Hole, John Payne, William Marshall, Robert Vaughan, and others of the -early line-engravers. But illustration in any modern acceptance of the -term was not to be found in the books of the seventeenth century, -although occasionally among the pages would appear plates of a pictorial -character. - -The eighteenth century, however, saw a notable activity in the -illustrating of books, dating from the publication in 1726 of Hogarth’s -plates to Butler’s “Hudibras.” But perhaps the greatest stimulus to the -still groping art was the influence of the charming and fertile French -illustrator Gravelot, who lived and worked in London for some twenty -years in the first half of the century. His influence, sadly needed at -this time, was in the direction of grace and delicacy in visualizing the -mental image, and of the many English artists of the period who -addressed themselves to book-illustration none equalled the prolific -Thomas Stothard in the display of these qualities. The designs that -Stothard made in the course of his long career are practically -countless, and, with much work that was feeble or merely pretty, at his -best, as when illustrating the novels of Richardson, Sterne, and -Goldsmith, and certain poems of Samuel Rogers, his graphic fancy would -translate the author’s conceptions with sympathy into pictorial terms of -grace and persuasion. And the daintiness of his design would lend itself -as readily to stipple-engraving as to line. Stothard’s is one of the few -outstanding names in eighteenth-century book-illustration; another is -Flaxman’s, with his outline designs for Homer, Æschylus, and Dante; but -in the whole history of the art no name shines more brilliantly than -that of their great contemporary, William Blake. With that sublime and -original genius, it may be said, English printed book-illustration came -into being in its ideal condition as a work of art. Before Blake -produced his entrancing “Songs of Innocence” in 1787 nobody had -conceived the printed page as an harmonious combination of text, -illustration, and decoration, an ideal of beautiful book-making that has -proved the inspiration of some of our best modern artists. So we may -call Blake the first great English book-illustrator. Never were -expression and decoration more perfectly blended than in those pages of -Blake’s, all smelling of April, as Swinburne happily phrased it, with -their script and their illustrative designs, in decorative setting, -printed in tinted inks from plates etched in relief after a method of -his own devising, and their exquisite colour-harmonies built up by hand -upon the impressions. That Blake’s example was not followed in those -days of the popularity of the stippled colour-print is surprising, -although it would have argued an artistic sense of book-decoration that -was in Blake’s day, and for long afterwards, extremely rare, if not -almost non-existent. But absolutely unique and original as was Blake’s -genius, and slow as was his influence, we can trace in later -book-illustration, especially in some of to-day’s, something of the -influence not only of his colour-books but of his nobly beautiful -illustrations to the Book of Job and Blair’s “Grave,” and of those -wonderful little woodcut designs for Philips’s “Pastorals,” in which he -extended the capacity of the wood-engraver’s art for the suggestion of -colour, showing how far more pliable it may be in the hands of the -artist who cuts his own designs and gives his imagination play upon the -block. - -It was through the wood-engraver’s art, too, that, contemporary with -Blake, yet beginning earlier than he to handle the block, another man of -genius stamped himself on the history of English book-illustration, and -exerted an extraordinary influence. Indeed, in the hands of Thomas -Bewick the craft of wood-engraving awakened from a moribund condition to -new life, invigorated by his revival of the “white line,” used in a -pictorial way of his own, to serve the illustrator’s art through many a -year and one glorious decade, while Bewick’s inimitable vignettes and -tail-pieces gave English book-illustration fresh inspiration in the -direction of original fancy. And Bewick’s influence was splendidly -transmitted through his gifted disciples and followers, Luke Clennell, -William Harvey, and W. J. Linton. - -But book-illustration about the end of the eighteenth century and the -earlier years of the nineteenth had at its service reproductive methods -other than wood-engraving and the graven line. Innumerable books were -published with pictorial plates in coloured aquatint and etched -outlines, for the most part of merely topographical interest, and -therefore scarcely illustrations in the strictly artistic acceptance of -the term; yet it was through this medium that the illustrative genius of -Rowlandson was reproduced. Notably in his famous “Tours of Dr. Syntax,” -he represented a phase of book-illustration the influence of which in -more recent times we may trace in the delightful work of Randolph -Caldecott. - -One does not think of Turner strictly as an illustrator, although -countless books were “embellished” with his exquisite landscape drawings -and vignettes, translated to a nicety of reproductive art by a -remarkable school of line-engravers on copper and steel, trained by the -great artist himself to mix the etched with the graven line in a manner -never previously imagined. Glorious as he was in interpreting his own -visions, when Turner set himself to illustrate another man’s poems, such -as Campbell’s “Lord Ullin’s Daughter,” or “The Soldier’s Dream,” or “The -Last Man,” one can hardly regard his vignettes as impressive -illustration. But the Turner-illustrated book loomed large in its day, -and that was not yet the day of any distinguished ideal of -interpretative and decorative illustration, Blake’s remaining still -unique. - -However, amid an active period of book-illustration in which the -dominant idea was vivacious, scenic, and characteristic representation, -with the decorative instinct largely to seek, if not practically absent, -began suddenly the great period which we know as “the sixties.” Its -opening was marked by Moxon’s publication in 1857 of an edition of -Tennyson’s Poems. There was no attempt to make a beautiful book of it; -the format, the type, the paper, the binding, were all quite ordinary; -but among the illustrations happened to be masterpieces. For among the -noted artists engaged upon the work--including Mulready and Clarkson -Stanfield--were three young men who proved to be great illustrators, and -these, by their wonderful designs for this volume, drawn direct upon the -wood-blocks for facsimile engraving, initiated a movement that is -remarkable in the history of British Art. Millais, Rossetti, and Holman -Hunt brought to their task all the romantic and decorative pictorial -ideals of their Pre-Raphaelite Brotherhood, and no more inspiring matter -than Tennyson’s early poems could have been illustrated by such artists -with such ideals. No sooner was it seen that, in the hands of such -contemporary reproductive engravers as the Dalziels, Swain, Hooper, and -Linton, the wood-block could offer opportunities to the graphic artist -such as it had not offered since the age of Dürer, than most of the -leading painters of the more imaginative order turned to it as a medium -for expression. Book after book and magazine after magazine issued from -the press with illustrations which were remarkable for fine expressive -significance, true interpretative vision, and decorative -beauty--designs, in fact, which created a new tradition in English -book-illustration. To attempt any enumeration of these books and -magazines of that amazing period, in which one may find masterpieces -that would adorn the reputations of the greatest masters of design, were -beyond the scope of this article. There was no attempt to make the books -beautiful in themselves, with artistic relation between type and -illustration, and harmonious decoration of the page; the designs held in -themselves all that the books offered in the way of adornment. It must -therefore suffice here to call to memory just the most individual and -important of the artists whose work in line upon the wood-block made the -years, roughly speaking, between 1860 and 1870 so gloriously memorable. -Who shall say that John Everett Millais showed himself a greater artist -in his paintings than he did in his black-and-white designs for “The -Parables of Our Lord”--superb things--or his illustrations to Tennyson’s -poems and Anthony Trollope’s novels? With his unfailing gift of vital -interpretation, whether romantic or simply dramatic, allied to masterly -command of design, he was the ideal illustrator. How splendidly -effective, too, was the pictorial imagination of Dante Gabriel Rossetti -when expressed within the limitations of the decorative line, enriched -with poetic symbol artistically conceived! Then there was Frederick -Sandys, one of the greatest masters of black-and-white of any time, and -a living influence to-day, whose noble designs, with their beauty and -dignity of sweeping line and perfect balance of composition, are -instinct with fine dramatic vitality and emotional expression. If the -period had been artistically remarkable for nothing else, it would have -been memorable for the gift of Sandys’s designs, which have surely -influenced many later illustrators. Much these may owe, too, to Arthur -Boyd Houghton, a truly original illustrator, of the richest imagination -when happily inspired by his subject, as he certainly was in the most -extraordinary degree by the stories of the “Arabian Nights”; an artist -of extremely live and sensitive temperament, a master of design in which -vivacious line and white significant space were balanced with almost -magic felicity. Two other names that shone with particular lustre in the -book-illustration of the “sixties” were Frederick Walker and George John -Pinwell. There was an idyllic fragrance about Walker’s work; the charm -of Pinwell’s was its vivid pictorial truth to life, its dramatic -feeling. One must not forget the graces of Arthur Hughes’s designs, the -tender naturalness of Birket Foster’s and J. W. North’s. Who would think -now of Whistler as an illustrator of other men’s ideas? Yet even his -original genius lent itself to the prevailing fascination of -interpretative vision upon the wood-block. But if we take up any of the -illustrated books or periodicals of that period, especially any issued -under the auspices of the Dalziels, who did so much to encourage and -stimulate the art of illustration, we shall find famous names attached -to designs worth pondering over: Leighton, Burne-Jones, Ford Madox -Brown, Charles Keene, Tenniel, Du Maurier, Frederick Shields, Simeon -Solomon, John Gilbert--all these, besides those already named, were -expressing their pictorial inventions in line, and most of them drawing -direct upon the wood. - -A very charming phase of book-illustration followed close upon this -great black-and-white period, and it was a phase of colour. The flat -wood-block process was developed by the late Edmund Evans, the -colour-printer, and, encouraged by him, three gifted artists of -severally distinctive styles exploited its possibilities with -distinguished and popular success. Randolph Caldecott, Kate Greenaway, -and Walter Crane--their very names call to mind a captivating series of -picture-books in which their fancies made dainty frolic and revel for -the delight equally of children and grown-ups. With all three the fairy -tale and the nursery rhyme found fresh graces of pictorial expression -and vivacities of invention, and the children’s picture-book entered -upon a new era of artistic refinement and charm. Of the veteran Walter -Crane, and his influence on the decorative side of book-illustration, -one must speak presently, for happily he is represented in this volume. -Of Randolph Caldecott and Kate Greenaway, what is there fresh to say in -appreciation? Who has not laughed and rejoiced over Caldecott’s “John -Gilpin” and his inimitable Goldsmith and Washington Irving -illustrations, with their breezy humour, their happy, lively art? Is it -only the middle-aged children who recall affectionately the dainty -pictorial graces of Kate Greenaway’s world of little people? Anyhow, her -very name has become almost established as an adjective. The sweet, -tender simplicity of the colour-schemes of those books of Caldecott’s -and Kate Greenaway’s had an unforgettable fragrance, and one may feel -that without the influence of these artists many of the children’s books -of to-day might perhaps lack something of their charm. - -The photographic reproductive processes began now to change the spirit -of the illustrator’s dream. Both in black-and-white and colour the -artist had to readjust his methods and adapt them to the new mechanical -conditions--to the domination of the camera, in fact. Already the -photographer had become an intermediary between the artist and the -wood-engraver, though the designer’s lines were still at the mercy of -the craftsman’s knife. Now the artist made his designs with the camera -in view, knowing that his line would reproduce exactly as he drew it. -Naturally this change had a considerable influence on the character of -the designs made for book-illustration. But, meanwhile, there were -artists, individual and in groups, who, setting themselves against the -innovating photographic reproduction in book-illustration, sought by the -older methods to make books beautiful with pictorial adornment. Charles -Ricketts and Charles Shannon, two artists inspired always by high -ideals, to whose originality and initiative modern book-decoration owes -a great deal, issued _The Dial_ in 1889, and this was the beginning of -an important movement in the making of beautiful books. Among the pages -Mr. Shannon set those exquisite lithographs of his in which his -pictorial poetry is most eloquent; while from this publication we may -perhaps date the modern revival of original wood-engraving--Messrs. -Ricketts, Shannon, Sturge Moore, Reginald Savage, and Lucien Pissarro -cutting their lovely designs upon the wood. From the enthusiasm that -produced _The Dial_ grew the Vale Press, which, with its remarkable -series of beautiful books, has given so much joy to bibliophiles, a joy -that Mr. Pissarro continues to give with the delicately lovely books he -issues from his Eragny Press--the Vale’s successor--books in which the -ideal of harmonious decorative relation between the lettering of the -page and its pictorial adornment is logically realized with exquisite -results. How splendidly this ideal was realized by William Morris in his -books from the Kelmscott Press has already been shown in “The Art of the -Book” (the Special Spring Number of THE STUDIO, 1914); to speak further -of it here were beyond my province. I wish only to suggest its great -influence for beauty on the book-decoration of to-day and yesterday, an -influence one would wish to see still more widely extended. - -A more definite alliance between book-illustration and decoration -developed during the nineties of the last century, and the artistic -activities in this direction were of a distinguished and interesting -character. Several notable artists were at work, and among them one must -not forget Mr. William Strang with his illustrative etchings, for it -would be difficult to find a more intuitive pictorial interpreter of -Burns or of Stevenson. One remembers also the expressively decorative -designs of Mr. Laurence Housman and the graces of the so-called -Birmingham School; above all, one recalls the appearance of two great -original draughtsmen of widely different temperaments, both masters of -line, both vitally artistic, both of enduring influence--Phil May and -Aubrey Beardsley. And both of these were content to let their lines -speak through the photographic medium. _The Yellow Book_ and _The Savoy_ -came and passed away, but they left us Beardsley, and with him no fresh -pictorial understanding of life and character such as we got from the -humanly humorous genius of Phil May, but a new decorative value of line -and the balance of black and white masses. This is Beardsley’s -influence, quite distinct possibly from his fantastic manner of -conception, but it is the secret of the permanent artistic worth of his -graphic interpretations of Oscar Wilde’s “Salome” and Pope’s “Rape of -the Lock.” - -At the present moment book-illustration is in an interesting phase, with -its spreading tendencies towards page-decoration, and suggestive rather -than realistic pictorial treatment of the text. In the following pages a -fairly representative selection of drawings will show what many of our -leading illustrators have been doing of late. It will be noticed that, -with the clearness and precision possible to the modern photographic -process-block, pure line is favoured for black-and-white; while recent -developments of the three-colour process place within the possibilities -of the artist a very wide range of tones and harmonies. Indeed, it would -seem that, however the book-illustrator may wish to vary his manner in -sympathy with the character of the text he is illustrating, the present -mediums of reproduction will prove responsive to his need. - -I have already mentioned Mr. Walter Crane and the fanciful and -decorative charm of his colour-books. It was on the wood-block in the -“sixties” and “seventies” that he began his long and distinguished -career as a book-illustrator, and, with his delicate feeling for -expressive line and the harmoniously decorated page, he has produced -book after book, in which Shakespeare or Spenser, William Morris, the -beloved Grimm, or the anonymous authors of immortal fairy tale and -nursery rhyme, have inspired his graphic fancy to sweet and dainty -picturings, whether in colour or in black-and-white. Genuine -picture-books his, with the pictorial adornment extending from end-paper -to end-paper, and the pages bearing their pictures happily balanced with -their letterings amid decorative borders. To name even the best of his -books would involve quite a long catalogue. - -Turning from the veteran’s sweet and gracious simplicity of fancy to the -wizardry of Mr. Arthur Rackham’s alertly imaginative art, with its -wide-ranged flights of grotesque or romantic fantasy, is like going from -a field of daisies, daffodils, and bluebells into a garden of wonderful -exotics. Mr. Rackham stands apart from all the other illustrators of the -day; his genius is so thoroughly original. Scores of others have -depicted fairyland and wonderland, but who else has given us so -absolutely individual and persuasively suggestive a vision of their -marvels and allurements? Whose elves are so elfish, whose witches and -gnomes are so convincingly of their kind, as Mr. Rackham’s? His line, -with its distinctive accent, is his very own; so are his colour-tones; -and no little of the secret of his success lies in a subtly harmonious -intimacy between design and colour-scheme adapted with peculiarly -sympathetic understanding to the capacity and limitations of the -photographic mediums of reproduction. In the printed drawings of Mr. -Rackham we find the three-colour process never forced, but always at its -best, and his happily balanced tones seem to suggest the very atmosphere -of mystery and enchantment proper to those worlds of romance and faëry -which this fascinating artist delights to picture. But whether he -expresses his visions in colour or black-and-white, he gives always new -meanings to old tales. Looking at his drawings, one feels more at home -even in “A Midsummer Night’s Dream,” one wonders with Alice afresh and -more zestfully, frolics again with childish seriousness among the fairy -tales, and gives oneself up as readily to the romantic spell of the -“Nibelungen Ring” as to the whimsical supernaturalness of the beasts and -birds of Æsop and the nursery rhyme. With all this, Mr. Rackham’s -pictorial invention is essentially decorative. - -A gentle graciousness of line and decorative design, with simplicity of -expression, constitutes the peculiar charm of Mr. Robert Anning Bell’s -illustrated books. That he finds happy suggestion among the poets will -be seen in the drawings representing him here; but his “Midsummer -Night’s Dream” is a book to enjoy in its entirety, so harmonious is its -scheme, while the _Masque of Courteous Monsters_ in “The Tempest” is a -remarkable composition. The distinguished graphic fancy of Mr. W. Heath -Robinson has also been inspired to beautiful pictorial interpretation by -Shakespeare’s immortal fairy play, and it is interesting to compare his -more suggestive treatment with Mr. Anning Bell’s, the more definitely -decorative significance of his design. As a quaintly humorous -draughtsman Mr. Heath Robinson is also represented in these pages. - -There is no artist now devoting himself to book-decoration who has been -truer to the ideals of his art than Mr. Charles Robinson. From the time -when he proved himself the ideal illustrator of Stevenson’s “Child’s -Garden of Verses” to the present he has aimed always at treating the -book as an harmonious whole from cover to cover, providing decoration or -illustration just where the scheme seemed to call for it. This unity of -treatment may be noted particularly in his more recent books, “The -Sensitive Plant,” “The Four Gardens,” “The Happy Prince,” and “The Big -Book of Nursery Rhymes.” But Mr. Robinson is a man of original if -delicate imagination, as well as an exquisite interpretative artist, and -the double-page drawing given here, _The Dream_, will show him -graphically illustrating his own fanciful vision--carrying out his -pictorial ideas in a book of his own creation. “A Dream of St. Nicholas -in Heaven” is a sort of allegory on the modern aspect of maternity. - -A wonderful contrast is the robust interpretative imagination of Mr. -Edmund J. Sullivan, one of the greatest book-illustrators we have ever -had, as he is one of the finest living draughtsmen on the page. His -virility of mind and manner have found Carlyle wonderfully inspiring, -and in the “Sartor Resartus” drawings shown here, as in the still -greater “French Revolution” series, his certainty of expressive effect -is extraordinary. Mr. Sullivan’s pictorial sense of character and -incident is explicit also in the Goldsmith illustrations. - -Mr. W. Russell Flint, a very talented designer of rich pictorial -imagination and fine colour-sense, has, within the last few years, come -into the front rank of book-illustrators, and he has done this through -the medium of a number of beautiful books issued from the Riccardi -Press. Things of real beauty are many of the illustrations to the “Song -of Solomon,” “Marcus Aurelius,” “Le Morte D’Arthur,” Kingsley’s “Heroes” -(one of which is reproduced here), and the “Canterbury Tales.” Mr. Flint -adapts his expressive style artistically to the varying styles of the -books, and in his colour-schemes he gauges the powers of the -reproductive process to a nicety. - -Poetry, fantasy, and romance are seen pictorially interpreted here by a -group of artists who, though severally distinctive in conception and -manner, are linked by the common aim of imaginative expression in -orderly design for the purpose of page-decoration. Perhaps nothing more -characteristic of Mr. Edmund Dulac’s graces of invention in design and -colour could be shown than the charming frontispiece to his “Princess -Badoura,” with its engaging orientalism. His versatility is well seen in -the Poe drawings. If Beardsley ever lent Miss Jessie King the decorative -influence of his line she has made it all her own, as evidenced in these -three exquisite and original designs suggested by old romances. Tennyson -and Browning have furnished happy inspirations for the delicate art of -Miss Eleanor Fortescue-Brickdale; while Mr. Dion Clayton Calthrop shows -with graphic charm how thoroughly he is at home in Fairyland--being -himself the most reliable of guides. Mr. Maxwell Armfield has given all -lovers of Hans Andersen a new joy in his charming coloured illustrations -to the immortal stories, while in his “Flower Book” and “Sylvia’s -Travels” he shows a fascinating fancy; but here we see him only in two -distinguished little woodcuts. Mr. W. Graham Robertson is as delicious -as ever in his Blake-like simplicity of expression and design, whether -illustrating his own books or those of that kindred spirit of fantasy, -Mr. Algernon Blackwood. Mr. Byam Shaw’s fecundity of illustrative -invention is well represented, if not the wide range of his fertility, -which is from Shakespeare and Boccaccio to Flora Annie Steele in Akbar’s -India. Mr. Vernon Hill is a designer of remarkable imagination, and he -makes an ideal illustrator of “Ballads Weird and Wonderful.” -Imaginatively expressive and decorative, also, with the best influences, -perhaps, of the “sixties,” are Mr. Gerald Metcalfe’s illustrations to -Coleridge. So, too, but in a manner of their own, are Mr. Harry Clarke’s -to the “Ancient Mariner” and Mr. John P. Campbell’s designs for the -“Celtic Romances.” In this same category we may include the illustrative -drawings of Miss Dorothy Payne, Mr. Harold Nelson, Mr. Lee Hankey, Mr. -A. Garth Jones, Mr. Monro S. Orr, Miss Beatrice Elvery, and Mr. J. D. -Batten. Mr. R. T. Rose, however, must stand by himself. The three -drawings here show his strong individuality, but I wish it had been -possible to represent his high-water mark in the beautiful designs for -the Book of Job. - -There are no more facile and prolific illustrators than Mr. Hugh Thomson -and Messrs. C. E. and H. M. Brock, and all of them are most at home in -the humours of the eighteenth and early nineteenth centuries. So we have -Mr. Thomson sympathetically illustrating Jane Austen and Mrs. Gaskell, -as well as picturesque highways and byways; while Mr. C. E. Brock shows -us what pictorial suggestion he has found in the “Essays of Elia,” a -subject, by the way, that might supply an essay in itself; and Mr. H. M. -Brock’s multifarious illustration is represented also by clever designs -for essays, Leigh Hunt’s and Douglas Jerrold’s. Humorous character, -besides, we get from Mr. Frank Reynolds in his vivacious “Pictures of -Paris,” and his delightful “Pickwick” illustration in colour. The animal -whimsicalities of Mr. Stewart Orr, and Mr. Carton Moore Park’s -decorative suggestions of beast and bird life, are also illustrative -examples we would not be without. - -The Irish character-studies of Mr. Jack B. Yeats have an interest all -their own; they have life and atmosphere. Light and atmosphere -distinguish Mr. D. Y. Cameron’s two great little landscape drawings for -“The Tomb of Burns.” One does not otherwise think of the great etcher as -an illustrator. Mr. Frank Brangwyn is entirely himself in the two virile -pen-and-ink drawings for “The Book of Bridges,” and the colour -illustration to Kinglake’s “Eöthen.” Very charming, and worthy of their -theme, are Mr. F. L. Griggs’s illustrations to “The Sensitive Plant”; -nor is this accomplished artist less delightful in his designs for “The -Chronicles of a Cornish Garden.” But, then, how could he be with such a -title to inspire him? Mr. Edmund H. New is another artist of distinctive -style who never fails us, and in the “Compleat Angler” and White’s -“Selborne” he had, of course, subjects after his heart. The fanciful -landscape is Mr. W. T. Horton’s design; peaceful Bruges is Mr. Charles -Wade’s theme. FitzGerald’s “Omar” has suggested some quaintly fantastic -designs by Miss Helen Sinclair; Mr. René Bull’s facile pen has busied -itself with the “Arabian Nights”; while here also are characteristic -drawings by Mr. F. H. Ball, Mr. Keith Henderson, Mr. Sydney R. Jones, -Mr. Donald Maxwell, Mr. Harry Rountree, and Mr. Joseph Southall. - -[Illustration: MAXWELL ARMFIELD - -“THE SPOTTED STAG”--WOOD-ENGRAVING] - -[Illustration: MAXWELL ARMFIELD - -“GUINEA-FOWL”--WOOD-ENGRAVING] - -[Illustration: F. H. BALL - -“PRELUDE”] - -[Illustration: J. D. BATTEN - -“HASEN REJOINS HIS WIFE.” FROM “THE BOOK OF WONDER VOYAGES” (DAVID -NUTT)] - -[Illustration: J. D. BATTEN - -“CIRCE AND MEDEA.” FROM “THE BOOK OF WONDER VOYAGES” (DAVID NUTT)] - -[Illustration: J. D. BATTEN - -ILLUSTRATION FOR “MORE ENGLISH FAIRY TALES” (DAVID NUTT)] - -[Illustration: J. D. BATTEN - -ILLUSTRATION FOR “MORE FAIRY TALES FROM THE ARABIAN NIGHTS” (J. M. DENT -AND SONS)] - -[Illustration: J. D. BATTEN - -ILLUSTRATION FOR “MORE FAIRY TALES FROM THE ARABIAN NIGHTS” (J. M. DENT -AND SONS)] - -[Illustration: ILLUSTRATION FOR “A MIDSUMMER”] - -[Illustration: R. ANNING BELL, A.R.A., R.W.S. - -(J. M. DENT AND SONS)] - -[Illustration: R. ANNING BELL, A.R.A., R.W.S. - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (J. M. DENT AND SONS)] - -[Illustration: R. ANNING BELL, A.R.A., R.W.S. - -“HE PLAY’D AN ANCIENT DITTY, LONG SINCE MUTE, CLOSE TO HER EAR TOUCHING -THE MELODY.” FROM “POEMS BY JOHN KEATS” (GEORGE BELL AND SONS)] - -[Illustration: R. ANNING BELL, A.R.A., R.W.S. - -“AND THOU TWO SWEETER EYES SHALT SEE, THAN THOSE WHICH BY PENÉUS’ -STREAMS DID ONCE THY HEART SURPRISE.” FROM “ENGLISH LYRICS” (GEORGE BELL -AND SONS)] - -[Illustration: R. ANNING BELL, A.R.A., R.W.S. - -“AND, SINCE LOVE NE’ER WILL FROM ME FLEE, A MISTRESS MODERATELY FAIR.” -FROM “ENGLISH LYRICS” (GEORGE BELL AND SONS)] - -[Illustration: FRANK BRANGWYN, A.R.A., R.E., P.R.B.A. - -“THE OLD WAR-BRIDGE OF STIRLING.” FROM “A BOOK OF BRIDGES” (JOHN LANE)] - -[Illustration: FRANK BRANGWYN, A.R.A., R.E., P.R.B.A. - -“TURKISH SWEETMEAT SELLER.” FROM “EÖTHEN” - -(_By permission of the Publishers, Messrs. Sampson Low, Marston & -Co._)] - -[Illustration: FRANK BRANGWYN, A.R.A., R.E., P.R.B.A. - -“PONTE MAGGIORE, ASCOLI PICENO.” FROM “A BOOK OF BRIDGES” (JOHN LANE)] - -[Illustration: ELEANOR FORTESCUE-BRICKDALE, A.R.W.S. - -ILLUSTRATION FOR “POEMS BY ALFRED LORD TENNYSON” (GEORGE BELL AND -SONS)] - -[Illustration: ELEANOR FORTESCUE-BRICKDALE, A.R.W.S. - -“TO SUPPOSE ONE CHEAT CAN GULL ALL THESE, WERE MORE MIRACULOUS” FROM -“DRAMATIS PERSONÆ” - -(_By permission of the Publishers, Messrs. Chatto & Windus_)] - -[Illustration: ELEANOR FORTESCUE-BRICKDALE, A.R.W.S. - -ILLUSTRATION FOR “POEMS BY ALFRED LORD TENNYSON” (GEORGE BELL AND -SONS)] - -[Illustration: C. E. BROCK - -“THE TERROR OF THE LUCKLESS POACHER.” FROM “THE LAST ESSAYS OF ELIA” (J. -M. DENT AND SONS)] - -[Illustration: C. E. BROCK - -“KEEPING CLEAR OF SECULAR CONTACTS.” FROM “THE LAST ESSAYS OF ELLA” (J. -M. DENT AND SONS)] - -[Illustration: C. E. BROCK - -“THE PITIABLE INFIRMITIES OF OLD MEN.” FROM “THE LAST ESSAYS OF ELIA.” -(J. M. DENT AND SONS)] - -[Illustration: C. E. BROCK - -“A COMPLAINT OF THE DECAY OF BEGGARS IN THE METROPOLIS” FROM “THE ESSAYS -OF ELIA” (J. M. DENT AND SONS)] - -[Illustration: C. E. BROCK - -“THE POINT OF THE MATTER”] - -[Illustration: H. M. BROCK, R.I. - -ILLUSTRATION FOR “THE ESSAYS OF LEIGH HUNT” (J. M. DENT AND SONS)] - -[Illustration: H. M. BROCK, R.I. - -“FINE DAYS IN JANUARY AND FEBRUARY.” FROM “THE ESSAYS OF LEIGH HUNT” (J. -M. DENT AND SONS)] - -[Illustration: H. M. BROCK, R.I. - -“THE OLD LADY.” FROM “THE ESSAYS OF LEIGH HUNT” (J. M. DENT AND SONS)] - -[Illustration: H. M. BROCK, R.I. - -“THE FIFES AND DRUMS OF HER MAJESTY’S GRENADIERS” FROM “THE ESSAYS OF -DOUGLAS JERROLD” (J. M. DENT AND SONS)] - -[Illustration: H. M. BROCK, R.I. - -“REJOICING IN THE CAPTIVITY OF A SUIT OF CLOTHES STUFFED WITH HAY” FROM -“THE ESSAYS OF DOUGLAS JERROLD” (J. M. DENT AND SONS)] - -[Illustration: H. M. BROCK, R.I. - -“THE OLD MAN AT THE GATE.” FROM “THE ESSAYS OF DOUGLAS JERROLD” (J. M. -DENT AND SONS)] - -[Illustration: RENÉ BULL - -“THE SULTAN RECEIVED HIM WITH JOY.” FROM “THE ARABIAN NIGHTS” (CONSTABLE -AND CO.)] - -[Illustration: RENÉ BULL - -“HOLDING IN HIS HAND A FINE FISH.” FROM “THE ARABIAN NIGHTS” (CONSTABLE -AND CO.)] - -[Illustration: RENÉ BULL - -“HE TOOK A KNIFE AND OPENED IT.” FROM “THE ARABIAN NIGHTS” (CONSTABLE -AND CO.)] - -[Illustration: RENÉ BULL - -“WE SHALL ALL PERISH.” FROM “THE ARABIAN NIGHTS” (CONSTABLE AND CO.)] - -[Illustration: DION CLAYTON CALTHROP - -“THE SATYR.” FROM “PSYCHE” (ALSTON RIVERS)] - -[Illustration: DION CLAYTON CALTHROP - -“THE HOMES OF THE FOUR WINDS.” FROM “THE GUIDE TO FAIRYLAND” (ALSTON -RIVERS)] - -[Illustration: DION CLAYTON CALTHROP - -“THE PRINCESS AND THE SUITORS.” FROM “THE GUIDE TO FAIRYLAND” (ALSTON -RIVERS)] - -[Illustration: D. Y. CAMERON, A.R.A., A.R.S.A., A.R.W.S. - -“WHOSE FIELDS HE TILLED.” FROM “THE TOMB OF BURNS” (JOHN LANE)] - -[Illustration: D. Y. CAMERON, A.R.A., A.R.S.A., A.R.W.S. - -“WHERE EVENING TOUCHES GLEN AND BRAE WITH ROSY GLOOM” FROM “THE TOMB OF -BURNS” (JOHN LANE)] - -[Illustration: JOHN P. CAMPBELL - -“THE MEETING OF MÌDIR AND ETAIN.” FROM “CELTIC ROMANCES”] - -[Illustration: JOHN P. CAMPBELL - -“SABA APPEARS TO FINN.” FROM “CELTIC ROMANCES”] - -[Illustration: JOHN P. CAMPBELL - -“FINN DECLARES HIS LINKAGE TO KING CONNOR.” FROM “CELTIC ROMANCES”] - -[Illustration: HARRY CLARKE - -“AH! WELL A-DAY! WHAT EVIL LOOKS HAD I FROM OLD AND YOUNG! INSTEAD OF -THE CROSS, THE ALBATROSS ABOUT MY NECK WAS HUNG!” FROM “THE RIME OF THE -ANCIENT MARINER” (MAUNSEL AND CO.)] - -[Illustration] - -[Illustration] - -[Illustration: HARRY CLARKE - -“THE SOULS DID FROM THEIR BODIES FLY,--THEY FLED TO BLISS OR WOE! AND -EVERY SOUL, IT PASSED ME BY, LIKE THE WHIZZ OF MY CROSS-BOW!” FROM “THE -RIME OF THE ANCIENT MARINER” (MAUNSEL AND CO.)] - -[Illustration: WALTER CRANE, R.W.S. - -ILLUSTRATION FOR “GRIMM’S HOUSEHOLD STORIES” (MACMILLAN AND CO.)] - -[Illustration: WALTER CRANE, R.W.S. - -ILLUSTRATION FOR “GRIMM’S HOUSEHOLD STORIES” (MACMILLAN AND CO.)] - -[Illustration: WALTER CRANE, R.W.S. - -ILLUSTRATION FOR “THE TEMPEST” (J. M. DENT AND SONS)] - -[Illustration: EDMUND DULAC - -ILLUSTRATION FOR “PRINCESS BADOURA” - -(_By permission of the Publishers, Messrs. Hodder & Stoughton_)] - -[Illustration: EDMUND DULAC - -“THE CITY IN THE SEA”] - -[Illustration: “THE BELLS” - -ILLUSTRATIONS FOR “THE POEMS OF EDGAR ALLAN POE” (HODDER AND -STOUGHTON)] - -[Illustration: BEATRICE ELVERY - -“‘I AM THE CANDLE-HOLDER OF THE KING.’” FROM “HEROES OF THE DAWN” -(MAUNSEL AND CO.)] - -[Illustration: BEATRICE ELVERY - -“A DEEP CLEAR SPRING OF RUNNING WATER BUBBLED.” FROM “HEROES OF THE -DAWN” (MAUNSEL AND CO.)] - -[Illustration: W. RUSSELL FLINT, A.R.W.S. - -“THEY TOOK THE BOUGH AND CAME TO IOLCOS.” FROM “THE HEROES” - -(_By permission of Mr. Philip Lee Warner, Publisher to the Medici -Society_)] - -[Illustration: F. L. GRIGGS - -“THE SINUOUS PATHS OF LAWN AND MOSS.” FROM, “THE SENSITIVE PLANT” (JOHN -LANE)] - -[Illustration: F. L. GRIGGS - -“FOR WINTER CAME.” FROM “THE SENSITIVE PLANT” (JOHN LANE)] - -[Illustration: F. L. GRIGGS - -ILLUSTRATION FOR “THE CHRONICLES OF A CORNISH GARDEN” (JOHN LANE)] - -[Illustration: F. L. GRIGGS - -ILLUSTRATION FOR “THE CHRONICLES OF A CORNISH GARDEN” (JOHN LANE)] - -[Illustration: W. LEE HANKEY, R.E. - -ILLUSTRATION FOR “THE DESERTED VILLAGE” (CONSTABLE AND CO.)] - -[Illustration: W. LEE HANKEY, R.E. - -ILLUSTRATION FOR “THE DESERTED VILLAGE” (CONSTABLE AND CO.)] - -[Illustration: W. LEE HANKEY, R.E. - -ILLUSTRATION FOR “THE DESERTED VILLAGE” (CONSTABLE AND CO.)] - -[Illustration: JOHN HARGRAVE - -“THE MERCHANT AND HIS OIL-SKIN.” FROM “BLACK TALES FOR WHITE CHILDREN” -(CONSTABLE AND CO.)] - -[Illustration: JOHN HARGRAVE - -“AT LAST THEY MET AN OLD WOMAN, BENT WITH THE WEIGHT OF MANY YEARS.” -FROM “BLACK TALES FOR WHITE CHILDREN” (CONSTABLE AND CO.)] - -[Illustration: KEITH HENDERSON - -“BEHEMOTH IN HELL.” FROM “THE OPEN WINDOW” (CHATTO AND WINDUS) - -(_From the original drawing in the possession of Geoffrey Whitworth, -Esq._)] - -[Illustration: VERNON HILL - -“TRUE THOMAS.” FROM “BALLADS WEIRD AND WONDERFUL” (JOHN LANE)] - -[Illustration: VERNON HILL - -ILLUSTRATION FROM “THE ARCADIAN CALENDAR” (JOHN LANE)] - -[Illustration: W. T. HORTON - -“THE LAKE”] - -[Illustration: W. T. HORTON - -“THE MOSQUE”] - -[Illustration: W. T. HORTON - -“FROM THE TERRACE”] - -[Illustration: A. GARTH JONES - -“ZEPHYR WITH AURORA PLAYING, AS HE MET HER ONCE A-MAYING.” FROM “THE -MINOR POEMS OF JOHN MILTON” (GEORGE BELL AND SONS)] - -[Illustration: A. GARTH JONES - -“THERE IN CLOSE COVERT BY SOME BROOK, WHERE NO PROFANER EYE MAY LOOK” -FROM “THE MINOR POEMS OF JOHN MILTON” (GEORGE BELL AND SONS)] - -[Illustration: SYDNEY R. JONES - -“BAKEWELL, DERBYSHIRE.” FROM “OLD ENGLISH COUNTRY COTTAGES” (“THE -STUDIO” SPECIAL WINTER NUMBER, 1906-7)] - -[Illustration: SYDNEY R. JONES - -“KNARESBOROUGH, YORKSHIRE.” FROM “THE VILLAGE HOMES OF ENGLAND” (“THE -STUDIO” SPECIAL SPRING NUMBER, 1912)] - -[Illustration: SYDNEY R. JONES - -“NIJMEGEN, GELDERLAND.” FROM “OLD HOUSES IN HOLLAND” (“THE STUDIO” -SPECIAL SPRING NUMBER, 1913)] - -[Illustration: JESSIE M. KING - -ILLUSTRATION FOR “AUCASSIN AND NICOLETTE”] - -[Illustration: JESSIE M. KING - -ILLUSTRATION FOR “THE ROMAUNT OF THE ROSE” (T. N. FOULIS)] - -[Illustration] - -[Illustration] - -[Illustration: JESSIE M. KING - -ILLUSTRATION FOR “THE HIGH HISTORY OF THE HOLY GRAAL” (J. M. DENT AND -SONS)] - -[Illustration: DONALD MAXWELL - -“THE WEAVERS, CANTERBURY.” FROM “ADVENTURES WITH A SKETCH BOOK” (JOHN -LANE)] - -[Illustration: GERALD METCALFE - -“ALONE, ALONE, ALL, ALL ALONE, ALONE ON A WIDE WIDE SEA!” FROM “THE -POEMS OF COLERIDGE” (JOHN LANE)] - -[Illustration: GERALD METCALFE - -“EVEN ON THE COLD GRAVE LIGHTS THE CHERUB HOPE!” FROM “THE POEMS OF -COLERIDGE” (JOHN LANE)] - -[Illustration: GERALD METCALFE - -“THE VASSAL’S SPEECH, HIS TAUNTING VEIN, IT THRILL’D LIKE VENOM THRO’ -HER BRAIN.” FROM “THE POEMS OF COLERIDGE” (JOHN LANE)] - -[Illustration: GERALD METCALFE - -“THE RIME OF THE ANCIENT MARINER.” FROM “THE POEMS OF COLERIDGE” (JOHN -LANE)] - -[Illustration: GERALD METCALFE - -ILLUSTRATION FOR “THE POEMS OF COLERIDGE” (JOHN LANE)] - -[Illustration: HAROLD NELSON - -ILLUSTRATION FOR “THE FAMOUS HISTORIE OF FRYER BACON” (OTTO SCHULZE AND -CO.)] - -[Illustration: HAROLD NELSON - -ILLUSTRATION FOR “THE FAMOUS HISTORIE OF FRYER BACON” (OTTO SCHULZE AND -CO.)] - -[Illustration: HAROLD NELSON - -ILLUSTRATION FOR “ROBIN HOOD” (OTTO SCHULZE AND CO.)] - -[Illustration: EDMUND H. NEW - -Grane Farm] - -[Illustration: The Wakes - -ILLUSTRATIONS FOR “THE NATURAL HISTORY OF SELBORNE” (JOHN LANE)] - -[Illustration: EDMUND H. NEW - -ILLUSTRATION FOR “THE NATURAL HISTORY OF SELBORNE” (JOHN LANE)] - -[Illustration: EDMUND H. NEW - -ILLUSTRATION FOR “THE NATURAL HISTORY OF SELBORNE” (JOHN LANE)] - -[Illustration: EDMUND H. NEW - -ILLUSTRATION FOR “THE COMPLEAT ANGLER” (JOHN LANE)] - -[Illustration: EDMUND H. NEW - -ILLUSTRATION FOR “THE COMPLEAT ANGLER” (JOHN LANE)] - -[Illustration: EDMUND H. NEW - -ILLUSTRATION FOR “THE COMPLEAT ANGLER” (JOHN LANE)] - -[Illustration: MONRO S. ORR - -“SNITCHEY AND CRAGGS.” FROM “THE BATTLE OF LIFE”] - -[Illustration: MONRO S. ORR - -“THE JACOBITES.” FROM “THE STORY OF EDINBURGH CASTLE” (GEORGE G. HARRAP -AND CO.)] - -[Illustration: MONRO S. ORR - -“THE AFFAIR OF THE WINE CASKS.” FROM “THE STORY OF EDINBURGH CASTLE” -(GEORGE G. HARRAP AND CO.)] - -[Illustration: STEWART ORR - -“THE BOGLE’S BOOK”] - -[Illustration: STEWART ORR - -“WEEL SAIPIT IS HALF SHAVEN”] - -[Illustration: STEWART ORR - -“THE DEALER”] - -[Illustration: STEWART ORR - -“FORWARD!”] - -[Illustration: CARTON MOORE PARK - -“THE DROMEDARY.” FROM “AN ALPHABET OF ANIMALS” (BLACKIE AND SON)] - -[Illustration: CARTON MOORE PARK - -“THE LEOPARD.” FROM “AN ALPHABET OF ANIMALS” (BLACKIE AND SON)] - -[Illustration: CARTON MOORE PARK - -ILLUSTRATION FOR “AN ALPHABET OF ANIMALS” (BLACKIE AND SON)] - -[Illustration: CARTON MOORE PARK - -“THE GUINEA FOWL.” FROM “A BOOK OF BIRDS” (BLACKIE AND SON)] - -[Illustration: CARTON MOORE PARK - -“THE MAGPIE.” FROM “A BOOK OF BIRDS” (BLACKIE AND SON)] - -[Illustration: DOROTHY M. PAYNE - -“LA BELLE DAME SANS MERCI”] - -[Illustration: DOROTHY M. PAYNE - -“JOAN OF ARC”] - -[Illustration: ARTHUR RACKHAM R.W.S. - -“THE CROOKED MEN.” FROM “MOTHER GOOSE” (WILLIAM HEINEMANN)] - -[Illustration: ARTHUR RACKHAM, R.W.S. - -“THE CAT RAN UP THE PLUM-TREE.” FROM “MOTHER GOOSE” (WILLIAM -HEINEMANN)] - -[Illustration: ARTHUR RACKHAM, R.W.S. - -“THE LITTLE PEOPLE’S MARKET.” FROM “ARTHUR RACKHAM’S BOOK OF PICTURES” - -(_By permission of the Publisher, Mr. William Heinemann_)] - -[Illustration: ARTHUR RACKHAM, R.W.S. - -“THE CAT AND THE COCK.” FROM “ÆSOP’S FABLES” (WILLIAM HEINEMANN)] - -[Illustration: ARTHUR RACKHAM, R.W.S. - -“THE OWL AND THE BIRDS.” FROM “ÆSOP’S FABLES” (WILLIAM HEINEMANN)] - -[Illustration: FRANK REYNOLDS, R.I. - -“VIVE L’ARMÉE!” FROM “PICTURES OF PARIS AND SOME PARISIANS” (A. AND C. -BLACK)] - -[Illustration: FRANK REYNOLDS, R.I. - -“TO THE RE-SEEING!” FROM “PICTURES OF PARIS AND SOME PARISIANS” (A. AND -C. BLACK)] - -[Illustration: FRANK REYNOLDS, R.I. - -“MR. JINGLE AND THE SPINSTER AUNT.” FROM “THE PICKWICK PAPERS” - -(_By permission of the Publishers, Messrs. Hodder & Stoughton_)] - -[Illustration: W. GRAHAM ROBERTSON, R.B.A. - -ILLUSTRATION FOR “PAN’S GARDEN” (MACMILLAN AND CO.)] - -[Illustration: W. GRAHAM ROBERTSON, R.B.A.] - -[Illustration: ILLUSTRATIONS FOR “PAN’S GARDEN” (MACMILLAN AND CO.)] - -[Illustration: W. GRAHAM ROBERTSON, R.B.A.] - -[Illustration: ILLUSTRATIONS FOR “PAN’S GARDEN” (MACMILLAN AND CO.)] - -[Illustration: W. GRAHAM ROBERTSON, R.B.A. - -“EVENSONG.” FROM “THE BABY’S DAY BOOK” (JOHN LANE)] - -[Illustration: W. GRAHAM ROBERTSON, R.B.A. - -“THE MOON AMONG THE WILLOWS.” FROM “A YEAR OF SONGS” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “THE PROLOGUE TO REPENTANCE”] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “A CHILD’S GARDEN OF VERSES” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “A CHILD’S GARDEN OF VERSES” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “KING LONGBEARD” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “KING LONGBEARD” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “KING LONGBEARD” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON] - -[Illustration: ILLUSTRATIONS FOR “KING LONGBEARD” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON] - -[Illustration: ILLUSTRATION FOR “A DREAM OF ST. NICHOLAS IN -HEAVEN”--AN ALLEGORY] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” - -(_By permission of the Publishers, Messrs. Constable & Co._)] - -[Illustration: W. HEATH ROBINSON - -“I SIGN ON AS CABIN BOY”] - -[Illustration: “FOR YEARS WE SAILED” - -ILLUSTRATIONS FOR “BILL THE MINDER” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “BILL THE MINDER” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “BILL THE MINDER” (CONSTABLE AND CO.)] - -[Illustration: R. T. ROSE - -“PRESTER JOHN” - -(_By permission of George Sandeman, Esq._)] - -[Illustration: R. T. ROSE - -“THE RETURN OF THE PALMER” - -(_By permission of George Sandeman, Esq._)] - -[Illustration: R. T. ROSE - -“TO DROWN HELL, AND BURN PARADISE” - -(_By permission of George Sandeman, Esq._)] - -[Illustration: HARRY ROUNTREE - -“THE LONG, LONG SHADOWS”] - -[Illustration: BYAM SHAW, A.R.W.S. - -“A POT OF SMALL ALE.” FROM “THE TAMING OF THE SHREW” (GEORGE BELL AND -SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“‘TIS NOW IN TUNE.” FROM “THE TAMING OF THE SHREW” (GEORGE BELL AND -SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“SEE WHERE SHE COMES.” FROM “THE TAMING OF THE SHREW” (GEORGE BELL AND -SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“AND TO YOU ALL, GOOD HEALTH.” FROM “KING HENRY VIII” (GEORGE BELL AND -SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“AS I HAVE A SOUL, SHE IS AN ANGEL.” FROM “KING HENRY VIII” (GEORGE BELL -AND SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“I’LL GO BURN SOME SACK.” FROM “TWELFTH NIGHT” (GEORGE BELL AND SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“IT LIKES US WELL; YOUNG PRINCES, CLOSE YOUR HANDS.” FROM “KING JOHN” -(GEORGE BELL AND SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -ILLUSTRATION FOR “POEMS BY ROBERT BROWNING” (GEORGE BELL AND SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -ILLUSTRATION FOR “POEMS BY ROBERT BROWNING” (GEORGE BELL AND SONS)] - -[Illustration: HELEN M. SINCLAIR - -“AND IF THE WINE YOU DRINK, THE LIP YOU PRESS, END IN THE NOTHING ALL -THINGS END IN--YES----” FROM “THE RUBÁIYÁT OF OMAR KHAYYÁM”] - -[Illustration: HELEN M. SINCLAIR - -“DRINK!--FOR ONCE DEAD YOU NEVER SHALL RETURN” FROM “THE RUBÁIYÁT OF -OMAR KHAYYÁM”] - -[Illustration: JOSEPH E. SOUTHALL - -“JAMES I OF SCOTLAND AND HIS LADY”] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -“HIS TIME IS PRETTY MUCH TAKEN UP IN KEEPING HIS RELATION, WHO IS A -LITTLE MELANCHOLY, IN SPIRITS, AND IN LEARNING TO BLOW THE FRENCH HORN.” -FROM “THE VICAR OF WAKEFIELD” (CONSTABLE AND CO.)] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -“I HAVE KNOWN A PIECE, WITH NOT ONE JEST IN THE WHOLE, SHRUGGED INTO -POPULARITY, AND ANOTHER SAVED, BY THE POET’S THROWING IN A FIT OF THE -GRIPES.” FROM “THE VICAR OF WAKEFIELD” (CONSTABLE AND CO.)] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)] - -[Illustration: HUGH THOMSON - -“EMMA HUNG ABOUT HIM AFFECTIONATELY.” FROM “EMMA” (MACMILLAN AND CO.)] - -[Illustration: HUGH THOMSON - -“AIRING THE SEDAN CHAIR.” FROM “CRANFORD” (MACMILLAN AND CO.)] - -[Illustration: HUGH THOMSON - -“FRIERN BARNET CHURCH.” FROM “HIGHWAYS AND BYWAYS IN MIDDLESEX” -(MACMILLAN AND CO.)] - -[Illustration: HUGH THOMSON - -“SUTTON.” FROM “HIGHWAYS AND BYWAYS IN SURREY” (MACMILLAN AND CO.)] - -[Illustration: HUGH THOMSON - -“A BYWAY IN ASHFORD.” FROM “HIGHWAYS AND BYWAYS IN KENT” (MACMILLAN AND -CO.)] - -[Illustration: HUGH THOMSON - -“COBHAM CHURCH.” FROM “HIGHWAYS AND BYWAYS IN KENT” (MACMILLAN AND -CO.)] - -[Illustration: HUGH THOMSON - -“THE CHURCH.” FROM “HIGHWAYS AND BYWAYS IN DONEGAL AND ANTRIM” -(MACMILLAN AND CO.)] - -[Illustration: CHARLES WADE - -“THE PORTE D’OSTENDE.” FROM “BRUGES” (R. T. BATSFORD)] - -[Illustration: CHARLES WADE - -“WINDMILLS OUTSIDE THE PORTE STE. CROIX.” FROM “BRUGES” (B. T. -BATSFORD)] - -[Illustration: CHARLES WADE - -“THE BELFRY FROM RUE AUX LAINES.” FROM “BRUGES” (B. T. BATSFORD)] - -[Illustration: FRANK WILES - -“STELLA AND THE GREAT DANE.” FROM “STELLA MARIS” (JOHN LANE)] - -[Illustration: FRANK WILES - -“SHE LOOKED DOWN WITH A NEW AND LIFE-GIVING FEELING OF PITY UPON THE -BOWED GRAY HEADS.” FROM “STELLA MARIS” (JOHN LANE)] - -[Illustration: R. JAMES WILLIAMS - -“THE THREE LITTLE CRONES, EACH WITH SOMETHING”] - -[Illustration: R. JAMES WILLIAMS - -“OFF TO THE LAND OF MAZIKIN”] - -[Illustration: R. JAMES WILLIAMS - -“BE BOLD, BE BOLD, BUT NOT TOO BOLD”] - -[Illustration: JACK B. YEATS, R. H.A. - -“A WICKLOW VAGRANT.” FROM “IN WICKLOW, WEST KERRY AND CONNEMARA” -(MAUNSEL AND CO.)] - -[Illustration: JACK B. YEATS, R.H.A. - -“THE SLEEPERS.” FROM “LIFE IN THE WEST OF IRELAND” (MAUNSEL AND CO.)] - -[Illustration: JACK B. YEATS, R.H.A. - -“SINGING A POLITICAL BALLAD.” FROM “LIFE IN THE WEST OF IRELAND” -(MAUNSEL AND CO.)] - -[Illustration: JACK B. YEATS, R.H.A. - -“CARRYING SEAWEED FOR KELP.” FROM “THE ARAN ISLANDS” (MAUNSEL AND CO.)] - -*** END OF THE PROJECT GUTENBERG EBOOK MODERN BOOK ILLUSTRATORS AND THEIR -WORK *** - -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-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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