Modern book illustrators and their work

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Title: Modern book illustrators and their work
Author: Salaman, M. C.
Language: English
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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: 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: 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”]