ARTISTS AND ENGRAVERS ON WOOD OF THE PRESENT DAY.
The present chapter, which is additional to the former edition, had not
been contemplated until the previous pages were printed off. But it was
then suggested to the publisher, by one who was able and willing to
co-operate in the object, that although the book was intended to be
merely an improved reprint of what had been given before, a short
chapter might advantageously be added respecting those Artists of the
present day who were omitted by Jackson, or have risen to eminence since
his time.
Applications in the form of a circular were accordingly issued, and have
resulted in the Specimens now presented. They must speak for themselves,
it not being within the province of the publisher to pronounce as to
their respective merits. Besides which, the art of wood-engraving, owing
to the enormous impulse given to it during the last twenty years, has
attained such a pitch of excellence, that it would be somewhat difficult
to determine who, if sufficiently stimulated, could produce the most
perfect work. Artists in Wood, like Artists in Oil, have their
specialties, and excel relatively in Landscape, Cattle, or Figure
drawing; Architecture, Natural History, Diagrams, or Humour. But though
each may acquire distinction in the department which choice or accident
has assigned him, some can undertake all departments equally well. In
saying this we refer to engraving rather than designing, for Harrison
Weir would hardly undertake Architecture; Orlando Jewitt, Animals; or
George Cruikshank, Mathematical Diagrams.
When, with the age of Bewick, wood-engraving began to reassume its
importance for book illustration, both designing and engraving were
generally performed by the same hand; but, in the present day, the
professions are becoming too important to be joined, and those who, like
William Harvey, Samuel Williams, and others, commenced by practising
both, now, recognising the modern policy of a division of labour,
confine themselves with few exceptions to one. Our business here, so far
as designs are concerned, is almost limited to those draughtsmen who
habitually draw on wood, for it is unnecessary to say that every drawing
or painting may be transferred to wood by the practical operator.
The following Specimens are given in accidental order rather than with
any notion of precedence or classification.
[Illustration:
PERCIVAL SKELTON JAMES COOPER
THE SIERRA MORENA]
The present and following specimens are engraved by JAMES COOPER. The
first one is from Mr. Murray’s illustrated edition of Childe Harold,
published in 1859, which contains eighty engravings, all designed by Mr.
Percival Skelton; the others from the Select Poems and Songs of Robert
Burns, published by Kent & Co. in 1858. Mr. Cooper is favourably known
to the artistic world by his engravings in Rhymes and Roundelayes,
a volume to which we shall presently refer again; Poetry and Pictures
from Thomas Moore, Longmans, 1858; The Merrie Days of England, 1859;
Favourite English Poems, 1858; and Bloomfield’s Farmer’s Boy,
1858--mostly after designs by Birket Foster, and all produced under the
superintendence of Mr. Joseph Cundall.
[Illustration:
BANKS OF THE NITH.
BURNS’ POEMS]
[Illustration:
HARRISON WEIR JAMES COOPER
THE TWA DOGS.
BURNS’ POEMS]
[Illustration:
HARRISON WEIR JAMES COOPER
TO AULD MARE MAGGIE
BURNS’ POEMS]
This and the preceding three specimens complete what we have to adduce
of Mr. Cooper’s engraving: the designers will be spoken of in subsequent
pages.
[Illustration:
HARRISON WEIR J. GREENAWAY
THE POETRY OF NATURE.]
MR. HARRISON WEIR is distinguished for his spirited drawings of animals
and rural landscapes, as will be seen in the annexed examples, which are
engraved by W. Wright (formerly with Vizetelly) and John Greenaway. He
has contributed to most of the popular works of recent date, in which
animals form a feature. Among them may be named: The Poetry of the Year;
Poems and Songs by Robert Burns; Poetry and Pictures from Thomas Moore;
Favourite English Poems; Barry Cornwall’s Dramatic Scenes and Poems;
Fable Book for Children; James Montgomery’s Poems, 1860, and Wood’s
Natural History.
[Illustration:
HARRISON WEIR N. WRIGHT
BLOOMFIELD’S FARMER’S BOY]
[Illustration:
HARRISON WEIR GREENAWAY
CAMPBELL’S PLEASURES OF HOPE.]
[Illustration:
HARRISON WEIR J. GREENAWAY]
Both this and the specimen on the preceding page are from the
illustrated edition of Campbell’s Pleasures of Hope, of which all the
plates are engraved by MR. JOHN GREENAWAY.
Mr. Greenaway has contributed to many other of the illustrated
publications of the present day, and among them to the Poetry of Nature,
edited by Mr. J. Cundall, with thirty-six cuts all designed by Harrison
Weir. Low and Son, 1860. Bloomfield’s Farmer’s Boy, 1858; Favourite
English Ballads, 1859.
[Illustration:
BIRKET FOSTER EDMUND EVANS
WILD FLOWERS.]
Engraved by EDMUND EVANS from a design by Birket Foster for Rhymes and
Roundelayes, published by Mr. Bogue in 1857, and since by Messrs.
Routledge. Mr. Evans has likewise engraved the Landscapes in Cowper’s
Task, after designs by the same artist, Herbert’s Poetical Works, and
Graham’s Sabbath, all published by Nisbet & Co.; the Landscapes in
Scott’s Lay of the Last Minstrel, and Marmion, published by Adam Black &
Co.; many of the subjects in Poems and Songs by Robert Burns, from which
we have given several specimens, The Merrie Days of England, &c.; and
all the illustrations in Goldsmith’s Poetical Works, which are printed
in Colours by himself.
[Illustration:
BIRKET FOSTER W. J. PALMER
LAYS OF THE HOLY LAND]
Engraved by W. J. PALMER, after a design by Birket Foster, for Lays of
the Holy Land, published by Nisbet & Co. Mr. Palmer has also contributed
to the Illustrated edition of Thomson’s Seasons, The Merchant of Venice,
Gray’s Poems, published by Low and Son; The Merrie Days of England, Kent
& Co., and other pictorial works, chiefly after the designs of Birket
Foster, and under the superintendence of Mr. Cundall.
Although several specimens have already been given of Birket Foster’s
powers of design, in speaking of the engravers, we give another, one of
his earliest, that we may have occasion to say something of himself.
[Illustration:
BIRKET FOSTER H. VIZETELLY
EVANGELINE.]
MR. BIRKET FOSTER was a pupil of Mr. Landells, who, discerning his
artistic talent, employed him from an early age in the superior
department of his profession. After he commenced on his own account, his
first important illustrations were for Longfellow’s Poetical Works, of
which the above is a specimen. He has since partly or wholly
illustrated, besides those works already mentioned under the name of the
engraver, Adams’s Allegories, published by Messrs. Rivington; The Book
of Favourite Modern Ballads, Poets of the Nineteenth Century, Christmas
with the Poets, Favourite English Poems, Home Affections, The Merrie
Days of England, Barry Cornwall’s Dramatic Scenes and Poems, Southey’s
Life of Nelson, Gosse’s Rivers of the Bible, and many other of the best
works of the period. In 1859 he was elected a member of the Old Water
Colour Society, and has since then devoted himself almost exclusively,
and with great success, to painting in Water Colours.
[Illustration:
JOHN TENNIEL DALZIEL]
MR. JOHN TENNIEL is a successful illustrator of Historical subjects, and
Ballad poetry, and has produced many fine examples of his pencil. His
most recent work is a series of sixty-nine designs for the illustrated
edition of Moore’s Lalla Rookh, engraved by the Messrs. Dalziel, which
the “Times” of Nov. 1, 1860, calls the “greatest illustrative
achievement of any single hand,” and of which we here present an
example. He is now engaged in illustrating Shirley Brooks’ story called
The Silver Cord, in “Once a Week;” and in 1857 he contributed a number
of spirited designs to the illustrated edition of Barry Cornwall’s
Poetical Works. Among Mr. Tenniel’s earlier works are several in the
Book of British Ballads, edited by Samuel Carter Hall, in 1843; and
among his popular designs, sketched with a free pencil, are his large
cuts in “Punch,” and his small ones in Punch’s Pocket Book.
[Illustrations:
JOHN TENNIEL DALZIEL
DEATH OF SFORZA.
SFORZA.]
Both these examples are from Barry Cornwall’s dramatic sketch, entitled
Ludovico Sforza, published in the illustrated edition of his Poems.
[Illustration:
JOHN GILBERT. DALZIEL BROTHERS.
ANTONY AND CLEOPATRA.]
Engraved by MESSRS. DALZIEL, BROTHERS, after the designs of MR. JOHN
GILBERT. These highly appreciated Artists appear together in a
considerable number of the illustrated publications of the present day.
Messrs. Dalziel are among the most extensive of our wood-engravers, and
have taken part in all the illustrated works of importance which have
been produced during the last twenty years. Among the recent ones
are:--Staunton’s Illustrated Shakspeare, from which the above specimen
is taken, and Longfellow’s Poems, Routledge, 1859; Barry Cornwall’s
Dramatic Scenes and Poems, with fifty-seven wood-engravings, published
by Chapman and Hall in 1857, now republished by Henry G. Bohn; and
Tennyson’s Princess, after drawings by Maclise. These artists are at
present engaged in engraving Millais’ Designs in the “Cornhill
Magazine.”
[Illustration:
THOMAS DALZIEL DALZIEL BROTHERS
THE FLORENTINE PARTY.]
The present engraving, executed by the Brothers Dalziel, for Barry
Cornwall’s Poems, gives a pleasing example of Mr. Thomas Dalziel’s
drawing.
* * *
The next two are early designs by Mr. John Gilbert. The first is from
the Percy Tales of the Kings of England, originally published in 1840,
by Mr. Cundall, and since by Henry G. Bohn; the other from Maxwell’s
Life of the Duke of Wellington, in which there are upwards of one
hundred similar vignettes, originally published in 1840, by Messrs.
Baily, Brothers.
[Illustration:
JOHN GILBERT KIRCHNER
PRINCE ARTHUR AND HUBERT DE BOURG.
FROM PERCY TALES OF THE KINGS OF ENGLAND.]
[Illustration:
JOHN GILBERT]
[Illustration:
THE DEMON LOVER.
JOHN GILBERT.]
We have here, engraved by MR. W. A. FOLKARD, another of the early
designs of MR. JOHN GILBERT. It is one of the illustrations to the Book
of English Ballads, edited by S. C. Hall, in 1843, which contains
upwards of four hundred wood-engravings, and was the first work of any
consequence that presented a combination of the best artists of the
time. Indeed, it was the leader in what may be called the Illustrated
Christmas Books of the present day. Since this period, Mr. Gilbert has
probably produced more drawings on wood than any other artist, and has
contributed to almost every illustrated book of any importance. He is a
member of the Old Water Colour Society, and has sent many fine drawings
to the Exhibition.
[Illustration:
G. H. THOMAS W. L. THOMAS
FROM HIAWATHA.]
WILLIAM L. THOMAS deserves to rank among the foremost of our
wood-engravers, as will be seen by the present specimen. He engraved
most of the subjects to Hiawatha, all of which were drawn by his brother
George H. THOMAS, and are now included in Bohn’s Illustrated edition of
Longfellow’s Works; many of Mr. Maclise’s masterly designs for
Tennyson’s Princess, and all the subjects for the Boys’ Book of Ballads,
from drawings by John Gilbert. They have also contributed, separately or
together, to the Book of Favourite Modern Ballads, Poetry and Pictures
from Thomas Moore, Burns’ Poems, The Merrie Days of England, Favourite
English Poems, and many other illustrated works.
[Illustration:
HIAWATHA.]
[Illustration]
Engraved by HORACE HARRAL (a pupil of the late John Orrin Smith), after
a design by George Thomas, for the illustrated edition of Longfellow’s
Poems, formerly published in detached portions by Kent & Co., and now
completely by H. G. Bohn. These artists have also contributed to the
illustrated editions of Coleridge’s Ancient Mariner, Burns’ Poems,
Campbell’s Pleasures of Hope, the Merchant of Venice, and The Merrie
Days of England; also to the Poetry and Pictures from Thomas Moore. Mr.
George Thomas, who has long ranked as one of our best draughtsmen of
figure subjects, has of late turned his attention almost exclusively to
painting in oils, and is a successful exhibitor.
[Illustration:
G. H. THOMAS E. EVANS
JOHN ANDERSON MY JO.
BURNS’ POEMS.]
[Illustration:
G. H. THOMAS E. EVANS]
These pleasing specimens conclude our examples of the drawing of Mr.
George Henry Thomas. Of Mr. Evans the engraver we have already spoken.
[Illustration:
D. MACLISE W. THOMAS
FROM TENNYSON’S PRINCESS.]
The illustrated volume from which this is taken has twenty-six
illustrations, engraved by W. Thomas, W. T. Green, E. Williams, and
Dalziel, Brothers. Miss E. Williams is a daughter of the late talented
Samuel Williams.
[Illustration:
D. MACLISE, R.A. J. THOMPSON
LEONORA]
Here is another Design by MR. D. MACLISE, R.A., who in his own peculiar
manner has furnished drawings on wood for several finely illustrated
publications, among which may be enumerated Longman’s edition of the
Poems and Songs of Thomas Moore, and especially Tennyson’s Princess, of
which we have given an example on a previous page. The present is the
smallest of a series of designs engraved by Mr. John Thompson, for that
stirring Ballad, Bürger’s Leonora.
[Illustration:
PERCIVAL SKELTON J. W. WHYMPER
CHILDE HAROLD.]
MR. PERCIVAL SKELTON has been mentioned incidentally on a previous page,
and we should have given in addition a fine example of his pencil from
the Book of Favourite Modern Ballads, but the plate is too large. This
present small specimen is to introduce the name of MR. J. W. WHYMPER,
who has been concerned in many of the illustrated publications of the
last thirty years, and especially those published by the Christian
Knowledge Society.
[Illustration:
CLARKSON STANFIELD, R.A. H. VIZETELLY
ANDERSON READING THE BIBLE TO JACK.]
MR. HENRY VIZETELLY has been so indefatigable for the last twenty years
in producing illustrated works in every department, that examples of his
wood engraving are extensively distributed. He is besides a printer,
well skilled in bringing up wood-cuts, which is a most delicate and
artistic process. All the engravings in Miller’s Boy’s Country Year
Book, and the Book of Wonderful Inventions, are engraved by him, or
under his direction, as are also most of the charming series of designs
made by CLARKSON STANFIELD, R.A. for Marryat’s Poor Jack, of which the
annexed is a specimen; many of the plates in Bohn’s illustrated edition
of Longfellow’s Poems; and the entire series of Christmas with the
Poets, fifty-three subjects, printed in tints by himself.
[Illustration:
BIRKET FOSTER H. VIZETELLY
CHRISTMAS IN THE OLDEN TIME.]
We here present a specimen of a series of engravings executed by Mr.
Vizetelly, for a work projected by the late Mr. Bogue, and yet
unpublished.
[Illustration]
SAMUEL WILLIAMS (recently deceased) deserves a conspicuous niche in the
Walhalla of Artists for his forty-eight beautiful illustrations of
Thomson’s Seasons, all drawn and engraved by himself. The annexed
specimens selected from that volume (now about to be published by Mr.
Bohn in his Illustrated Library) will give a fair example of his
peculiar taste in the miniature treatment of rural subjects.
[Illustration]
[Illustration:
JOHN WOLF G. PEARSON
EAGLES, STAGS AND WOLVES.]
This and the following engraving were executed by MR. GEORGE PEARSON, a
rising artist, after drawings made by JOHN WOLF, for the illustrations
of T. W. Atkinson’s Travels in the Region of the Upper and Lower Amoor
(in Eastern Asia). Mr. Wolf, like Mr. Harrison Weir, has a preference
for animal drawing, and excels in it.
[Illustration:
JOHN WOLF G. PEARSON
HARE HAWKING.]
This well-executed cut of Hare Hawking is from Messrs. Freeman and
Salvin’s Work on Falconry, recently published by Messrs. Longman.
Mr. Pearson has lately been engaged in engraving Icthyological subjects
for Hartwig’s Sea and its Living Wonders, and some other works of
Natural History, a department which he is cultivating by preference.
[Illustration:
G. PEARSON
FALLS OF NIAGARA.]
The Vignette by the same engraver is one of the Illustrations of Bohn’s
Pictorial Hand-book of Geography just published.
[Illustration:
H. ANELAY MEASOM
FROM SANDFORD AND MERTON.]
MR. H. ANELAY is well known to the public as a draughtsman on wood,
especially in the departments of portrait and figure drawing. The
present example, taken from Bohn’s Illustrated edition of Sandford and
Merton, is engraved by MR. MEASOM, whose practice is extensive and of
long standing. Several of the figure subjects in Merrie Days of England,
recently published by Kent and Co., and in Favourite English Poems,
published by Low and Co. are by him.
[Illustration:
JOHN ABSOLON THOMAS BOLTON
MILES STANDISH.]
MR. J. ABSOLON has for many years been an illustrator of popular story
books and poems, most of which have been published or edited by Mr.
Cundall. Among them may be named, Favourite English Poems, published by
Low and Co., in 1859; Rhymes and Roundelayes, Routledge, 1858;
Goldsmith’s Poetical Works; and Lockhart’s Spanish Ballads, published by
Murray. The present specimen is from Bohn’s Illustrated edition of
Longfellow’s Poems, in which the Miles Standish is chiefly illustrated
by the designs of Mr. Absolon, and entirely engraved by MR. THOMAS
BOLTON, an artist of considerable repute, whose name appears in many of
the books quoted in these pages, and among others, in the Poems and
Songs of Robert Burns.
Mr. Bolton has just invented a process by which the powers of
photography may be applied direct to the production of subjects from
nature or art on wood, and from which the engraving can be made without
the intervention of drawing. We annex his first specimen; others are
about to appear in the illustrated edition of Miss Winkworth’s Lyra
Germanica.
[Illustration:
FLAXMAN THOMAS BOLTON]
This specimen of MR. BOLTON’S new process is taken from the well-known
relief of Flaxman, “_Deliver us from evil_.” It is one of the first
successful photographs on wood, and was printed and engraved by MR.
THOMAS BOLTON, from Mr. Leighton’s negative.
[Illustration:
R. DOYLE JOHN SWAIN
MONTALVA’S FAIRY TALES.]
MR. RICHARD DOYLE’s manner of drawing is fairly exemplified in the
present engraving, executed by him for Montalva’s Fairy Tales of all
Nations, published by Chapman & Hall in 1859. Mr. Doyle has illustrated
a considerable number of books of a popular character, among which may
be named: The Scouring of the White Horse; The Newcomes; The Continental
Tour of Brown, Jones, and Robinson, of which we give an example on the
next page: Manners and Customs of the English; and Pips’ Diary.
[Illustration:
RICHARD DOYLE JOHN SWAIN
BROWN, JONES, AND ROBINSON IN VENICE.]
Mr. Doyle’s “Foreign Tour of Brown, Jones, and Robinson, what they saw
and did in Belgium, Germany, Switzerland, and Italy,” published in 1855,
has acquired great popularity among the lovers of comic literature, and
by the kindness of the publishers, Messrs. Bradbury and Evans, we are
enabled to give a specimen.
[Illustration:
JOHN LEECH ORRIN SMITH
FROM UNCLE TOM’S CABIN.]
MR. JOHN LEECH is so well known to every reader of “Punch,” that we need
hardly do more here than merely mention his name as one of the best and
most extensive of our graphic humorists.
Among the many books to which he has contributed are: The Comic History
of England; Comic History of Rome; Comic Aspects of English Social Life;
Tour in Ireland; Soapy Sponge’s Sporting Tour; Young Troublesome; Mr.
Jorrocks’ Hunt; Punch’s Almanack; and several editions of Uncle Tom’s
Cabin, from one of which (our own) the above specimen is taken, drawn,
as we have reason to believe, in the course of two or three hours.
[Illustration:
JOHN LEECH JOHN SWAIN
PEASANTRY ON THEIR WAY TO AN IRISH FAIR.
TOUR IN IRELAND.]
Another specimen of Mr. Leech’s comic humour, taken from his Tour in
Ireland, published at the Punch Office.
[Illustration:
JOHN LEIGHTON HENRY LEIGHTON
HASTEN AT LEISURE.]
We here present a specimen of that curious work, “Moral Emblems of all
Ages and Nations,” published by Messrs. Longman & Co. The whole book has
been drawn after the originals and superintended throughout by MR. JOHN
LEIGHTON, who is well known under his pseudonyme of “Luke Limner.” The
engraving is by HENRY LEIGHTON.
[Illustration:
EDWARD DUNCAN HORACE HARRAL
THE BLOWING UP OF CORINTH]
EDWARD DUNCAN, a member of the Old Water Colour Society, often draws on
wood, especially Landscapes and Naval subjects. He has contributed to
the Book of Favourite Modern Ballads, Favourite English Poems, Rhymes
and Roundelayes, Poetry and Pictures from Thomas Moore, the Soldier’s
Dream, and Lays of the Holy Land.
[Illustration:
E. DUNCAN H. HARRAL]
These two examples of his style are engraved by HORACE HARRAL for Bohn’s
Illustrated edition of Southey’s Life of Nelson.
[Illustration:
O. JEWITT
NORTH PORCH OF STA. MARIA MAGGIORE, BERGAMO.]
The wood-engravings in the present and following pages are by MR.
ORLANDO JEWITT, who devotes himself almost exclusively to Gothic
Architecture and Ornament, in which he is pre-eminent. He is one of the
very few who continue to combine designing and drawing with engraving.
The first specimen here presented is from Street’s Brick and Marble
Architecture of Italy in the Middle Ages, 8vo., published by Mr. Murray
in 1855.
[Illustration:
O. JEWITT
SHRINE IN BAYEUX CATHEDRAL.]
Our second specimen, and two of those on the next page, are from Mr.
Pugin’s splendid work, the “Glossary of Ecclesiastical Ornament,”
published by Henry G. Bohn in 1846.
[Illustration: HEARSE OF MARGARET, COUNTESS OF WARWICK.]
[Illustrations: SPECIMENS OF ENGRAVING BY ORLANDO JEWITT.
O. JEWITT, del. et sc.
CAPITAL OF THE PRESBYTERY, LINCOLN CATHEDRAL.
LETTERN.
O. JEWITT, del. et sc.
BRICK TRACERY, ST. STEPHEN’S CHURCH, TANGERMUNDE, PRUSSIA.
_Unpublished._]
Among the many works to which Mr. Jewitt has contributed, besides those
already mentioned, are Bloxam’s first principles of Gothic Architecture;
the Glossary of Architecture published by Mr. Parker of Oxford;
Rickman’s Gothic Architecture, fifth edition; and the Baptismal Fonts,
published by Mr. Van Voorst. He is now engaged in drawing and engraving
Murray’s Handbook of English Cathedrals.
[Illustration:
T. CRESWICK J. WILLIAMS
THE NUT BROWN MAID.]
MR. CRESWICK, R.A., the distinguished painter, has occasionally drawn on
wood, but more as a favour than part of his _métier_. The present
specimen, one of a series contributed to the Book of British Ballads, is
so highly praised by Mr. Ruskin, and at the same time so elaborately
criticised, that we think it in place to quote his words. After
comparing him advantageously with Poussin, he proceeds to say, “Who with
one thought or memory of nature in his heart could look at the two
landscapes, and receive Poussin’s with ordinary patience? Take Creswick
in black and white, where he is unembarrassed by his fondness for
pea-green, the illustrations, for instance, to the _Nut-Brown Maid_, in
the Book of English Ballads. Look at the intricacy and fulness of the
dark oak foliage, where it bends over the brook; see how you can go
through it, and into it, and come out behind it, to the quiet bit of
sky. Observe the grey aërial transparency of the stunted copse on the
left, and the entangling of the boughs where the light near foliage
detaches itself. Above all, note the forms of the masses of light. Not
things like scales or shells, sharp at the edge, and flat in the middle,
but irregular and rounded, stealing in and out accidentally from the
shadow, and presenting in general outline, as the masses of all trees
do, a resemblance to the specific forms of the leaves of which they are
composed. Turn over the page, and look into the weaving of the foliage
and sprays against the dark-night-sky, how near they are, yet how
untraceable; see how the moonlight creeps up underneath them, trembling
and shivering on the silver boughs above; note also, the descending bit
of ivy, on the left, of which only a few leaves are made out, and the
rest is confusion, or tells only in the moonlight like faint flakes of
snow.
“But nature observes another principle in her foliage, more important
even than its intricacy. She always secures an exceeding harmony and
repose. She is so intricate that her minuteness of parts becomes to the
eye, at a little, one united veil or cloud of leaves, to destroy the
evenness of which is perhaps a greater fault than to destroy its
transparency. Look at Creswick’s oak again, in its dark parts. Intricate
as it is, all is blended into a cloud-like harmony of shade, which
becomes fainter and fainter as it retires, with the most delicate
flatness and unity of tone. And it is by this kind of vaporescence, so
to speak, by this flat misty unison of parts, that nature and her
faithful followers are enabled to keep the eye in perfect repose in the
midst of profusion, and to display beauty of form wherever they choose,
to the greatest possible advantage, by throwing it across some quiet
visionary passage of dimness and rest.”
Mr. Creswick has recently contributed several vignettes to Tennyson’s
Poems. The following, engraved by MASON JACKSON, is from Bohn’s
Illustrated edition of Walton’s Angler, to which Mr. Creswick has
contributed several others.
[Illustration:
CRESWICK MASON JACKSON]
[Illustration:
JOHN MARTIN W. J. LINTON]
MR. W. J. LINTON has for many years had extensive practice both as a
draughtsman and an engraver on wood, and still continues to combine both
professions. The specimens on the present page shew his early work; the
first is after a drawing by John Martin from the series of Bible Prints
before quoted; the second, a vignette after MCIAN, from the Book of
British Ballads.
[Illustration:
R. R. MC IAN W. J. LINTON]
His later work is beautifully exemplified on the opposite page by the
subject called Death’s Door, after a drawing by that remarkable man
WILLIAM BLAKE, of whom some account will be found at p. 632. It was
published in the Art Union Volume of 1859, and is by the kindness of the
Council of that Society inserted here.
To complete this page we annex two other of Mr. Linton’s late works.
They are taken from Milton’s L’Allegro, published by Low & Co.
[Illustration:
STONHOUSE W. J. LINTON
“SHALLOW BROOKS AND RIVERS WIDE.”]
Many of the illustrated books of the last twenty years exhibit the
talents of Mr. Linton. We may name, besides the Book of Ballads, The
Pictorial Tour of the Thames, The Merrie Days of England, 1859, Burns’
Poems and Songs, Favourite English Poems, 1859, Shakspere’s Birthplace,
and the Illustrated edition of Milton’s Poetical Works formerly
published by Kent & Co. and now in Bohn’s Illustrated Library.
[Illustration:
J. L. HORSLEY, A.R.A. W. J. LINTON
“SUCH AS THE MELTING SOUL MAY PIERCE.”]
[Illustration:
F. W. FAIRHOLT]
MR. F. W. FAIRHOLT is distinguished for his knowledge of Costume and
Mediæval art, which he has exemplified in a considerable number of
shaded outlines, mostly drawn and engraved by himself. The
wood-engraving at the head of this page is from the Archæological Album
published in 1845, under the auspices of the British Archæological
Association, to whose journal Mr. Fairholt has contributed largely. Ten
of the subjects in the Book of British Ballads, illustrative of the
Story of Sir Andrew Barton, are designed by him and give a favourable
specimen of his drawing. They are cleverly engraved by T. Armstrong.
[Illustration: F. W. FAIRHOLT]
The Vignette is from the illustrated edition of Robin Hood, edited by
Mr. J. M. Gutch in 1847. Mr. Fairholt has also edited and illustrated a
volume on the Costume of England; a History of Tobacco, published by
Messrs. Chapman & Hall; and the Translation of Labarte’s Arts of the
Middle Ages, published by Mr. Murray.
[Illustration:
JOSEPH DINKEL JAMES LEE
SHELL-LIMESTONE FROM THE MOUTH OF THE THAMES.
From Dr. Mantell’s Geological Work, Medals of Creation.]
[Illustration:
JOSEPH DINKEL JAMES LEE
MOSASAURUS HOFMANNI.
From Dr. Mantell’s Petrifactions and their Teachings.]
MR. JOSEPH DINKEL is a very accurate draughtsman of subjects of Natural
History, especially of Fossil remains; but though he has most practice
in this department, he also undertakes Architectural and Engineering
drawings. The present specimens are skilfully engraved by MR. JAMES LEE.
Nearly all the drawings of the great work of Professor Agassiz,
‘Poissons Fossiles,’ published at Neuchatel, from 1833 to 1843, were
executed by Mr. Dinkel; and he drew almost exclusively for the late Dr.
Mantell. He is now much employed by Professor Owen; Thomas Bell, Esq.
President of the Linnæan Society; and the Royal, Geological, and
Palæontological Societies.
[Illustration:
E. H. WEHNERT HORACE HARRAL
FROM COLERIDGE’S ANCIENT MARINER.]
EDWARD H. WEHNERT, a member of the New Society of Painters in Water
Colours, frequently draws upon wood. He illustrated Coleridge’s Ancient
Mariner, Grimm’s Tales, Eve of St. Agnes, and contributed designs to
Bohn’s edition of Longfellow’s Poems and to many other popular works of
poetry and fiction. His style is essentially German. He has recently
contributed thirty-four subjects to the Favourite English Poems and
completed a number of drawings for Andersen’s Tales, the electrotypes of
which are produced by a new process by Mr. W. J. Linton.
[Illustration]
[Illustration]
[Illustration]
GEORGE CRUIKSHANK is especially celebrated for the felicitous humour
which he throws into every subject that comes under his pencil or burin.
His works are legion and all highly prized, but his designs on wood are
much less numerous than his etchings on copper. Mr. Ruskin, in his
‘Modern Painters,’ has lately expatiated as enthusiastically on the
artistic merits of Mr. Cruikshank as he has done on those of Mr.
Creswick, quoted by us in a previous page. He concludes by saying:
“Taken all in all, the works of Cruikshank have the most sterling value
of any belonging to this class produced in England.” The present
examples, taken from his ‘Three Courses and a Dessert,’ published in
Bohn’s Illustrated Library, will afford some idea of his peculiar
talent. On the following page we give examples of his early work, being
illustrations contributed to the ‘Universal Songster,’ a once popular
work to which other artists including his late brother Robert
Cruikshank also contributed. The engraver, rather a coarse hand, was
J. R. Marshall.
[Illustration:
GEORGE CRUIKSHANK
THE OLD COMMODORE.]
[Illustration:
GEORGE CRUIKSHANK
GILES SCROGGINS AND MOLLY BROWN.]
[Illustration:
ALFRED CROWQUILL.
THE MAN WHO WISHED TO BE TALLER.]
[Illustration:
ALFRED CROWQUILL.
THE WOMAN WHO WISHED TO BE YOUNGER.]
[Illustration:
ALFRED CROWQUILL.
DRINKING IS A VICE THAT LOWERS A MAN.]
[Illustration:
KENNY MEADOWS.]
Our last page of illustrations is devoted to humour. Three of the
subjects are from the Pictorial Grammar, by ALFRED CROWQUILL (_i.e._
A. Forester), the fourth, a design by KENNY MEADOWS (from the Book of
British Ballads), one of his early productions, but unsurpassed by
anything he has since done.
These artists have in former years illustrated a number of books. Among
Crowquill’s may be named eight subjects to the Book of British Ballads.
His latest work is ‘The Adventures of Gooroo Simple and his Five
Disciples.’
Among those by Kenny Meadows, we remember as his best an illustrated
edition of Shakespeare, in three vols. royal 8vo. originally published
by Mr. Tyas. London, 1843.
The Publisher here concludes his additional chapter; not for want of
material, for he has more than enough to fill another volume, but for
want of space. In endeavouring to give some indication of xylographic
art-progress in England, he has made no attempt at completeness, and has
said nothing whatever of foreign art, which has progressed quite as
rapidly as our own. So much remains to be done in both domains, and so
many fine examples are either lying before him, or placed at his
disposal, which might advantageously have been adduced, that he
contemplates following the present volume, at no very distant period,
with one that shall supply what has now been necessarily omitted. Among
the many skilful Artists whose names have not yet been mentioned are the
following, arranged in three distinct alphabets. The first alphabet
comprises those who are professionally painters in oil, but occasionally
draw on wood; the second, those who make drawing on wood their leading
profession, although many of them also paint in oil; the third, those
who almost confine themselves to engraving the designs of others,
although some of them are themselves good draughtsmen. One or more of
the books to which they have contributed, are indicated.
_Painters who occasionally Draw on Wood._
ANDREWS, G. H. _Figure subjects and Landscapes_; Ministering Children.
--ANSDELL, Richard. _Animals_; Rhymes and Roundelayes. --ARMITAGE,
Edward. _Figure subjects_; Winkworth’s Lyra Germanica. --COPE, Charles
West, R.A. _Figure subjects_; Book of Favourite Modern Ballads, Adams’
Allegories, Excelsior Ballads, Burns’ Poems, Poetry of Thomas Moore.
--CORBOULD, E. H. _Figure subjects and Architecture_; Merrie Days of
England, Book of Favourite Modern Ballads, Burns’ Poems, Poetry of
Thomas Moore, Barry Cornwall’s Poems. --CROPSEY, Jasper. _Landscapes_;
Poetry of Thomas Moore, Poe’s Poems. --DODGSON, G. _Landscape_; Lays of
the Holy Land. --FRITH, William Powell, R.A. _Figure subjects_; Book of
British Ballads. --GOODALL, Edward. _Landscapes_; Rhymes and
Roundelayes. --GRANT, W. J. _Figure subjects_; Favourite Modern Ballads,
Bloomfield’s Farmer’s Boy. --HICKS, G. E. _Figure subjects_; Favourite
Modern Ballads. --HORSLEY, John Calcott, A.R.A. _Figure subjects_;
Poetry of Thomas Moore, Burns’ Poems, Tennyson’s Poems, Favourite
English Poems, Favourite Modern Ballads. --HUNT, W. Holman. _Figure
subjects_; Tennyson’s Poems, Mrs. Gatty’s Parables, Once a Week. --LE
JEUNE, H. _Figure subjects_; Poetry of Thomas Moore, Lays of the Holy
Land, Ministering Children. --MILLAIS, John Everett, A.R.A. _Figure
subjects_; Tennyson’s Poems, Lays of the Holy Land, Once a Week. Mr.
Millais is now engaged in illustrating a volume of Parables to be
engraved by the Dalziels. --MULREADY, William, R.A. _Figure subjects_;
Tennyson’s Poems, Vicar of Wakefield, (engraved by Mr. John Thompson).
--NASH, Joseph. _Figures and Architecture_; Merrie Days of England.
--PICKERSGILL, F. Richard, R.A. _Figure subjects_; Poetry of Thomas
Moore, Book of British Ballads, Lays of the Holy Land. --REDGRAVE,
Richard, R.A. _Figure subjects_; Favourite English Poems, Book of
British Ballads. --ROBERTS, David, R.A. _Architectural Landscapes_;
Lockhart’s Spanish Ballads. --SELOUS, H. C. _Figure subjects_; Poems and
Pictures, Book of British Ballads. --SOLOMON, A. _Figure subjects_;
Book of Favourite Modern Ballads. --WARREN, H. _Figure subjects and
Architecture_; Book of British Ballads, Lockhart’s Spanish Ballads,
Poetry of Thomas Moore, Lays of the Holy Land. --WEBSTER, Thomas, R.A.
_Infantine subjects_; Favourite English Poems, Book of British Ballads.
--WYBURD, F. _Figure subjects_; Poetry and Pictures of Thomas Moore.
_Professional Draughtsmen on Wood._
ARCHER, J. W. _Antiquarian and Architectural_; Vestiges of Old London.
--ARCHER, J. R.S.A. _Figure subjects_; Burns’ Poems. --BENNETT, Charles.
_Humorous subjects_; Poets’ Wit and Humour, Quarles’ Emblems, 1860,
Proverbs in Pictures. --BRANDLING, H. _Figure subjects and
Architecture_; Merchant of Venice. --CLAYTON, J. R. _Figure subjects_;
Barry Cornwall’s Poems, Lays of the Holy Land. --COLEMAN, Wm. _Landscape
and Figure subjects_; Mary Howitt’s Tales. --DARLEY, Felix. _Figure
subjects_; Poe’s Poetical Works, Poets of the West. --DICKES, William.
_Figures and Landscape_; most of the subjects in Masterman Ready. Mr.
Dickes’ attention is now turned to Colour-printing. --EDMONSTON, S.
_Figure subjects_; Burns’ Poems. --FRANKLIN, John. _Figure subjects_;
Book of British Ballads, Mrs. S. C. Hall’s Midsummer Eve, Seven
Champions of Christendom, Poets of the West. --GOODALL, Walter. _Figure
subjects_; Rhymes and Roundelayes, Ministering Children. --HULME, F. W.
_Landscapes_; Rhymes and Roundelayes. --HUMPHREYS, Noel. _Ornamental
Vignettes_; Rhymes and Roundelayes. --JONES, Owen. _Moresque Ornaments
and Architecture_; Lockhart’s Spanish Ballads. --KEENE, Charles. _Figure
subjects_; Punch, Once a Week, Voyage of the Constance. --LAWLESS, M. J.
_Figure subjects_; Once a Week, Punch. --MACQUOID, Thomas. _Ornamental
Letters and Borders_; Rhymes and Roundelayes, Burns’ Poems, Favourite
English Poems, &c. --MORGAN, Matthew S. _Figures and Landscape_; Miles
Standish. --PHIZ (Hablot K. Browne). _Humour_; Bleak House, Martin
Chuzzlewit, The Pickwick Series, Wits and Beaux of Society, Lever’s St.
Patrick’s Eve, &c. He has executed more etchings on steel than drawings
on wood. --PROUT, J. S. _Landscapes and Architecture_; Rhymes and
Roundelayes. --READ, Samuel. _Landscapes and Architecture_; Rhymes
and Roundelayes, contributes to the London News. --ROGERS, Harry.
_Ornamental Letters and Vignettes_; Quarles’ Emblems, Poe’s Poetical
Works. --SCOTT, T. D. _Figure subjects and Landscapes_; able reducer and
copyist of Pictures on Wood; Book of British Ballads. --SHAW, Henry.
_Architectural Ornaments, Letters, Furniture, &c._; has designed
extensively on wood, chiefly for his own works. --STEPHENSON, James.
_Figure subjects_; Clever Boys, Wide Wide World (Bohn’s Edition), &c.
A skilful engraver on steel. --STOCKS, Lumb, A.R.A. _Figure subjects_;
Ministering Children, Ministry of Life, English Yeomen, &c. Mr. Stocks
has considerable reputation as an engraver on steel. --SULMAN, T. Jun.
_Ornamental Borders and Vignettes_; Lalla Rookh. --TOPHAM, F. W. _Irish
Character_; Poetry of Thomas Moore, Mrs. S. C. Hall’s Midsummer Eve,
Burns’ Poems. --WATSON, J. D. _Figure subjects_; Pilgrim’s Progress,
110 designs, Eliza Cook’s Poems. --ZWECKER, John B. _Animals_; mostly
engraved by the Dalziels; Wood’s Natural History, &c.
_Engravers on Wood not before mentioned._
ARMSTRONG, Wm. Don Quixote, 1841, Illustrated News, Clever Boys 1860.
--GORWAY, C. has successfully engraved many of John Gilbert’s designs.
--HAMMOND, J. Poems and Songs of Robert Burns. --JACKSON, Mason, son of
the Projector of the present volume, in which some of the subjects are
engraved by him; also Walton’s Angler (Bohn’s Edition), Ministering
Children. --LOUDON, J. engraves for the Illustrated Times. --SMYTH,
F. G. _Figure subjects_; Illustrated News. --SWAIN, Joseph. _Figure
subjects_; Lyra Germanica. --WIMPERIS, E. Merrie Days of England.
--WOODS, H. N. _Ornamental Borders and Vignettes_; Moore’s Lalla Rookh.