The Project Gutenberg eBook of Modern Book Illustrators and Their Work, by M. C. Salaman.

EDITED BY C. GEOFFREY HOLME
AND ERNEST G. HALTON

TEXT
BY M. C. SALAMAN

MCMXIV
“THE STUDIO” LTD.
LONDON, PARIS, NEW YORK
{v}{iv}

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.

LIST OF ARTISTS WHOSE WORK IS REPRODUCED IN THIS VOLUME

BRITISH BOOK-ILLUSTRATION. BY MALCOLM C. SALAMAN

HO 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{2} 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,{3} 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,{4} 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{5} 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{6} 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{7} 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,{8} 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{9} 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 draw{10}ings 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{11} 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, per{12}haps, 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.{13}

*** 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™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

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.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

	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 {viii}
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