BENHAM & SONS, Sir Edward Burne-Jones, Bart., · 2018-10-24 · Sir Edward Burne-Jones, Bart., AND...

~ (

THE EASTER ANNUAL ADVERTISER, 1898. THE HAHFSTAEHGli GAL1L1ERIES.

16, PALL MALL EAST, S.W. ( National Gallery. )

Catalogues Free. Inspection Invited.

Reproduction? ip permanept Gariop Print apd photogravure.Photogravures O f Old Masters. Second Series now

ready, including reproductions from masterpieces after Hals, Holbein, Murillo, Rembrandt, Rubens, Ruisdael> Titian, Van Dyck, &c.

British School. Gainsborough, Herring, Landseer, Reynolds,Romney, Rossetti, and Turner.

Pictures in the National Gallery, T o be publishedin Twelve Parts, illustrated in Gravure, with descriptive Text, written by C h a r l e s L. E a s t l a k e , Keeper of the National Gallery. Cover specially designed by W a l t e r C r a n e . Price to subscribers £9 complete. Part V III. now ready.

Th e Holbein Drawing's. B y special permission of HerMajesty the Queen. Fifty-four fine reproductions of the Famous Drawings at Windso’* Castle, printed on hand-made Japan paper, bound in Artistic Cover. I

Th e Old * Reproductions in Permanent CarbonPrint from .oyal Collections of Her Majesty the Queen at B u c kin gh a m P a l a c e and W in d so r Ca s t l e , also from A m s t e r d a m , B e r l in , B r u s s e l s , C a s s e l , D r e s d e n , H a a r l e m , H a g u e , M u n ic h , V ie n n a , and the largest and finest collection of N a t io n a l G a l l e r y pictures in existence.

I N P l i O G U E S S .THE NATIONAL GALLERY OF BRITISH ART (The Tate Gallery), and

THE DULWICH GALLERY, including examples by the following artists :G . H . B o u g h t o n , R.A., G e o r g e C l a u s e n , A.R.A., T h e H o n . John C o l l ie r , V ic a t C o l e , R.A., H. H e r k o m e r , R.A., C o l in H u n t e r , A.R.A.,H. H. La T h a n g u e , A.R.A., S ir J. E. M il l a i s , Ba r t ., P.R.A., Da v id M u r r a y , A.R.A., and J. S. S a r g e n t , R.A.

C A TA L O G U E S P O S T FREE.

FORTHCOMING PUBLICATIONS. GEORGE C L A U SE N , A .R .A .

TH E GIRL AT TH E GATE.Artist’s proofs, limited to 100 impressions

ST A N H O P E A . FO R B ES, A .R .A .ACROSS TH E STREAM.

Artist’s proofs, limited to 200 impressions

CO LIN H U N T E R , A .R .A .TH EIR ONLY HARVEST.

Artist’s proofs, limited to 100 impressionsC. E. H A L L E .

A EOUNTAIN.Artist’s proofs, limited to 100 impressions

H. H. L A TH A N G U E .TH E MAN WITH TH E SCYTH E.

Artist’s proofs, limited to 100 impressionsD A V ID M U R R A Y , A .R .A .

MY LOVE HAS GONE A’ SAILING.Artist’s proofs, limited to 100 impressions

J. S. S A R G E N T , R .A .CARNATION, LILY, LILY ROSE.

Artist’s proofs, limited to 100 impressions

G. F. W A T T S , R .A .TH E DYING WARRIOR.

Artist’s proofs, on Japanese paper, limited to ido impressions Artist's proofs, on India paper, limited to 100 impressions ..

and many others.

P R O S P E C TU S E S O N A P P L IC A TIO N .

16, PALL ATAYLiI-j EAST, S.W.

£3 3s-

£3 3s-

£3 3s-

£3 3s-

£3 3s-

£3 3s-

£3 3s-

£5 5s- £3 3s-

PERMANENT PHOTOGRAPHS- OF THE WORKS OF

Sir Edward Burne-Jones, Bart.,AND M AN Y OF T H E PORTRAITS BY

G. F. WATTS, R.A.,O. G. ROSSETTI’S “ BEATA BEATRIX ”

AND

"DANTE’S DREAM,”ALSO

THE HOLBEIN DRAWINGS A T WINDSOR CASTLE(Photographed hy the graeioue perm ission o f H er M ajesty the Queen),

CAN N O W BE OBTAINED FROM

FREDERICK HOLLYER, 9, Pembroke Square, Kensington.Lists of Subjeots and Prices will be sent post free on application.

Or Illustrated Catalogue post free for twelve stamps.

E v e r y h o m e is_ Beautified b yPhotographs and

PhotogravuresA F T E R

C E L E B R A T E DPICTURES

Il l u s t r a t e dC a t a l o g u e

_________ V-B erlin Photo C°

133. New Bond STLo n d o n

BENHAM & SONS,LIMITED.

DEVONSHIRE MARBLE CHIMNEY PIECES.STOVES.

TILE HEARTHS. KITCHENERS.SILVER, ELECTRO-PLATE, CUTLERY, &c.

COOKING AND HEATING APPARATUS.E l e c t r i c L i g h t i n g .

WIGMORE S TR E E T, LONDON

2 THE EASTER ANNUAL ADVERTISER.

MESSRS. BELL’S ILLUSTRATED BOOKS.Complete L is t post free on application.

WORKS BY W ALTER CRANE.The Bases of* Design. Printed at the Chiswick Press, with 200 Illustrations, many drawn by the Author. Bound

in buckram, with specially designed Cover and End Papers. Medium 8vo, 18s. net. _Contents :— 1. Of the Architectural Basis.— 2 . Of the Utility Basis and Influence.— 3. Of the Influence of Material and Method.— 4. Of the Influence ot

Conditions in Design.— 3. Of the Climatic Influence in Design ; chiefly in regard to Colour and Pattern.— 6. Of the Racial Influence in Design.— 7. Of the Symbolic Influence, or Emblematic Element in Design.— 8 . Of the Graphic Influence, or Naturalism in Design.— 9. Of the Individual Influence in Design.— 10. Of the Collective Influence in Design. .

“ Will interest, all who care for beauty of form or decoration, and will be of practical value to the art student or the apprentices in handicrafts. It is a book that was wanted, for it occupies a place between the hard and fast catalogues of design, such as Owen Jones’s “ Grammar of Ornament,” and such works as Ruskin’s. which always tend to pass the limits of Art as commonly understood, and are, therefore, suspected of mere theorising by many actual craftsmen. Mr. Crane, though we may safely include him in the Ruskin school of social and ethical laeais, is entirely practical throughout.” —Daily Chronicle.

The Decorative Illustration of Books, Old end New. W ith 150 Illustrations,10s. Gd. net.

“ Mr. Crane has had a delightful task, and he has acquitted himself surprisinffly well. . . . The book is a storehouse of good drawing.” —Academy. .“ Merely as an historical series of reproductions of curious and beautiful title-pages, initials and illustrations, from the fifteenth century down to’ our own day, this volume would be one ot

great interest.” —Times. * . ,“ I have seen no other volume of examples of what Mr. Crane eills ‘ Decorative Illustration ’ r nging as his does from almost the earliest illumination to the present process block, that could

be placed in the hands of the art stude it with so much advantage.” —Mu. Pkxnf.ll in the Daily ChrnnicU.

A History of Renaissance Architecture inENGLAND, 1500-1800. By R eginald Blomfield, M.A., Exeter College, Oxford, Architect. With about 150 Illustrations from Pen Drawings by the Author, and 90 Plates in Collotype and Half-Tone, Photographs, Drawings, and Prints. 2 vols., imperial Svo, £ 2 10s. net.

“ Two handsome and lavishly illustrated volumes. . . . Mr. Blomfield writes well and with admirable lucidity, and has acquitted himself of a great task, spread over a wide field, with good judgment and an educated taste.” —Standard.

“ Mr. Blomfield’s book is the most, thorough and scholarly contribution to the literature of English architecture which we remember for many years.” —Daily Chronicle.

Th o m a s Gainsborough: His Life and W orks. B yMrs. A rthur B ell (D ’Anvers). With Fifty-eight Illustrations in Photogravure and Half-Tone. Binding designed by G leeson W hite. Small colombier Svo, 25s. net.

Later Reliques o f Old London. Being further studiesof Old Buildings in course of demolition, or likely to disappear shortly. Drawn in Lithography by T. R. AY ay. With an Introduction and Description by H. B. W heatley, F.S.A. Demy 4to, 21s. net. Edition limited to 280 copies, 250 of which are for sale.

Th e Glasgow School o f Painting. B y DavidM artin. With Introduction by F rancis H. N ewbery. With Reproductions of Paintings by W . Y. Macgregor, J ames Guthrie, J ames L avery, E. A. H ornel, J. E. Christie, and many others. Royal Svo, 1 0s. 6d. net.

Decorative Heraldry. B y G. W . E ve. W ith 188 Illus-trations, including four in Colour and one Copperplate. Imperial 16mo, 10s. Gd. net.

Frederic, Lord Leighton. A n Illustrated Chronicle.By E rnest R hys. With Introduction by F. G. Stephens. W ith over 100 Illustrations and Fifteen Photogravure Plates. Super-royal 4to, £3 3s.

Sir Edw ard Burne-Jones, B a rt. A Record andReview. By Malcolm Bell. With over 100 Illustrations. Third Edition. Small colombier Svo, 2 1 s. net.

Albert M oore: His Life and W orks. B y A . Lys Baldry.With Eight Photogravures and about Seventy other Illustrations. Small colombier Svo, 21s. net.

Raphael’s M adonnas, and other G reat Pictures. B yK arl K aroly. With Nine Photogravures and Forty-four other Illustrations. Small colombier Svo, 2 1 s. net.

Masterpieces of the Great Artists, A.D. 1400'1700. By Mrs. A rthur Bell (N. D’Anvers). W ith Forty-three Illustrations, including Eight Photogravures. Small colombier 8vo, 21s. net.

L ondon: G EO R G E B E L L & SON S, Y ork Street, Covent Garden.

CHAPMAN & HALL’S NEW BOOKS.W ITH UPW ARD S OF 100 ILLUSTRATIONS.

Th e B uild in g o f the E m p ire : the Story of England’sGrowth from Elizabeth to Victoria. By A lfred T homas Story, Author of “ The Life of John Linnell,” See. With Portraits of Queens Elizabeth and Victoria in Photogravure, and upwards of ioo Portraits and Illustrations. 2 vols., large crown 8vo, 14s.

NEW BOOK BY THE AUTHOR OF “ ARCHITECTURE FOR GENERALR EA D ER S.”

Modern A rch ite ctu re : a Book for Architects and thePublic. By H. H eathcote Statham, F .I.B .A ., Editor of the Builder, and Author of “ Architecture for General Readers,” See. With numerous Illustrations of Contemporary Buildings. Demy Svo, 10s. 6d.

WITH ILLUSTRATIONS BY JOSEPH PENN BILL. Aquitaine : a-Traveller s Tales. By W ickham F lower, F.S.A.

With 12 Full-page Photogravures and numerous other Illustrations by Joseph Pennell. Demy 4to, 63s. net.

CONTAINING 30 LARG E AND M ANY SM ALLER ILLUSTRATIONS AND VIGNETTES.

Songs for the Children, w ith Pictures forT h e m in B la ck a n d W hite . By Sidney Heath. In decorative binding, with Coloured Designs on cover, gilt top, demy 4to, 6s.

THE SONG OF SOLOMON ILLUSTRATED.Th e Song O f Solomon. Illustrated by 12 Full-Page Plates

and numerous Head and Tail Pieces. B y H. G r a n v il l e F e l l . Crown 4to, 7s. 6d.

WITH UPW ARDS OF 700 ILLUSTRATIONS.Historic O rn a m e n t: a Treatise on Decorative Art and

Architectural Ornament. By James Ward, Author of “ The Principles of Ornament.,, 2 vols., demy 8vo, 7s,.6d. each volume.

Vol. I. PREHISTORIC ART, ANCIENT ART and ARCH ITECTURE ; EASTERN, EARLY CHRISTIAN, BYZANTINE, SARACENIC, ROMANESQUE, GOTHIC arid RENAISSANCE ARCH ITECTURE and ORNAMENT. With 436 Illustrations.

Vol. l.L POTTERY, ENAM ELS, IVORIES,_METAL-WORK, FU RN ITU R E T E X T IL E FABRICS, MOSAICS* GLASS, and BOOK DECORATION. With 317 Illustrations: •

THE PRESID EN T OF R .A .’S LECTURES.Lectures on A rt. By Sir E d w a r d J. P o y n t e r , P .R .A .,

Director for Art, Science and Art Department; Late Slade Professor, University College. A New Edition. With additional matter and Photogravure Portrait of the Author. Fourth Edition. Large crown 8vo, 9s.

, WITH U PW ARD S OF 60 ILLUSTRATIO N S,Th e A rt o f P aintin g in the Queen’s R e ig n :

being a Glauce at some of the Painters and Paintings of the British School during the last Sixty Years. By A . G. T e m p l e , F .S .A ., Director of the Guildhall Gallery, London. The Illustrations reproduced from the Works 01 the Chief Artists of the Period. Demy 4to, £5 3s- net-

Representative examples oi the leading Painters are reproduced (several for the first tim e): by the Collotype process to the number of between sixty and seventy, in illustration of the work, including many of the prominent productions, such as Landseer’ s “ Monarch of the Glen,” David Cox’s “ Vale of Clwyd,” Millais’ “ Ferdinynd and Aiiel,” “ Chill October,” and “ Fringe of the M oor,” Holman Hunt’s “ Light of the W orld,” and “ Christians and Druids,” and others by Stanfield, Aiulready, Linnell, Turner, Poole, Phillip, Egg, Mason, Watts, Frith, Hook, Noel Paton, Madox Brown, Rossetti, Leighton, Sandys, Poynter, Goodall, Riviere, Stone, Woods, Swan, Gregory, Lavery, Cecil Lawson, David Murray, Henry Moore, Davis, Tadema, Holl, Bougliton, Calderon, &c.

IM PORTANT A RT RECORD.An Illustrated Record o f the Retrospective

A rt E x h ib it io n held a t S o u th K e n s in g to n , 1896. Containing 256 reproductions of exhibits for which Gold and Silver Medals have been awarded by the Department of Science and Art. Compiled and Edited by Jo h n F is h e r , Head Master Kensington School of Science and Art, Berkeley Square, Bristol. Demy 4to, 21s. net.

The Designs extend over every Department of Art, as applied to decorative purposes, studies from life, portrait and figure drawing, models of the figure from life, in bas relief and in the round, studies of drapery, illustrations of historic ornament and architectural details, designs for stained glass, metal work, fabrics of every kind, designs for wall-papers, for mosaics and tiles, for carpets and for lace, with many other cognate departments of art \york.

! It is claimed for the present book that it is the most important that has ever been offered in j this country in connection with our public schools of Art.

| Life and Letters o f John Constable, R.A. By■ C. R . L e s l ie , R .A . With Three Portraits of Constable and 42 Illustrations

from Constable’s Pictures and Sketches. A New Edition, with many fresh Illustrations, and some Notes on Constable and his Work, &c. Edited by R o b e r t C. L e s l ie . Demy 4to, £2 2s.

“ Messrs. Chapman & Hall have not only done a service to art, b q t t o literatuie also,'foi* surely there never was a biography written by one painter of another with such exquisite tact, good taste, and literary appreciation. The book is tastefully printed and bound, and is a very desirable possession for every lover o f Constable’s work.” —P all M all Gazettei

CHAPMAN & HALL, L t d ., LONDON-

THE EASTER ANNUAL ADVERTISER.

WORKS BY MRS. JAMESON.

S acred and L e g e n d a ry A rt, contain-ing Legends of the Angels and Archangels, the Evangelists, the Apostles,'the Doctors o f the Church, St. Mary Magdalene, the Patron Saints, the Martyrs, the Early Bishops, the Hermits, and the Warrior Saints of Christendom, as represented in the Fine Arts.With 19 Etchings on Copper and Steel, and 187 Woodcuts. 2 vols.,8vo, cloth, gilt t o p ............................................................................ net 2 0 0

Legends o f th e M onastic Orders,~ as represented in the Fine Arts, comprising the Benedictines and

Augustines, and Orders derived from their Rules, the Mendicant Orders, the Jesuits, and the Order of the Visitation of St. Mary.With Eleven Etchings by the Author, and 88 Woodcuts. 8vo, cloth, gilt top .. .. .. . . .. . . .. .. net 10 0

Legends o f the M adonna, or BlessedVirgin Mary. Devotional with and without the Infant Jesus, Historical from the Annunciation to the Assumption, as represented in Sacred and Legendary Christian Art. With 27 Etchings and 165 Woodcuts. 8vo, cloth, gilt top .. .. .. .. .. net 10 0

T h e H istory o f O u r Lord, as exempli-tied in Works of Art, with that of His Types, St. John the Baptist and other Persons of the Old and New Testament. Commenced by the late Mrs. Jameson ; continued and completed by Lady E ast- lake. With 31 Etchings and 281 Woodcuts. 2 vols., cloth,gilt top .. . . .. .. .. .. .. .. net 20 0

L ondon, N ew Y ork, and Bombay:L O N G M A N S , G R E E N , & CO.

3

FROM CEORCE A L L E N ’S LIST.B Y J O H N R U S K I N .

L E C T U R E S ON LA N D S C A P E .Given at Oxford in January and February, 1 8 7 1 . With 20 Plates in

Photogravure and 2 in Colour.These Lectures were originally illustrated hy means o f pictures chosen from

the Author's private collection, the University Galleries, <5r'c. Twenty-two o f them, including seven Unpublished Turners, are here reproduced.

15 by 11 inches. Buckram, gilt top, £2 2s. net.

M OD ER N P A IN T E R S .A New Cheap Edition, complete in small form.

Six volumes, crown 8vo cloth, gilt tops, £2 2s. net.With the 225 Woodcuts, the one Lithograph, and the 89 full-page Illustra

tions reproduced in Photogravure and Half-Tone. The Text is complete, and includes the “ Epilogue ” written by Mr. Ruskin in 1888.

NO TV CO M PLETE.

With 231 Illustrations hy WALTER CRANE.

SPENSER’S FAERIE QUEENE.Edited, w ith Preface, B ib liograph y, Fragm ents, &c., b y

T. J. W IS E . A lim ited Edition on A rnold U nbleached H and-m ade Paper.In Nineteen Parts, Large Post 4to ................ £9 19 6 net.Or Six Volumes in Box, Art Canvas, gilt tops ... £10 15 0 net.

The Designs by Mr. Crane include, besides the Cover:

98 FULL-PAGE ILLUSTRATIONS. 80 CANTO HEADINGS. 53 TAIL-PIECES.

The Athenaeum says : “ No modern Artist is so well qualified to illustrate Spenser as Mr.Crane. Many of these designs are quite beyond praise as examples of book-decoration.’ '

The Horning Post says : “ This beautifully Illustrated Edition is in every way worthy of the poet.”

The Daily News says : “ No edition of Spenser has yet appeared which can compare with this in luxury or beauty.”

Black and White says : “ It may be said at once to fulfil all expectations.”

L o n d o n : R U S K IN H O U SE , 1 5 6 , C H A R IN G CRO SS R O A D , W .C .

SAMPSON LOW, MARSTON & CO’S PUBLICATIONS“ T h e m o s t s u m p t u o u s N e w T e s t a m e n t i n e x i s t e n c e — T H E T I M E S .

Dedicated by Special Permission to the Right Hon. W. E. Gladstone.T H E L IF E O F OTJR I.ORD JESUS CHRIST.

Illustrated by over 500 Pictures— 380 Water-Colour Drawings and 150 Pen-and-ink Sketches. B y JA M E S TISSOT.English Edition,. 2 vols. of about 303 pages each, printed on the best paper Large Imperial 4to. The volumes contain over 500 Illustrations ; of these there are

38 plates: 24 printed in colours, and 14 monochrome in photogravure. Accompanying the text, there are 150 reproductions in colour being facsimiles of Tissot’s original drawings, and 200 engravings printed in camaieu, also 150 text woodcuts, besides numerous friezes, capital letters, and tailpieces designed by the artist himself, thus forming a work perfectly unique of its kind.

The Publishers intend to issue the two books in Six Parts each, altogether Twelve Parts, which will appear monthly. The First Seven Parts are now ready.The Price of the Complete Work will be Twelve Guineas net. The Price of each Monthly Part is One Guinea net.Subscriptions can only be taken for the Complete Work, and are payable on delivery of each Monthly Part. The names of subscribers received before comple.ion of

the work will be printed in the volume.' *** Illustrated Prospectus, wish Order Form and Facsimile of Mr. Gladstone’s Letter to M. Tissot, and containing full particulars of the work, can be seen at all the

principal Booksellers. __

3VJEW A N D C H E A P E R ISSU E I N A T T R A C T IV E B IN D IN G S .I L L U S T R A T E D B I O G R A P H I E S OF T H E G R E A T A R T I S T S .

Each Volume contains many Illustrations (in all over One Thousand), including, when possible, a Portrait of the Master, and is strongly half-bound extia, red top.

AT<‘W being issued, Two Volumes in One, half-bound, red top, fo r 4.9. (in some cases 3 . 6d.) each ; or inseparate Volumes, at 2s. 6d. and zs.

ENGLISH PAINTERS. Italian Painters— continued.

N E W IS S U E IN A P P R O P R IA T E B IN D IN G S .

IL L U S T R A TE D H A N D -B O O K S O F A R T H IS TO R Y.

Edited by Sir E. J POYNTER, P R . A., and Professor ROGER SMITH, F.R.LB.A.

Sir Joshua Reynolds. By F. S. Pulling ,M.A. Sir Thomas Lawrence & George Romney.

By Lord Ronald Gower, F.S.A. Gainsborough and Constable. By G.

Brock-'Arnold, M.A.Turner. By Cosmo Monkhouse.William Hogarth. By Austin Dobson.Sir David Wilkie. By J. W. Mo l l e t t , B.A. Mulready. By F. G. Steph en s.George Cruikshank. By F. G .Steph en s.Sir Edwin Landseer. By F. G Steph en s. Cox (David) and Peter de Wint. Lives and

Works. By Gilbert R. Redgrave.

Two Vols • in one,

4s.Two Vols.

in one, 4s.

Two Vols. in one, 4s. Two Vols. in one, 4s. Two Vols.

in one, 4s.

ITALIAN PAINTERS AND SCULPTORS.Giotto. By Harry Qu ilter , M.A.Fra Angelico and the Early Painters of

Florence. By C. M. Phillim ore.

Two Vols in one,

4S.

Ghiberti and Donatello. By L eader Sco tt.

Della Robbia, Cellini, and other celebrated Sculptors. By Leader Sco tt.

Two Vols. in one,

3S.

Mantegna and Francia. By Julia Cartw right.

Fra Bartolommeo, Albertinelli, and Andrea del Sarto. By L eader Sc o tt.

j Two Vols. )■ in one,

Raphael. By N. D’ An vers. ) Two Vols.Michael Angelo Buonarroti. By C harles L in one,

Clem en t. J 4s.

Titian. By R. F. He a t h , M.A. ) Two Vols.Tintoretto. By W. R. Ost le r . j in one, 4s.

j Leonardo da Vinci. By Dr. J. P. Rich ter.| Correggio. By M. Compton Heaton.

Two Vols. in one, 3s. 6d.

Complete L ist o f the Volumes sent post free on application.

Each in Crown %vo, h a lf -bound extra, 5s. per Volume.With nearly 1,000 Iilustiations.

Architecture : Classic and Early Christian. By Pro- l fessor T. Roger Smith and John Sla te r , B.A.I Entirely new and revised edition.! Architecture: Gothic and Renaissance. By Professor | T. Roger Smith and E dward J. Poyn ter, R.A.; Sculpture, Ancient: In Egypt, Assyria, Greece, and I Rome. By George Redford, F.R.C.S.

Sculpture: Renaissance and Modern. By L eader Sco tt.Painting : Classic and Italian. By Edward J. Poyn

t e r , R.A., and Percy R. Head , B.A.Painting : Spanish and French. By George Smith.Painting : German, Flemish, and Dutch. By H. J. W il -

mot Buxton, M.A., and E dwXrd J. Poyn ter , R.A.Painting: English and American. By H. J. Wilmot

B uxton, M.A., and S. R. Koeh ler .Water-Colour Painting in England. By G. R. Red

grave.

L ondon: SAMPSON LOW, MARSTON & COMPANY, Ltd., St. D unstan’s House, F etter Lane, F leet Street, E.C.

THE EASTER ANNUAL ADVERTISER.“ The quality of this excellent magazine improves, like port wine, with age, and ea ch year :

constant adoption of the newest ideas in art and art reproduction. . . The illustrations, whether in photogravure, half to g 8are beautifully finished,*1— Pall IVIalI Gazette.

MONTHLY, is. 6d.

T H E A R T J O U R N A L®lje ©Itost an* of tijo tyeviobical#*

E a c h m o n t h l y n u m b e r c o n ta in s a FULL-PAGE ETCHING or* PHOTOGRAVURE, t o g e t h e r w i t h m a n y illustrated, art ic les on th e a r t top ics of th e day.

PremiumEtching

for 1898.

Each purchaser of, or subscriber to, T H E A R T J O U R N A L for 1898, is entitled to cla im

a copy o f the large etch in g (about double the size o f a p age o f The Graphic), by D a v i d

1 ' °f “ THE TOILS OF DAY ARE OVER,”AFTER

B- W. L E A D E R , R A .upon a nominal paym ent to the publishers o f 2s., together with the tw elve m onthly vouchers.

C O N TEN TS of the Numbers for JANUARY, FEBRUARY, MARCH, and APRIL, copies of which can still be obtained —

JANUARY NUMBER.‘ A R O M A N B O A T -R A C E .’

Painted nv Sir K. J. POYNTKR, P.R .A . Etched i:v C. 0 . M U R R A Y .’4 C H IL L OCTOBER,.’

PHOTOGRAVURE AETKR Silt J. E. MU,LAPS, BART.. P.R.A,1

SIR JOHN EVERETT MILLAIS, P.R.A. P,y R. A. M. S t e v e n s o n . Illustrated THE ‘ BORIA AVALL,’ THE ‘ PENA DE AZOTES.’ By Delia A. Hart. Illustr.vcd CUNNING WORK FOR CLEVER FINGERS. I. Wood-Carving. By Eked Mii.i.er.

Illustrated ................................................................................................................FROM PHIL2E TO KOROSKO.-I. By G eo. Montiiard. With Illustrations by the

A u t h o r ......................................................................................................................................THE COLLECTION OF I. JULIUS WEINBERG, ESQ., DUNDEE.-I. By K. H.

Millar. Illustrated.....................................................................................................THE DECORATIONS OF LONDON CLUBS. I. -The Athenaeum. By A. L. Baldry.

Illustrated bv G eoroe T homson ... ...................................................................THE ARTS AND INDUSTRIES OF TO-DAY. By W . T. W hitley. Illustrated

EXHIBITIONS, PASSING EVENTS, REVIEWS.

FEBRUARY NUMBER,‘ ST. M IC H A E L ’S M O U N T, C O R N W A L L .’

A n Original Etching by DAVID LAW.‘ M RS. M A R K C U R R IE .’

From the Portrait by GEORGE R O M X EY in the National Gallery.page

THE DECORATIONS OF LONDON CLUBS. Th- United Service. Ry A. L. Baldry.Illustrated by G eorge Th o m s o n .......................................................................... ........................ 33

ILLUSTRATIONS AND ILLUSTRATORS. Illustrated ............................................... 307 THE CAMERINO OF ISABELLE D’ESTE, MARQUISE DE MANTUA.—I. By C harles

Yriarte. Illustrated ......................... ........................................................................... ..13 THE PRESENT CONDITION OF ART IN SCOTLAND.—I. By James L. C aw . Illus. 45

ART FOR WINTER EVENINGS. By Lewis E. Day. Illustrated.................................... 4916 LESLIE THOMSON. By R. A . M. Stevenson. Illu strated ..................................... ... 53

THE ARTS AND INDUSTRIES OF TO-DAY. By W . T. W hitley. Illustrated ... 5821 PICTURES AT EXHIBITIONS. By A. L. Baldry. Illustrated .................................... 612 7 PASSING EVENTS. RECENT PUBLICATIONS.

MARCH NUMBER. APRIL NUMBER.

‘ T H E A M E R IC A N P U M A .’Photogravure alter JOHN M. SW AN, A .R .A

‘ A N E M B R O ID E R Y .’P hotogravure alter A L B E R T M OORE.

DAVID COX By J AMES O rrock. I llu stra ted ....................................................................THE PRESENT CONDITION OF ART IN SCOTLAND.—II. By J ames L. Caw . Illus. FEOM PHILJE TO K0RCSK0.—II. By G eo. Montiiard. With Illustrations by the

A u t h o r ......................................................................................................................................CUNNING WORK FOR CLEVER FINGERS. II.- Beaten Metalwork or E epousst*. By

Fred M ii.i.er. Illustrated ............. ................................... ........................THE COLLECTION OF I. JULIUS WEINBERG, ESQ., DUNDEE.—II. By A. H.

Millar. Illustraed ....................................... .......................................THE POSSIBILITY OF REVIVING A HIGHER TASTE FOR DECORATIVE ART.

By Oswald von G i.khn .....................................................................................CAMERA CRAFT. By H. S.nowdf.n Ward. Illustrated ..............................................THE ARTS AND INDUSTRIES OF TO-DAY. By W . T. W hitley. - IllustratedPICTURES AT EXHIBITIONS. By A. L. B ai .dry. I llu stra ted ....................................

PASSING EVENTS. RECENT ART BOOKS.

6560

71

79

8l

8990

93 95

THE DECORATION OF LONDON CLUBS. III.—The Arts. By A . L. Bai dry. Illustrated bv G eorge T homson ............................................................................. 97

THE CAMERINO OF ISABELLE D’ESTE, MARQUISE DE MANTUA.—II. ByC harles Y riarte. Illustrated ................................................................................. 102

PETER DE WINT. By James O rrock. I llu stra te d .......................................................... io5WHAT THE! CLERGY AND ARTISTS’ ASSOCIATION IS DOING FOR ENGLISH

CHURCH ART OF TO-DAY. By F red Miller. Illustrated ....................................noTWO IMPORTANT THEATRICAL PRODUCTIONS. Illustrated ... ......................... 115MONUMENTAL BRASSES : Their Lettering and Ornament. By E dward F. S trange.

Illustrated ....................................................................... 119CAMERA CRAFT. By H. Snowden W ard. Illustrated ............................................... 123THE ARTS AND INDUSTRIES OF TO-DAY. By W. T. W hitley. Illustrated ... 125 SOME PORTRAITS BY BENJAMIN CONSTANT. By L. L. P helps. Illustrated ... 126

PASSING EVENTS.

L o n d o n : J. S. VIRTUE & CO., L i m i t e d , 26, Ivy L a n e , P a t e r n o s t e r Row, E.C.

L. CO R N E LISSE N & SON,O 0 l£ 0 U ^ M E N ,

S o l e A g e n t s f o r

DR. SCHOENFELD’S A R T I S T S ' COLOURS.

Speciality for French Canvases and Brushes.

22, G R E A T Q U E E N S T R E E T , L O N D O N , W.C.

TUE EASTER ANNUAL ADVERTISER. o

“ BELFAST HOUSE. ”ESTA BLISH ED 1766.

WALPOLE BROTHERS, ltd.Royal Irish Linen and Damask Manufacturers

To H is R o y a l H igh n ess The P R IN C E OF W A L E S .The R ig h t Hon. The E A R L OF E L G IN , V IC E R O Y OF IN D IA .

H is E xce llen cy T he LO R D L IE U T E N A N T OF IR E L A N D .

H is E xce lle n cy The G O V E R N O R -G E N E R A L OF C A N A D A . The R ig h t H on. The CO M M AN D ER OF T H E FORGES and the

O F F IC E B S OF T H E G A R R IS O N IN IR E L A N D , &c.

TN offering goods at the undermentioned low rates, the object of W a l p o l e B r o t h e r s is to gain the confidence * and support of the public on good and substantial grounds, and to justify their claim to be not only the best but the cheapest house in the trade.

SOME SPECIMEN PRICES.Ladies* Cambric Handkerchiefs, from 7/7 7 per dozen

Art Linen in all New Shades ... „ I j - per yard

Damask Table Cloths ............ „ 3/3 each

Damask Table Napkins ............ „ 2/6 per dozen

Superfine Extra Heavy Irish Hand Loom Double Damask Table Cloths from 7/6 each

Veined and Fringed AfternoonTea Cloths .................................„ 3/6 „

Linen Sheets, Hemmed ................. trom

Cotton Sheets ......................................Hemmed Huckaback Towels ... „Fringed Diaper Towels ... . ... „White Turkish Towels ... ... „Glass and China Linen ............ „Kitchen Rubbers and Cooks’ Cloths „ Blue Check Cotton Dusters ... „

.9/6' per pair

4/- „6/2 per dozen

4/9 „m »4d. .per yard

2/4 per dozen

I/ O »

Price Lists and Patterns of any of the above sent Free to any address at Home or Abroad.Carriage paid to all parts o f the Country on Orders o f £ I and upwards.

W A L P O L E B R O T H E R S , Lim ited,89, N ew Bond S treet, and 102, Kensington H igh S treet, L ondon, W.

DUBLIN :—8 & 9, Suffolk Street. BELFAST 16, Bedford Street MANUFACTORY i—Waringstown (co. Down).

£ 5 0 BANK NOTE GIVEN AWAYTWENTY MEDALS.

ORIGINALMAKERS

OFARTISTIC

W a ll -Papers

forStudio s

andP ic ture

G alleries

soleADDRESS

TO PU

A )UILIA,” f i n l n l v II n n u fVinf it p a /I l i v

TO PU RCH ASERS OF

The New Indian Perfume,

Solely Manufactured by the Zuilia Perfumery Company,13, Kosebery Avenue, London, E.C.

Put up in artistic Bottles, packed in wool, in handsome Box, is. 3d., sent carriage free, per return, for is. 6d.

‘T his new and powerful scent is a marvellous discovery,

being a blend of odoiiferous perfumes, from which emanates a delicious aroma, delicate and pleasing, the generous bouquet pervading the boudoir, and, in fact, the whole household. No home should be without it. With Z U IL IA Perfume we are giving free a 6d. sample box of ZUTLIA Dentifrice, unsurpassed for the preservation of the teeth.

A SPECIAL OFFER.

£50 will be given gratis to purchasers who succeed in placing together the twelve pieces to form a square.

I nstructions.— Cut out the pieces, and place together in such a way that the whole will form an ordinary square. When done, paste on cardboard or thick paper (in order to keep the square together), then post the same to us with a stamped envelope, addressed, enclosing P.O. or stamps value is. 6d. for ZU ILIA scent.

N ota-B f.n e.—This offer holds good for readers of this paperlfor the next fourteen days. Should thete be more than one person succeed in forming the square, then the £50 will be divided thus : I f two correct, then each will receive £25 ; if five correct, then each will receive £ 10; if ten, then each will receive £ 5 ; and so on. The task set being very difficult, it is anticipated that few will succeed in solving, thus making the remuneration very substantial.

IT IS SURELY WORTH TRYING FOR.The Zuilia Perfumery Co,, 13, Rosebery Avenue,

LONDON, E.C.


STANDARD LAMP and SHADE, in Beaten Iron and Copper, rising to 7 ft., with beet duplex extinguisher burner, and IS in. lace shade, and holder complete, 15/9.

New Department. Cycles !

Cycles ! Cycles !

H igh Grade Machines at Moderate Prices.

LISTS F R E E .

HANDSOME IN LAID LOUIS XV. TABLE, richly mounted with ormolu, fitted with two drawers with locks and key, and marble tcp with br.iss gallery round, £ 1 15s.

OETZMANN & CO.62, 64, 67, 69, 71, 73, 75, 77 & 79,

HA MP ST EA D ROAD, W.(Continuation north of Tottenham Court Rd., <$■ near Burton Gower St. Stations.)

61, GRAFTON ST., DUBLIN. 75, UNION ST., RYDE. 202, RUE ROY ALE, & 12, RUE DE LA POMPE,

BRUSSELS.FOR CONDITIONS UPON WHICH

GOODS ARE SENT CARRIAGE PAIDPLEASE SEE

Illustrated Guide to House Furnishing.CONTENTS.

Complete Estimates for Furnishing at £120 and £260, with full-pige Illustrations.“ Notes on Furniture,” by M. F. F rtth, late of the Lady's Pictorial.Articles on Artistic Furnishing, reprinted from The Lady.

754 Pages and nearly 3,000 Illustrations, with description and price o f every item required in Complete Bouse Furnishing.

G R A T IS AMD PO ST FR E E.Edition de Luxe, bound in Cloth 1s. 6d., post free ; or bound in Leather, 2s. 6d., post

free.

C AR PETS F R E E

C H AR G E.

GRANNY EASY CHAIR.Spring Stuffed, and covered with Tapestry.

£ 1 15s. Od.

SHERATON EASY CHAIR. Spring Stuffed, and Covered Tapestry,

£1 9s. 6d.

“ Witch’s ” COAL CAULDRON, all Black with Wrought Iron handle complete, Medium size, 3 /1 1 ; Large ditto, 4G .1 ; Ditto with twisted Polished Brass, handle, 2/- each extra.

Black COAL TONGS to match, 1/6 per pair.

THE “ VICTORIA.”In Pink or Blue on Ivory Ware, Upright Brush Vase

complete service, 3 '3 .

Do., do., with Tongs, as illustration, 2 7 /3 .Do., do., 12 Spoons in esse, 3 8 /6 ; with Tongs, 4 5 /-

VERY HANDSOME CARVED ANTIQUE BUREAU, fitted with one long and three short drawers and cupboard, the flap, when open, forming a writing slab, and interior fitted with small drawers and pigeon holes for stationery, 3 ft. wide ............................................... £ 4 12s. 6 <L

CARVED ANTIQUE OAK MIRROR, with large bevelled edge silvered pliss, 2 ft. 9 in. wide, 4 ft. high, £ 2 18s 6 d .

6 ft. CHESTERFIELD SETTEE, with luxurious double-spring seat and back, second stuffed all hair, and covered with tapestry, £ 6 15s.

A ll CA R PE TS

CARVED ANTIQUE OAK SPINNING

CHAIR, 6 /9

STRONG BLACK AND BRASS FRENCH BEDSTEAD AND' BEDDING complete ; with double woven Wire Spring Mattress; good W ool Mattress, in striped tick, Bolster and Feather Pillows, complete. 6 ft. 6 in. long, width, 3 ft., 3 1 /6 ; 3 ft. 6 in., 3 6 /6 ; 4 ft., 4 2 / - ; 4 ft. 6 in., 4 5 '-


A. E. BURLING,101, GREAT PORTLAND STREET. W.

©arfoer, cutler, future drawer anti piouirt ©utter.

Florentine, Chippendale, Laurence,' Swept, and Louis Frames in best Gold, on the ^shortest notice. F fo *

Special attention paid to “ Art

Journal ” pictures. A large selection of

patterns to choose from.

Special terms arranged for large quantities of work.

A ■ JANDER50N &.SON5

MANUFACTURERS OF HIGHEST CLASS WALL PAPERS

D E S I G N SSHOULD BE SUBMITTED AT CHISWICK. OR BY APPOINTMENT AT 52 BERNERS STREET. LONDON.

W o rks C h is w ic kNEAREST R.y. STATION. TORNHAM GREEN.

ART SCHOOLS, &c.A .

PARISIAN STUDIOIN LONDON. FOR LADIES.

S u m m e r Sketching; Class in Normandy*

Principal - - M r . W. J. Do n n e .APPLY TQ SECRETARY, GROSVENOR STUDIO, VAUXHALL BRIDGE, S.W.

ATELIER D’AQUARELLE,?, HOLLAND PA R K ROAD, KENSINGTON, W.

WATER COLOUR SCHOOL ------ INSTRUCTION IN DRAWINGAND PAINTING.

U N D ER TH E DIR ECTIO N OF

M essrs. G iffard H. L enfestey and H. P. C lifford(National Gold, Silver, and Bronze Medallists).,.

Life Classes (Figure and Costume) on four days and five evenings a .week. Classes in Still Life, and the usual Preparatory Work. For Prospectus address the School.

THE HERKOMER SCHOOL,

F ounded 1883*

BtTSHET.I ncorporated 1887.

The School is limited to one hundred Students, who receive instruction under the immediate supervision of Professor Herkomer, R .A .

The fee per Term is £ 6 6s., payable in advance.

BEDFORD CQIiIiEGE, Ii0]5D0]5 (Ee^ wejaEjy),York Place, Baker Street, W.

ART SCHOOL.Visitor— H UBERT H ERK OM ER, R .A . Professor— E. BOROUGH JOHNSON, R.B .A .

The Easter Term begins on Monday, A p ril 25 th—Ih e Studio is open from ro to 4. The Professor attends on Mondays,

Tuesdays, and Wednesdays from 10 to 1 .Further information on application.

' LU CY J . RUSSELL, H on . S ec .

I n s t r u c t i o n G i v e n i n

Painting & Illustrating- i n B l a c k a n d W h i t e a n d C o l o u r

f o r P r e s s R e p r o d u c t i o n s b y

M r. Rob Sauber.

For Prospectus apply the Secretary at .School Address—Xa, P H I L L I M O R E G A R D E N S , H IG H §T., X E N S IN G T O N .

WIMBLEDON ART COLLEGE.f\ F e$id<$ptial f\rt S<;l?ool for £adie$.

CUBJECTS:— Drawing and Painting from Costume Model, Still-Life and Antique, J Drapery and Composition, under Mr; L exden POCOCK. Evening Class from Female Life Model, Miss Postlethw aite. Modelling, Mr. Alfred Drury. Black and White, Mr Arthur Cooke. Embroidery, Miss BEn n ett.

Ladies can join for Classes.Prospectus from the Hon. Lady Superintendent, Miss B ennett, T he G arth, W imbledon ;

ot from T he A rt C ollege, 56, M elton R oad, South W imbledon.

S C H O O L O F A N IM A L P A IN T IN G .Principal: MR. F R AN K CALDERON.

O P E N d a i l y : l i v e m o d e l s , A N A TO M Y , &o.

A SUMMER CLASS for outdoor work is held at Midhurst, Sussex, from middle of July to the middle of September.

For fu r th er Particulars apply to T he P rincipal, 54, Baker Street, W .


AN OBJECT LESSONC o

In Furnishing and Decorating can be obtained by inspecting Messrs. Waring’s Suites of Completely Furnished and

-Mt FITTED ROOMSAT

S p ecia l Jlppoinfm cnf to $er l&Tajcsfg.

175-181, OXFORD STREET, LONDON, W .

BRAND & Co.’sM EAT

JUICE.Prepared from the finest ENGLISH MEAT.

“ This is a powerful, nourishing, and stimulating fluid, obtained from prime beef by submitting it to pressure in the cold—a method of preparation which must be regarded as highly satisfactory, for, according to our analysis, the valuable principles of the meat have not only been preserved intact, but the fresh, agreeable, and natural flavour of beef has also been retained.” — lancet, January 7th, 1893.

Supplied to Her Imperial Majesty the EMPRESS of RUSSIA.

C A T T T IO H -.—B ew are o f Im itation s. B a ch genuin e a rticle bears the O riginal F irm ’s S ign atu re and a d d r e s s •

Price Lists of Invalid Preparations free on application to BRAND & CO., Limited,

11, LITTLE STANHOPE STREET, MAYFAIR, LONDON, W.

O. W.R. W. S.

The New Drawing Paper for Artists,With the C o m p a n y ’ s S t a m p on each Sheet.

These papers are of different Surface and Thicknesses in Imperial (30 by 22 inches), 6d. to 2s per sheet; Double Elephant (40g by 27 inches), 1$. to 3s. per sheet; and a Smooth thin pape. (21 by 16£ inches) for “ Blackand White.” ,

SMOOTH FINK GRAIN, MEDIUM AND ROUGH.

CAN BE OBTAINED FROM

M A N U FA C TU R E ROP EVERY ARTICLE FOR

THE ARTIST IN WATER COLOURS.THE ARTIST IN OIL COLOURS.

THE PHOTOGRAPHIC COLOURIST. OF SUPERIOR QUALITY.

24 SOHO SQUARE, LONDON, W .Catalogues and Circulars post free.

NEW M AN 9 8 F L A K E W H IT E I N OILIS MORE B R IL LIA N T LY W H IT E , W E L L PREPARED, AND ____ ^__________ ___LASTING TH AN A N Y OTHER.

ARTISTS’ W ATER-COLOUR TABLETS.F or G eneral A rtist Purposes and “ Black and W hite.”

8tout Cardboard covered with the Best Quality of Drawing Paper of every Variety of Sirface. Whatman’s “ J .N .’ s ” Special Creswick with (i N ” in Water-Mark of each Sheet. Prepared

Varley Paper, &c.HOT PRESSED, FINE GRAIN, MEDIUM OR BOUGH.'

P rices and Sizes of T ablets K ept in Sto c k :—With extra thick and more expensive papers.

10£ by 7? inches 3s. dozen ..................................................... 5s. dozen.14$ by 10$ „ 6s. „ 12s. „21 by 14$ „ 12s. „ 18s. „ „ ef29 by 21 „ 24s. „ 36a. „

&c.,&c. Other Sizes made to Order. [See Circulars/24, SOHO SQUARE, LONDON, W .

Headpiece. Designed by- Walter Crane. By permission of Messrs. R.R. Clark, Ltd., Edinburgh, owners of the Copyright.

TH E W O RK OF W A L T E R CRANE.

I.— IN TR O D U CTO R Y.H E N O T IO N O F A W O R K E R IN A R T U N D E R T A K IN G TO W R I T E A C O M M E N T A R Y U P O N H IS O W N W O R K M A Y SE E M A S T R A N G E O N E, Y E T T H E R E IS S O M E T H IN G TO B E S A ID F O R IT , IF IT IS N A R R O W E D D O W N TO W H A T M IG H T B E C A E E E D

the n atural h istory o f the w ork, the sources from w hich it sprung, the influences under w hich it developed, and the aim s and ideals b y w hich it was inspired.

H ow ever im possible it m ay be to g iv e a n y th in g like a com plete v iew o f one’s life ’s w ork, at all events a man ou gh t to know som ething a t least about his own offspring, a lth ou gh there are m any clever people now adays w ho are quite ready to g iv e him every inform ation on that point, in clu d in g m uch th at has, to the subject, at least the charm o f n ovelty. In the course o f l ife ’s jo u rn ey the traveller ’s p ack th at w e take w ith us undergoes m any vicissitudes, and m any th in gs once th o u gh t essential are cast to the w inds. W e con stan tly have to revise our outfit, th o u gh w e con tin u ally add to it. Y e t, lookin g back, we see th a t certain th in gs we considered at the tim e o f little account served th eir turn, and often in flu enced the whole course we have taken since. E ike the traveller we lik e to recall the various hostelries thatsheltered us, the brave h eraldry under w hich we en cam ped, w hich form afterw ards un forgettable landm arks upon our road.

It seem s ju st as possible to be born w ith pencil and paper in hand as w ith silver spoon in the m outh (as we are told is the fate o f some), b ut bein g the son o f m y father I cannot rem em ber life w ith ou t those prim al n ecessities— I mean pencil and paper— or, as in those days were the ch ild ’s principal draw ing m aterials, p en cil and slate . T he fa cility w hich com es o f early and constan t practice, and the im itative fa cu lty (evolved, I believe, in all b y

1898.

seeing w ork go in g on), were en tirely fostered b y the c ircum stances o f m y early life, and confirm ed b y early practical direction.

R ecollections o f the age o f seven or e ig h t years include certain fan cy portraits o f gentlem en in the large-patterned w aistcoats o f th e early fifties, w h ich I had the tem erity to attach to certain studies o f hands m ade b y m y father w hen p ain tin g h is portraits and afterw ards cast aside. These, so em bellished, w ere show n to visitors, w ho e x pressed am iable surprise— esp ecially at the sk ill w ith w h ich th e o rig in a l hand w as produced ! U ndaunted b y these early successes, and in spite o f the apparent a ttractions o f gunpow der, percussion caps, and old helm ets, I rem ained fa ith fu l to pen cil and paper, w h ile essayin g to depict scenes from the Crim ean w ar, illustration s to Scott, a ltern atin g w ith copies from F red erick T a ylo r and S ir E dw in E andseer. A passion for draw in g anim als carried m y early studies in th a t direction, and w as afterw ards stren gthen ed b y stu d y at the Z oological Gardens. B ut these early years o f w hich I am ' w ritin g were spent at T orquay, and it is to th at neighbourhood th at I owe m y early im pressions and love o f the sea and landscape.

B ein g b rou gh t to Eondon at the age o f tw elve, m y child ish ideas were n atu ra lly m uch influenced b y th e sigh ts there. I d istin ctly rem em ber the excitem en t o f seein g the A cad em y E xh ib ition o f 1857— th e year o f M illa is ’s ‘ S ir Isum bras.’ E iv in g q u ie tly in the w estern suburbs, from w hich, at th at tim e (before m etropolitan railw ays) fields and farm steads w ere ea sily accessible, m y ou tdoor studies and sk etch in g o f anim als w en t on, but m y father possessing a cop y o f John R u sk in ’s first volum e o f “ M odern P ain ters,” I was soon attracted b y the eloquent descriptions o f nature and o f T u rn er’s p ictures therein. T h e sigh t, too, o f certain w orks o f som e o f the leadin g pre-R aphaelites had a grea t effect, even at fourteen. I read R u sk in ’s “ E lem ents o f D ra w in g ,” and sou gh t to draw trees w ith every le a f show in g.

a

8 3 9 8 5 5

2 THE EASTER A R T ANNUAL.

Prom “ The Fairy Ship.’* Designed by W alter Crane. Published by Mr. John Dane. "Wi'Bx

jor me ;

A s e t o f coloured page designs to T en nyson ’s “ L ad y o f S h alo tt,” were, I th in k, m y earliest effort in the w ay o f book decoration, and I wrote out all the poem ; this was a true forerunner or germ o f the m ethod o f later work. These were shown b y a friend o f the fam ily to Mr. Ruskin, and also to Mr. W illiam Jam es L inton, the fam ous wood-engraver, poet, and chartist.

The form er praised them, the latter at once found room for me m his office, at th at tim e in Essex Street, Strand, the windows overlooking Fountain Court, Tem ple, and I was form ally bound apprentice for three years to learn the art o f draw ing on wood for the engravers. I was in the m idst o f w hat was then a flourishing craft.. To this circum stance m ay be attributed the determ ina

tion o f m y work in the direction o f book illustration. I was put to all sorts o f work, from diagram s for m edical books and trade catalogues, to illustrations o f stories, and even to w ork w hich would now be described as t h a to f a special a rtist to an illustrated paper. I also had opportunities o f seeing the w ork o f m any different artists on the wood, from John Tenniel to D. G. Rossetti and Fredk. Sandys. A t L in ton ’s office, too, I first made acquaintance w ith the work o f W illiam B lake (as he,“L inton, did the reproductions for G ilch rist’s book). A ll these influences no doubt had their effect, as had the possession o f the now famous M oxon’s illustrated Tennyson o f 1857, for w hich I saved up m y pocket-m oney, though the designs w hich fascinated me were those o f Rossetti, Holman H unt, and M illais exclusively.

Such influences, however, were not much in evidence till later, I th ink. A certain trade-prettiness was then in demand with publishers, and as there was one’s liv in g to get at sixteen, one had to endeavour to meet the supply or starve.

Journals like “ Once a W ee k,” however, were introducing the newer and stronger school o f artists to the public. Tenniel, Beech, and Phiz still represent the older style but artists like M illais, Charles Keene, Fredk. Walker,"

G. J. P inw ell, M. J. Law less, and F red k. Sandys, gave a distinct character to the journ al in its best days, in w hich it seems to have recen tly been re-discovered b y some, w ith all the trium ph o f origin al patentees, that E n glish art reached its h igh w aterm ark.

I soon becam e a contributor to “ Once a W eek ” m yself, as w ell as to “ Good W ords,” and later, but on one occasion only, to “ P u n ch .”

The publication, b y M essrs. Sm ith, E ld er & Co., o f “ The N ew F o rest,” b y John R. W ise, in 1862-3 (after m y indentures w ith Linton had expired), ga ve me further opportunities o f cu ltiva tin g a love for landscape ; but, though the book was successful, the draw ings made during a tour through the d istrict w ith the author, did not show an y ve ry m arked leanin gs as to sty le— w hich perhaps, at seventeen, would be too m uch to expect. T h ey, however, received praise from G. H . Lew es in “ The C orn h ill,” and the w ork was the m eans o f b rin gin g me a valuable friend in the author.

I did not forget, how ever, that m y first love w as p ain ting, and strange to say, a v e ry early effort, 'T h e L ad y o f S h a lo tt ’ (again) found a place in the A cad em y E x hibition o f 1862.

T his brought me a patron, a Scotchm an too, who actu ally gave me further com m issions, and I w en t on painting sm all pictures, illustrative o f K eats and T e n n y son, for this gentlem an, for two or three years, until, m y m odest efforts b ein g stead ily refused at the then alm ost only door o f a painter’s opportunity, the R .A ., I suppose he go t tired, although I did not, but continued to carry on painting, w ith m y book-w ork, and w orked at life study in the even ings at “ H eath erleys.”

T he opening o f the D u d ley G a llery as a gen era l e x h ibition o f w ater-colour draw ings in 1866, gave a new opportunity o f exh ib itin g pictorial w ork, and I had a draw ing accepted, and continued to exh ib it there every year un til its d issolution or part absorption into the Institute in P iccadilly.

THE WORK OF WALTER CRANE. 9

l " Grimm’s eh old es.”i Goose

:ned hy er Crane, emission issrs. Mae- a. & Co.,

o f necessity, o f the trag e d y o f human life, and also the w onder o f its gradual evolution from the dim obscurity o f the p a s t — th e d i f f e r e n t e p o c h s o f a r t a n d th o u gh t in the ages o f the world, and all seem in g ly controlled b y the ebb and flow o f the tides o f tim e and fate — these are the main ideas o f the verses and the designs, and under the p r e s s u r e o f s u c h th ou gh ts. A n d in v ie w o f the spectacle o f the present stru gg le for existence in the h u man as w ell as the natural world, when the seer o f the vision is brought to the verge o f despair, he has an other v isio n — o f Hope who draws

“ the painted veil “ of things that are,” —

and then discloses the p o s s i b i l i t i e s o f th e future, when man, tr ium ph in g over nature (by ob eyin g her laws) and his own selfish passions, shall realize a true social order in harm ony w ith his own better nature and h igh er aspirations.

N ext in order appears “ A Rom ance o f the T hree R ’s .” The three parts w hich compose this volum e also existed as separate books. These were “ S latean dpen cilvan ia,” “ T ittle Queene A n n e ,” and “ Pothooks and P erseverance.” The idea was a p layfu l fantasia upon the m otives o f R eading, W ritin g , and A rithm etic, ta k in g the troubles o f the novice in his or her efforts to acquire the usual educational rudim ents, as the source o f a series o f fanciful in cidents and adventures, w ith a p lay upon words and m eanings.

M W B I 1H E designs are characterized b y a

different fee lin g to the earlier p icture books, both in idea and colour, and have a different effect also, ow in g to th eir h avin g been drawn on zinc lithographic plates, and also printed in colours lithographically.

A n other w ork undertaken for the

same firm about this tim e, or shortly a fterwards, was also produced b y the same m eth o d ; th e d r a w in g s being made upon lith o graphic plates o f zinc w ith the brush. T his was “ Echoes o f H ellas,” w hich had its origin in a series o f tableaux and dram atic interludes arranged b y various artists, am ong whom were Mr. G. F . W atts, Eord Leighton, Mr. H enry H oliday, and m yself,— the author o f the libretto being Professor W arr, and several d istin gu ish ed m usicians w riting the m usic o f the songs and choruses — such as Mr. M alcolm Lawson and Sir W alter Parratt.

The m atter o f these perform ances w as g a thered into a book un - der Professor W arr’s editorship, and I designed accom panim ents, in the form o f friezes, b o r d e r s , a n d f ig u r e groups, r e p r e s e n t i n g the leading incidents* and form ing decorations upon each page. The w ork is in three parts, the first dealing w ith the “ Tale o f T ro y ,” the second “ The W an derings o f U l y s s e s , ” and the third “ The S tory o f O restes.” The.se

classic them es o f course presented a va riety o f subjects b y no means the easiest in the world to treat, and y et b y their very nature and associations extrem ely attractive to a designer in line. It was curious that in the .spring o f the n ext year I was enabled to p ay a v is it to Greece, and thus realize in some m easure the desire o f years.

L ith ograp h y again was one o f the m ethods o f reproduction used for the n ext w ork, published b y Messrs. Cassell and Co., “ F lo ra ’s F ea st: a M asque o f F low ers,” w hich bears the date 1889 on its first edition.T he book had its o r i g i n in so m e r o u g h s k e t c h e s done to amuse a little g irl. These were a f t e r w a r d s re-designed, carefu lly drawn in outline, the outlines photo-lithographed or processed, and the proofs carefu lly coloured as a gu ide to t h e c h r o m o -

From“ Grimm’sHouseholdStories.”“ The Goose Girl.”Designed by- Walter Crane. By permission of Messrs. Macmillan & Co., Ltd.

Prom “ Grimm’sHouseholdStories.”“ The Goose Girl.”Designed by Walter Crane. By permission of Messrs. Macmillan & Co., Ltd .

1898. C


From “ Panpipes.” Designed by- W alter Crane. Reproduced by permission of Mr. Edmund Evans. Published by Messrs. George Routledge and Sons, Ltd.

lithographer. The scheme o f Flora callin g the flowers from their w inter sleep, and these appearing in order through the seasons o f the year, is sim ple enough, and gives entire freedom in designin g the different groups o f flowers, w hich are personified in a w ay th at aims at expressing their different characters and constitution b y em phasizing certain structural features o f each flower, u tilisin g petals and stam ens, & c., as details or adjuncts to a fanciful costum e. This book proved as great a favourite as was “ B ab y ’s O pera,” and has passed through several editions. There is som ething, I suppose, in u n iversality o f appeal— and everybody loves flowers.

“ Queen S u m m er” followed “ F lora ’s Feast ” as a kind o f not unsuitable com panion, i f not n ecessary com plement, although the conception and treatm ent were in m any respects very different. The germ o f the idea had existed a long tim e in MS., in verse form, in m y desk, and when, as now, called upon to form the thread on w hich m ight be strung a series o f designs, soon took definite shape. The style o f design, type o f costum e, and form o f lettering, is more mediaeval than “ F lo ra ’s F east,” and here and there lig h tly su ggestive o f the G erman renaissance, perhaps, w ith its plum ed flat caps and fluttering m a n tlin g ; but then it m ust be remembered that the whole idea o f the th in g is mediaeval, w ith its tournam ent and accom panim ents. The floral dresses, however, follow the same principle o f u tilisin g and em phasizing the structural characteristics o f the flowers represented.

The same year (1891) appeared “ Renascence : a Book o f V erse ” (London, E lk in M athews). T his included “ The Sirens T h ree,” before spoken o f (w ithout the illu strations), as w ell as other verses, both earlier and later. These were decorated w ith headings and frontispiece, colophon and other devices in b lack and w hite.

In this year also I collaborated w ith W illiam M orris in

producing the illustrated edition o f “ T he G litterin g P la in ,” issued from the K elm scott Press. H e designed all the ornam ental borders and title and in itials, w hile I supplied the little pictures enclosed b y them . I doubt, however, i f I was ever quite G othic enough in feelin g to su it his taste.

In 1891, at the invitation o f the Fine A rt Society , a representative exhibition o f m y w ork was arranged in their large room in Bond Street. It included pictures in oil and water-colour, decorative designs, cartoons and wall-papers, re lie f w ork in gesso, and a large num ber o f the original draw ings from the books w hich I have m entioned here.

In the autum n o f this sam e year a v is it to A m erica was decided upon, and at the suggestion o f the late Mr. H enry B lackburn, the authorities o f the Boston M useum o f F ine A rts were approached, w ith the result th at I received an invitation to b rin g over the collection shown in Bond Street to form an exhibition there. T his was accord in gly done, and the good ship Cephalonia in due tim e bore the Crane fam ily and th is freigh t over to Boston. T his was in October, 1891.

Before leavin g London Mr. G. F . W atts had done me the honour to ask me to sit to him for a portrait. T his was painted in the studio at L ittle H olland H ouse in about s ix sittin gs, w ith an interval o f about a fortn igh t between the fourth and tw o final sittin gs, I th in k. T his picture w ould be rem arkable i f on ly for the fact th at it was received, w hen exhibited at the N ew G a llery the fo llow in g summer, w ith unanim ous approval. It is com m only held, indeed, to be one o f the finest w orks o f the great m aster. One cannot b ut feel th at one w as fortunate in happening to have been the subject, since there can be no doubt either o f the q u ality o f the w ork or o f the artist who produced it.

THE WORK OF WALTER CRAKE.l?rom “ The First of May.’* Designed by W alter Crane. By permission of Messrs. H. Sotheran & Co.

Our Am erican cousins had certain ly h eartily re-echoed the appreciation w ith w hich the coloured picture books and other published designs o f m ine had been received at hom e—more especially at Boston, where the feelin g for, and interest taken in, E n glish art and literature, and E n g lish intellectual and social m ovem ents is m uch more m arked than in other cities o f the States.

I f im itation be the sincerest form o f flattery, I had had reason to feel flattered, since certain firms in both Boston and N ew Y o rk had lon g before th is put forth pirated editions o f certain o f m y books. More g ra tify in g were the private tributes I had received from tim e to tim e

11

from A m ericans as to the estim ation in w hich m y w ork w as held in their country, and m any had been the enquiries as to when I m ight be expected on tran satlantic shores.

One certain ly m et w ith m any d eligh tfu l people and m any excellen t friends, a great deal o f curiosity, and in Boston, at least, a ve ry decided interest in one’s w ork, as shown at the A rt Museum there under the able and courteous direction o f Colonel Coring, the archaeological and classical learn ing o f Professor Robinson, and the enthusiasm and extraordin ary know ledge o f Japanese A rt o f Professor Feneloza. I look back w ith pleasure to m y association w ith these gentlem en at th at tim e, as w ell as to m any other m ost valuable and interestin g acquaintances made not on ly at Boston, but at N ew Y ork, Chicago, Philadelphia, and St. Eouis. There can be no doubt, however, that in some quarters one’s avowed sym p ath y w ith socialism and the stru ggles o f the w orker towards econom ic freedom considerably discounted the appreciation extended to one’s w ork as an artist— but this is a sort o f th in g, strange as it m ay seem, quite possible to m eet w ith in an y so-called “ fr e e ” country. M y im pression was, however, that from th is point o f view , and certain ly from the point o f view o f the labourer, the U nited States were far less free, and social sentim ent was far less advanced, than in tradition-ridden old E ngland. A ll the more one valued the fran k friendship o f men like W . D. H ow ells, Dr. Em erson, and H enry D. E loyd.

A s to artistic results o f the v isit in book-w ork, there is the “ W onder B o o k ” o f N athaniel H aw thorne, w hich I was com m issioned to illustrate and decorate w ith designs in colour, b y M essrs. H oughton, Mifflin and Co., o f the R iverside Press. T h is occupied a good deal o f m y tim e, the w hole o f the draw ings h avin g been made durin g m y stay, and, as it happened, m ostly w hile on a v is it to Florida, in a little tim ber house in the w o o d s; the oleander in bloom, and the beautifu l red bird o f those regions flittin g about, but— as a counterpoise to these attractions— a tem perature o f over 80 degrees !

Som e four black-and-w hite illustrations to a “ D an te ,” for children (!), b y Miss H arrison, o f C h ica g o ; an a llegorical design for “ The W orld ’s F a ir ,” for The Chicago H erald; and “ C olum bia’s C ourtsh ip ,” for Messrs. E. P rang and Co., o f Boston, were am ong other w orks done w hile in A m erica. The latter was a series o f tw elve designs in colour, representing b y typ ica l figures a short h istory o f the U nited States, w ith accom panying verses ; the same set o f designs as a series o f detachable sheets doing d u ty as “ C olum bia’s C alen d ar.” T h ey were rem arkably w ell reproduced b y M essrs. Prang, whose reputation as colour printers stands v e ry h igh in the States.

The n ext book undertaken after m y return to Eondon in A u gu st, 1892, was o f A m erican origin, and for the house o f H oughton and M ifflin— “ The Old G arden,” b y M argaret Deland, whom I had m et in Boston. The sty le and arrangem ent o f the illustrations were different again. T h ey were in colour, and som ew hat lig h tly vignetted around the te xt— know n as sm all-pica C axton — in the form o f headings and half-borders, or sp rin gin g as foliation from in itia l letters. The flower-figures recalled the treatm ent adopted in “ F lora’s F ea st,” but on a sm aller scale. The cover design, w hich was printed in colours, is g iven on page 17. Both this and the “ W onder Book ’ ’ were printed in Boston and the b locks prepared there, and both, it seems to me, are extrem ely creditable to Am erican engravers and printers, and the colour effect is rem arkably fa ithfu l to the origin al draw ings.

THE EASTER A R T ANNUAL.

The n ext i m p o r t a n t w ork was the illustration o f Shakespeare’s “ Tem pest ” — a set o f eight designs (p e n -d r a w in g s ) and a title-page, done to the p lay on the invitation o f Mr. Duncan C. Dallas, the inventor o f the Dal- lastype process, b y w hich the draw ings were reproduced. The w ork was published b y Messrs. D ent and Co., and issued sim p ly as a set o f designs w ithout the text. The opening design is reproduced on page 18. The leaf- border designed for the title-page was afterwards adapted b y Mr. D ent for h is “ T e m p le ” S h a k e speare (though not im proved b y reduction), for w hich I supplied title- pages— one for each play.

“ The Two Gentlem en o f V e r o n a ” fo l lo w e d “ The T em pest,” and was treated in a sim ilar w ay, as a set o f pen-drawings, reproduced in fac-sim ile b y Mr. D allas’s process, and also published by M e s s r s . D e n t. “ T h e M erry W ives o f W in dsor” was the third o f the sets, but this was issued in book form b y Mr. George Allen.

Mr. Allen about this tim e proposed an illu strated edition o f “ Spenser ’s F a e r ie Q u e e n e ,” which, curiously enough, had been a dream of mine in earlier days, as the antique form, the beauty and chivalric romance, w ith the v iv id a llegory, and fine sense o f decorative detail o f S p e n s e r ’ s poetry were extrem ely alluring. The task, therefore, o f d esign in g a series o f fu ll-b ordered pages, one, and som etim es two, to each canto oi the six books o f the poem, besides headings, in itia l le tters, and tail-pieces to each canto, though form idable, was a congenial one, and I undertook it w ith peculiar interest. The exigencies o f publication dem anded the delivery o f the m aterial for one part each m onth, w hich m eant very close and continuous w ork, difficult enough, when circum stances obliged one to attend to other w ork at intervals, to say n othin g o f the con tin u ity havin g to be broken every m onth b y a v isit to the M anchester M unicipal School o f A rt.

The w ork was com m enced in the sum m er o f 1894, and the last designs were sent in at Christm as, 1896.

“ The Shep herd ’s C alen d ar,” w ith tw elve fu ll-page designs, a double title-page, two borders used altern ately throughout the book, and the em blem devices accom p an yin g the page designs to each eclogue, not inapprop riately follow s “ The Faerie Q u ee n e” in 1897; b u t th is was at the instigation o f Messrs. H arper and Brothers.

T his w ork com pletes the list o f w orks o f a n y im portance in the w ay o f book designs o f m ine w hich have appeared up to the present tim e, unless one m ay m en tion the reissue o f the old toy-books th rou gh Mr. John Dane, w hich com m enced w ith “ T his T ittle P ig ,,, “ The F a iry S h ip ,” and “ K in g I/uckieboy,” at Christm as, 1895.

M essrs. Routledge havin g sold me the origin al blocks,

Prom “ The Sirens Three.”A Poem written and illustrated by W alter Crane. B y permission of Messrs. Macmillan & Co., Ltd.

THE WORK OF WALTER CRANE .

vertica l divisions, and repeating, o f course. This was for m achine p rin tin g from a roller.

Then M essrs. Jeffrey and C o., who, from the first, have produced m y w all-paper designs, w anted a b lock-printed paper, and the result w as the “ M argarete,” w hich was also offered as a w all-decoration, com plete in itself, b y the addition o f a dado o f lilies, a frieze o f sym bolic figures, and a ceilin g .

A lon g series o f designs has follow ed, produced b y the firm o f Jeffrey and Co., ever since these first efforts (about 1875, I th in k), and n atu ra lly th ey show considerable chan ges o f sty le in the course o f years, com ing under the different influences w h ich have affected the- character o f on e’s w ork from tim e to tim e.

A com parison o f the later designs w ith the early ones shows the use o f a more flow in g character o f line in the general structure o f the pattern, and a richer and more redundant detail for the m ost part, although this is som etim es a m atter controlled b y the requirem ents o f particu lar papers— sim ple or sum ptuous. On the w’hole, one is inclined to return to com paratively sim ple m otives in pattern and colour as more in keep in g w ith the character and purpose o f the m aterial and the m ethod o f production, but one cannot resist the n atural tenden cy, in the practice o f a n y art, tow ards grow th and evolution— as it were, an alm ost unconscious im pulse, leading one on in the w o rk in g out o f certain ideas o f form and line, as i f design were, after all, bound to obey the law s o f the

natural world, the form s of w hich it som etim es adopts. M y essays in textile design have not been so numerous. M y first were some em broidery designs, and in the early days o f the R oyal School o f A rt N eedlew ork I did a good m any designs, both figure-w ork and floral, to be w orked there.

M y first attem pt at a pattern for w eavin g w as for a M anchester firm. It was a woollen curtain heightened w ith silk, and the design consisted o f the m oon— Tuna in her sh ip — a ltern atin g w ith stars. T his covered the m ain field, upon a blue ground. The border showed an arabesque en closin g figures o f the hours, and in a deep dado-like border at the bottom appeared the ch ariot o f the sun in the circular disc, th is repeating in a row in the same w ay as moon and stars above.

Y ears afterw ards I m et with this curtain in a sleeping car o f the Southern Pacific on m y w a y from San Francisco to N ew Y o rk .

A nother M anchester m anufacturer made a bold venture in some designs o f mine for printed cottons (dress fabrics) to celebrate the Jubilee year o f 1887. There were tw o designs produced, one o f w hich I g ive on page 24, w hich is a kind o f apotheosis o f the B ri

tish Em pire expressed in a figurative sort o f w ay.Then there is a printed tussore silk produced at

M essrs. W ardle and C om pany’s works, at E eek, from a design o f mine, em bodying the four seasons and the sun and moon.

Messrs. Tem pleton have recen tly produced a carpet design o f mine, in W ilton and Brussels, a pattern o f daffodils and blue-bells w ith a border o f iris.

A design for a dam ask table-cloth has been v e ry su ccessfu lly reproduced b y Messrs. John W ilson and Sons. Its them e is the F ive Senses, represented b y typ ica l figures in com partm ents formed b y scroll w ork on the field o f the cloth, w ith a border o f anim als o f the chase. T he m o tto :

May soul with sense united be,Good cheer and pleasant company;And if Beauty meet with Wit,The company, though few, is fit.

w as in the first draw ing (reproduced on page 25) used on the subsidiary borders, but it was an objection that the words were necessarily reversed in repetition, and so, u ltim ately, a sm all repeating leaf-pattern was. used instead.

G E S S O A N D P L A S T E R R E L I E F W O R K . - = =

My earliest attem pts at m odelling were w ith some Eondon c lay from a suburban brick-field, I th in k, and

Prom “ Queen Summer.” Designed by- Walter Crane. B y permission of Messrs. Cassell & Co., Ltd.

i 6THE EASTER A R T ANNUAL.

Prom “ Echoes of Hellas.” Designed by Walter Crane. By permission of Messrs. Marcus Ward & Co., Ltd.

7 V ; : :

f

I don ’t th in k I go t any further un til happenin g (about 1874 or 1875) to have some decorative panels to do for the fi dining room, it occurred to me to raise and g ild parts o f them som ewhat after the m anner o f the early F lorentine schoo . E v en tu a lly all the figures were raised in a paste, ma e o p a Paris and glue, applied to ordinary canvas.

A fter this a rather extensive piece o f decorative w ork fel m y w ay. The late D r. W illiam Spottisw oode w ished to decorate the large saloon o f his country house, at Com be B ank, Sevenoaks, and I drew out a schem e for him . The c h ie f feature w as a large ceiling, w hich existin g m ouldings had divided into five com- p a rtm e n ts-a large one in the centre, and four squares w ith corners cut off at the angles. F or th is ce ilin g I p anne subdivisions for a schem e o f the Seasons and the P lanets to be represented b v figures m odelled in relief, and gilded and tin ted

in various w ays. In the centre was the face o f the Sun and in the com partm ents o f a kind o f w heel to su g gest eir

■a

' \ v

revolution—the figures o f the Season s—Spring, Sum mer, A utum n, and W inter. T he w heel was supported at each end b y two w inged figures ; in the side panels, flanking the centre, were sm aller square com partm ents, w ith figures .suggesting the tim es o f d ay — M orn, Noon. E ve, N ig h t— and between them , in circles, the Moon on the one side, and M ercury on the other. A repeating design o f a chain o f figures, supporting globes, formed a border. In the square panels at the four corners were figures o f Venus, Mars, U rania, and N e p tu n e ; Jupiter and Saturn occupying spheres at opposite ends o f the ceiling.

A ll the figures were m odelled in a gesso o f plaster and glue, w ith cotton w adding used as fibre. T he repeating borders were cast in ordinary plaster, and the grounds o f the panels were o f fibrous plaster.

I also designed for the same room a som ewhat elaborate chim ney breast, containing a m odelled group o f the Fates, and m odelled pilasters and other ornam en ts; as w ell as the enclosing fram ework o f wood, and the m etal w ork o f grate, fire-irons, and standards. The door and shutter panels o f th is room were also fitted

w ith figure designs su ggestin g welcom e and farewell, and other figures em blem atic o f the arts and sciences. A stam ped and gilded

paper I had designed ju st previously for Messrs. Jeffrey, o f an Italian renaissance

> ( . (

a \

Av r

THE WORK OF WALTER CRANE. i 7

Prom“A Wonder

Book.” Designed by- Walter Crane. By permission of Messrs. Harper and Brothers.

character, con tain in g such elem ents as peacocks, amo- rini, cornucopiae, and other em blem s, was used to cover the w alls.

A n illustration o f the ceilin g design from the origin al scale sketch is g iv en on page 27.

M y n ext decorative w ork o f the kind w as the d in in groom o f Mr. A . Ionides, at 1, H olland Park. The schem e here com prised a coffered m oulded ceilin g in square panels, w ith a design o f a b ranchin g conventional vine in low relief, fram ed in b y m ouldings enclosing a repeatin g sm all pattern o f cu rlin g tendrils flush w ith the fram ew ork, and h a vin g b y w a y o f a boss at the intersection o f the angles an inverted G reek w ine cup or c y lix — an allusion to the R u b aiyat o f Omar K h ayyam , a quotation from w hich form s the border to the panel inserted over the m antelpiece.

T he frieze w as also panelled in squares containing subjects m oulded in plaster, illu stra tin g the Fables o f ^Esop, the panels bein g divided b y vertica l pilasters with an arabesque design, also m oulded.

T he w hole frieze and ceilin g were silvered, and then tin ted w ith coloured lacquers. Mr. P hilip W ebb had previously designed the w oodw ork o f the room, including a sideboard and the m a n te lp iece ; and I afterw ards decorated the panels o f these w ith raised designs in gesso, m odelled w ith the brush. T h a t is to say, I supplied the designs, the actual w ork being done, in situ , b y two assistan ts— the late Mr. Osm und W eeks (who also assisted me in the Com be B ank w ork), w ho m oulded and fitted the frieze and ce ilin g panels, and Mr. Leonard Ball.

In the same room were also placed two electric-ligh t branches and a set o f finger plates from m y designs, the m odels for the latter, made in gesso, being illustrated on p age 26.

A n other som ew hat extensive w ork in gesso and plaster re lie f w as undertaken by me for S ir F . W igan , at Clare

1898.

Law n. A repeatin g frieze sym bolising the arts was m odelled b y me, m oulded b y Mr. W eeks, and fixed in the picture ga llery.

A n extension to the house w as designed b y Mr. Aston W ebb, who also called m y services into requisition to design and m odel friezes in gesso and plaster for the draw ing-room and library. T h at for the drawing-room consisted o f a frieze divided into panels b y pilasters or panels filled w ith a treatm ent o f the linen-pattern, the vertical rigid folds and lines o f w hich contrasted w ith the lines and masses o f the figure groups between them . These were m odelled in gesso. The subjects bore more or less 011 the ligh ter side o f life as befitted the uses o f such a room. M usic o f different kinds, dancing, conversation, were all suggested in different panels b y groups o f figures, in w hich was attem pted a treatm ent o f modern costum e adapted to decorative purpose.

The doors, and other panels in the w oodw ork below, were also decorated w ith gesso panels in relief, w ith patera upon the flat parts o f the fram ing.

In the library was placed a frieze p la y fu lly suggestive o f the h istory o f books and the different characters o f their contents, b y means o f groups o f am orini, in panels divided b y pairs o f flat fluted pilasters. In one, for instance, would be the scribe at w ork w ith his pen ; in another a G utenburg at the hand-press. Then, too, groups su ggestive o f philosophy, science, classical lore, vo yages and travels, h istory, and romance, appeared in the vSeries.

T h is frieze was m odelled in gesso and cast in fibrous plaster, toned afterw ards to a dull ivo ry tint, and in parts relieved w ith bronze gold. T he w alls were covered w ith the paper know n as “ Corona Vitae,” after m y design.

Bolder relief, necessitated b y the conditions o f lig h ting, was adopted in a later plaster frieze— in this case m odelled first in c la y on fibrous plaster ground and m oulded b y Mr. P riestley— designed for another room o f Mr. A ston W eb b ’s, a dining-room for S ir W eetm an P earson, at P addockhurst.

T he schem e o f this one was a frieize, divided into

Book Cover. Designed by- W alter Crane. B y permission ofMessrs. Harper and Brothers.


panels o f various lengths accordin g to the structural divisions o f the w all, em bodying, b y means of typical groups, a sort of short and p layfu l h istory o f locomotion and transport.

The principal panels on one side showed prim itive man w ith his squaw and child on foot, he carry in g his gam e across his shoulders, .she her baby at her back in the m anner o f the Indian and the gip sy, and the child she is leading draggin g a prim itive to y — a rein d e e r -a fte r him . A group of w ild horses is in front o f them ; two men are stru gg lin g to hold and to m ount tw o of the horses, w hile a third, to ty p ify m an’s conquest o f the horse, and the advantage it gave him, is rid ing off, trium phan tly poising his spear.

There is here a break caused by the arcade o f a m usic gallery, and on the other side the story leads on to the laun ching o f the p rim itive canoe b y the early boat- builder, or lake-dw eller, who has placed his fam ily on board and is pUvShing off. T h ey are regarded curiously— or rather looked back upon— from a passing wagon of the prim itive A ragon type w ith solid wooden discs for wheels, drawn b y oxen. The fam ily, w ith the household stuff, sits inside or on the .shaft, and the patriarch w alks alongside the oxen w ith his goad and his dog.

A considerable jum p in time m ust be pre-supposed between this and the n ext panel, w hich, how ever, occurs at the further end o f the room, and represents transport b y w ater b y m eans o f the canal boat. Tw o boys o f the Sandford and Merton period w atch the wonder, havin g respectively a toy ship and a toy cart and horse in their hands.

T his panel is balanced b y one showing" a stage-coach w ith four-in-hand careering along the road, w ith inside and outside passengers, and the guard blow ing his horn.

Then we cross to the window side, where the panels are more subdivided. H ere the n av vy and the railroad appear, the nursem aid and peram bulator, the bicycle, and finally the motor car, rather fan cifu lly treated.

Then balancing each other at each end o f this portion o f the frieze, w hich runs narrow over the tops o f the windows, are allegorical figures, nam ely, Labour and Science g iv in g w ings to the w heel b y means o f w hich Labour and Science g ive w ings to the world.

F in ally , in the panels divided b y the projection o f the chim ney breast, are placed sym bolical su b je c ts : one being the Genius o f M echanical (or E ngineering) In ven tion un itin g A gricu lture and Com m erce ; and the other, the Genius o f E lectric ity un itin g (by the telegraph) the parts o f the earth— Europe, Asia, A frica, Am erica, and AUvStralia. These two panels are reproduced as samples o f the treatm ent on pages 28 and 29.

The frieze has been toned, b y w ax and colour rubbed in, to a darkish ivo ry tint, as the w all below it is panelled in m ahogany.

DESIGN FOR STAIN ED GLASS.

My first designs for stained glass, I th in k, were some sm all panels for a lib rary w indow in an Am erican house, at N ewport, R .I. These were executed b y Messrs. W illiam Morris and Com pany, at M erton. T he sam e firm also carried out tw o designs I made for the doors o f the Picture G allery at C lare L aw n — sin gle figures, typ ica l o f the two sides o f A rt — Speculum Naturae and Spherae Im aginationis. A larger w ork w as a th ree-ligh t w indow, designed for a C hurch at N ew ark, N ew Jersey, and carried out b y Messrs. J. and R. Lam b, o f N ew Y o rk . The subject was “ St. Paul preaching at A th en s,” and the figures were on a large sca le— about ten or tw elve feet h igh .

The n ext w ork in glass w as a com plete set o f w indow s for “ The A rk o f the C o v e n a n t” — the C hurch o f the

Prom “ The Tempest.” Designed by- W alter Crane. B y permission of Mr. Duncan C. Dallas, and Messrs. J. M. Dent & Co.


Prom Spenser’s “ Faerie Queene.” Designed by- Walter Crane. Published by Mr. George Allen.


Labour Cartoons. Designed by- Walter Crane.

pbt -for TbAy-’O Y fro*t*(poirtr QNn( ]

A gapem one— at Stam ford H ill. I t w as a new church, designed and erected b y M essrs. Joseph M orris and Son, o f Reading. M y designs for the apse window, or rather the three tw o-ligh t w indow s form ing the apse, contained in the centre the sym bols — the Eion o f the T ribe o f Judah and the Dove. In the w indow to the left, the su b je c t was the Translation o f E noch ; and in th at to the right, the Translation o f E lijah . A sketch for the last window is given on page 30.

T he tw o-ligh t aisle w indow s were filled w ith floral designs, such as the rose, the lily , the vine, the fig, the olive, the iris, and were lig h te r in tone than those at the east and w est ends. The large four-light w est w in dow had a design o f the risin g Sun o f R ighteousness. The figure o f a man was on one side, and o f a wom an upon the other, adoring ; four angels above carried a scroll w ith the text, “ Then shall the Sun o f R ighteousness arise w ith healing in his w in g s .” Sm aller (tw o-light) w indow s at the ends o f the aisles contained figures on the one hand o f “ Sin and Sham e,” and on the other o f “ D eath and D isease,” w hich are supposed to be driven aw ay w ith the shadows o f the evil n ig h t at the ris in g o f the Sun o f R ighteousness.

The glass for these w indow s was executed b y a new artist, Mr. J. S y lvester Sparrow , who shows rem arkable feelin g for depth and richness o f colour, and has made effective use o f Messrs. Britton and G ilson ’s glass, in vented b y Mr. Prior, w ith the “ a n tiq u e ” glass o f Messrs. Powell.

A nother large w ork in glass design now on the point o f com pletion is a five-ligh t perpendicular w indow w ith tracery, in w hich Mr. Sparrow, as the glass painter, again co-operates w ith me as the designer and cartoonist. A reproduction o f one o f the ligh ts is g iv en on page 30, w hich m ay give some s ligh t idea o f the general sty le and treatm ent o f the design, though not o f the glass i t se lf; for glass is one o f those th in gs w hich m ust be actu ally seen in sitic to be properly ju d ged .

T he lead line is so im portant an elem ent in glass design th at I feel no cartoon can be considered rea lly com plete w ithout the leads being put in. In fact, I th in k the design in lead line alone ought to be fa irly com plete and agreeable as an arrangem ent o f line even w ithout the colour, and as such it m ay in plain glass have a separate life, although, o f course, the leads and the glass are really m utually d ep en d en t; and in a fully-coloured window one hard ly thinks o f the one w ithout the other. A s to treatm ent, o f course m uch depends upon general con ditions, but I th in k it m ay be quite possible in design in g to go far in a pictorial direction, so lon g as the result is in harm ony w ith the architecture, and appeals p rim arily to the eye as a pattern o f lead line and colour— a netw ork o f jew elled ligh t.

TILES AN D PO TTERY.In these directions m y w ork has been ve ry lim ited, but

m y first begin nin gs date some w ay back to the late sixties, and to a first v is it to the Potteries, when I made, through a friend in Cheshire, the acquaintance o f the W edgw oods at E truria, and painted for them afterw ards some figures o f the Seasons and the Ten V irg in s upon vases o f their cream -coloured ware. I also designed for them a border for a k in d o f encaustic in la y th e y had invented, applied to the decoration o f a chess-board ; and th is w ent w ith the vases, I th in k, to the Paris E xh ib ition o f 1867.

A b out 1874 or 1875, I th in k, I designed some sets o f six

r? ©Is§ t; -Q n■g 3 -o o .H o © . -Q Cl &


‘ La Margarete Wall-paper. Designed by Walter Crane. By permission of Messrs. Jeffrey & Co.

For the same firm also I designed a set o f vases for lustre ware, g iv in g the sections for the throw er, and painting on the b iscu it the designs, w hich were copied on duplicate vases in lustre. These were exh ib ited at one o f the A rts and C rafts E xhib ition s. T he reproduction on page 31 g ives an idea o f the contours o f these vases and the general effect o f the designs.

EASEL PICTURES.IT now only rem ains for me to speak o f another class o f

m y w ork, nam ely, p ain tin g . In th is case the last is also the first, as p ain tin g w as the first cra ft I attem pted, and it is the one I return to a fter fo llow in g other kinds o f design.

I th in k I m entioned m y first am bition w as to excel in anim al painting, and this led me into the fields to sta lk (in a peaceful manner, but requ irin g fu lly a sportsm an’s patience) cattle, and sheep, and ponies, w henever I could g e t a shot at them w ith m y pencil or brush. The site o f w hat is now the artistic suburb o f Bedford P a rk — at one tim e an open com m on— was the scene o f some o f m y early struggles w ith N ature on four leg s. These legs m ay be said to have carried me to a patron, and to have been the means o f tran sactin g a purchase, as quain t and prim itive as it was unexpected. I had sketched a m ilk m an’s pon y— sh a g g y and w all-eyed, I rem em ber— and the proprietor came forth to take him b y the fore-lock (which was am pler than T im e’s) back from the common to the shafts. He saw the sketch , and said i f I w ould come along w ith him he w ould g iv e me a glass o f m ilk for it. H is yard bordered on a part o f the common, and the bargain was soon concluded— sw allowed, I should sa y — on m y part.

I was quite satisfied, as it gave me free entry to the m ilkm an ’s yard, fu ll o f cocks and hens, cows and calves. The live stock included a m ost attractive b lack and w hite

and eight-inch fireplace tiles for Messrs. M aw and Co. These, in the first place, consisted of figures m uch in the style o f m y nursery books, o f such characters as M istress Mary, Boy Blue, Bo-Peep, and Tom the P ip er’s Son. These were etched 011 copper in outline, and.printed and tran sferred to the tile, and afterwards coloured b y hand. The treatm ent did not differ m uch from the treatm ent o f sim ilar subjects in the full pages o f “ The B ab y ’s Opera ” — in fact, I rather th in k th at the square form, size, and treatm ent o f the six-inch tiles really suggested the adoption o f the same size and treatm ent for the book, w hich m ust have been planned v e ry sh o rtly afterw ards. T his affords an instance o f the su g gestive influence one kind o f m ethod has upon another.

A set o f eight-inch tile designs (produced in the same way) o f the Seasons o f the Y e ar and the Tim es o f D ay w as more am bitious in aim and classical in treatm ent. The subjects were connected b y a sligh t repeating design b y w ay o f open border above and below, w hich covered the jo in ts when the tiles were placed one above the other in the jam bs o f a fireplace.

A set o f six-inch tiles, representing by single figures in circles the Four Elem ents, w as designed for the same firm a little later. These were relieved upon backgrounds o f solid colour o f the same tin t as the outline.

Then for the Paris E xhibition o f 1889, I designed a vertical panel and two friezes to be inserted in a set o f w all tiles painted w ith a pattern designed b y Mr. Eew is F . D ay. “ Eabour ” was the them e o f these designs— P loughing, Sow ing, and R eaping. These tiles were produced in lustre ware.

“ The Meadow” Wall-paper. Designed by W alter Crane. By permission of Messrs. Jeffrey & Co.

“ The Peacock Garden ” Wall-paper. Designed by- W alter Crane. By permission of Messrs. Jeffrey & Co.


‘ The Pour Seasons.” Printed Silk. Designed by- Walter Crane. By permission of Messrs. Wardle & Co., Leek, Staffs.

greyhound, and a sh a g g y b lack poodle. It was like liv in g in G eorge M orland’s pictures.

I found, later, another attractive resort near W orm wood Scrubbs— before the prison b ligh ted it, and when it was innocent o f rifle butts and iron railin gs, an open common w ith on ly a cattle shelter upon it. T h is w as a little farm where lived a good-natured old couple, who k ept dogs, a donkey, a cow, and a horse. The}- lived in a little pan-tiled M iddlesex cottage, w ith a few fields touching the canal, and kept the .shooting-range o f a gun-m aker, w ith a running deer in i t ; but both th ey and their farm, shooting range, running deer and all, have disappeared long ago before the steady m arch o f the jerry-builder.

The n ext phase was the developm ent o f a taste for landscape, probably fostered b y R u sk in ’s descriptions o f Turner, and afterw ards b y the sig h t o f T u rn er’s pictures them selves, then at M arlborough House.

Then came the pre-Raphaelite influence, and w ith these m ixed elem ents one seemed to develop a kind o f sem ipastoral, sem i-rom antic feelin g for a com bination o f figures and landscape, w hich found favour at the D udley G allery in cour.se o f tim e, as already m entioned.

The love o f rom antic landscape was certain ly fostered b y a visit to the Peak d istrict o f D erbyshire in the sum mer o f 1863, where m y friend W ise was stayin g . Y ear after year from that tim e it was m y painting ground. The clear D erw ent fa llin g over its boulders, or running into deep brown pools under the wooded banks ; the black crags o f the M illstone above the valle3^, and the vista o f un dulatin g blue hills and peaks towards Castle- ton ; the larch woods, and open sw eeping m oorlands, purple and russet w ith heather ; and the old g rey stone houses n estlin g on the h illsides— these im pressions can never be effaced.

In 1868 or ’69, a draw ing o f mine was exhibited at the D udley G allery, w hich attracted some attention ; it was ' Orm uzd and A hrim anes ’— an endeavour to su g gest the Parsi idea o f the stru gg le o f the sp irits o f good and evil th rou gh the ages. T he design showed two armed k n igh ts figh tin g on horseback, one w hite and the other black, b y the side o f a river w indin g aw ay in lon g serpentine curves, show ing at each bend some typ ica l relic o f tim e in the shape o f a tem ple o f some lost fa ith — here an E gyp tian gatew a}7, there a C eltic dolmen, a classic tem ple and a

G othic cath ed ral— the wdiole effect being o f a subdued tw iligh t, as o f the dawn.

Pictures o f different m otive and sentim ent follow ed landscapes, figures in landscape, and figure sub jects like ‘ P lu to ’s G arden .’

From Rome, in 1872, I sent 'A H erald o f S p r in g ,’ the sketch for w hich form s one o f the plates in th is num ber. It is characteristic o f m y w ork o f th a t period, w hich in cluded m any Roman landscapes. T he background o f this picture, w hich differs from the sketch , is a fa ith fu l view o f part o f V ia G regoriana, w ith the church o f T rin ita di M onti at its head.

'T h e A rch o f T itu s ,’ 'A C ap u ccin i,’ and ' A C apri M other and C h ild ,’ were am ong the p ictures o f this period— all in water-colour.

‘ The D eath o f the Y e ar ’ was also one o f the subjects painted in Rom e— the m onths fo llow ing the bier o f the dead year ; Tim e, as a priest, readin g from a service book, and L ove sw in gin g a censer, bein g no doubt rem iniscent o f w hat one m ay have seen in some Roman church.

'W ith Pipe and F lu te ,’ and 'T h e E arth and S p rin g ,’ the first a tem pera w ork on a plaster ground, were am ong the c h ie f o f m y later contributions to the D u d le y ; also ' W in ter and S p rin g ,’ w hich reappeared in the design o f one o f the pages o f “ The S irens T h ree .”

A n other processional picture o f a sim ilar k in d to ‘ The D eath o f the Y e a r ,’ was painted about this tim e for Mr. Som erset Beaum ont, who m ust have quite a collection o f m y earlier pictures. T his w as ' The A d ven t o f S p rin g ’ this tim e a w ork in oil. A figure o f Spring is seen under a canopy or baldacchino? carried b y four y o u th s ; her

“ The Britie Empire ” Cotton Prim Designed by W alter Cran B y permissi of Messrs, mund Pottei and Co., Ltd. Manchester

l?he Senses ” ?able-Clotb. Jesigned by- Valter Crane, ly permission f Messrs, ohn Wilson nd Sons.

THE WORK OF WALTER CRANE . 35

flowered train o f pale yellow borne little boys. A crowd o f nym phs and shepherds precedes and follows her w ith garlands, and w ith lam bs sporting about them. Behind is seen the figure o f a youth in a steely grey cloak, sn atchin g the flowers in the lap o f one o f the nym phs. T his was intended to su ggest the

“ Rough winds that shake the darling buds of M ay.”

‘Am or vin cit Om nia ’ was another processional picture painted about 1875— an allegory on the them e o f the surrender o f an Am azonian c ity , w ith a background full o f Italian rem iniscences, and, no doubt, influenced by Spenser’s “ Faerie Q ueene.”

E ver since m y early success at the Ro}ral Academ y, in the old days o f T rafa lgar Square, I regu larly knocked at the E xh ib ition doors year after year, but alw ays, save for one exception, in 1872, w ith the same result. L ookin g down the lists, w hich used to be posted up for the inform ation o f anxious enquirers, under C ., it seemed to me th at C raw ford, Cram pton, C row ley, and Crossley, were a lw ays hung, b u t— I ’m “ hanged ” i f Crane was !

H ow ever, fortun ately for me, I had other strings to m y bow — or other w ays o f appealing to the public ; and so, a fter 1877, w ith the w alls o f the G rosvenor open to me in

1898.

Bond Street, I ceased from troubling B u rlin gton House — which, I dare say, remained quite unconscious o f any relief.

It m ust be said that in b uild in g and prom oting the Grosvenor Gal- le iy , w hich opened its first exhibition in May, 1877, S ir Coutts L in dsay afforded an ample opportunity to m any new or less known artists not seen at the Academ y, to show their w ork fa irly to the public— especia lly the w ork of E d ward Burne-Jones, who really (despite his m em orable early w ork at t h e O ld S o c i e t y o f Painters in W ater-colo u r s ) t h e n b e c a m e known as a painter for the first time to the g e neral public. H is ch ief w orks were shown here year after year, for ten years or more. J. M cN eill W h is t le r , A rth ur L e mon, Alphonse Legros, R. Spencer Stanhope, J. M. S trudw ick, Miss E. P ickering (now Mrs. De M organ), M atthew Hale, Jacomb Hood, W . Padgett, J. D. Batten, M. R. Corbet, Prof. G. Costa, the brilliant but sh o rt-lived C ecil Law- son (who made his fame there), all were regular supporters o f the G a llery ; and I was also in

vited to contribute, and continued to send m y principal w orks there until 1888. M y first and one o f m y largest pictures at that date had a place in the G allery the first season, 1877— ‘ The R enascence o f V en u s.’ T his picture was afterwards purchased b y Mr. G. F. W atts, who has a lw ays shown a most generous appreciation o f m y w ork — an appreciation not lik e ly to be lig h tly regarded, com in g from so grea t an artist.

‘ The Fate o f Persephone ’ followed the n ext year, and ‘ The S ire n s ’ in 1879— now the possession o f Mr. Graham Robertson. In 1880, ‘ E u ro p a ’ and ‘ The Laid- ley W o rm ’ were m y su b je c ts ; in 1881, ‘ Truth and the T raveller,’ a tem pera picture on canvas, appeared— the others named all being in oil. ‘ The Roll o f F a te ,’ w ith the lines from the R ubaiyat o f Omar K hayyam , was ex h ibited in 1882 :—

“ Would but some winged angel, ere too late,Arrest the yet unfolded Roll of Fate,And make the stern Recorder otherwise Enregister, or quite obliterate.

O, love, could you and I with him conspire,To grasp this sorry scheme of things entire,Would not we shatter it to bits,And then remould it nearer to the heart’s desire.”

Portions o f a painted frieze I had been engaged upon


Gesso Model. Finger Plates at No. 1, Holland Park.Designed by- Walter Crane.

during the previous w inter in Rome, destined for a house at N ewport, R .I., and illu stratin g L o n g fello w ’s poem o f “ The Skeleton in A rm our,” were shown in 1883, as w ell as a water-colour, ‘ D iana and the Shepherd/

‘ The Bridge o f L ife ,’ w hich we reproduce as an extra plate, was m y picture in 1884. A s far as I remember, the first suggestion came to me in V enice, in lookin g at

the slender m arble foot-bridges w hich cross the canals, and the m ixed troops o f people o f a ll ages, sexes, and aspects, who pass up and down the steps and across them , or stop to gaze at the flickerin g w ater and the g lid in g , noiseless, b lack gondolas shooting underneath. I w orked at this suggestion , and took im m ense pains w ith the design, m akin g sketch after sketch , u n til I had evolved the idea in its present form.

On the frame I wrote these versesWhat is Life ? A bridge that ever Bears a throng across a river;There the taker, here the giver.

Life beginning and Life ending,Life his substance ever spending,Time to Life his little lending.

What is Life? In its beginning From the staff see Clotho spinning Golden threads, and worth the winning.

Life with Life, fate-woven ever,Life the web, and Love the weaver,Atropos at last doth sever'.

W hat is Life to grief complaining ?Fortune, Fame, and Love disdaining,Hope, perchance, alone remaining.

‘ F reed o m ’ was the sub ject o f m y large picture the follow ing 3^ear, 1885. In th is I developed the idea w hich form ed the m otive o f a sketch m any years before, w hich, too, I had incorporated am ong the page-designs o f “ The Sirens T h ree .”

T he figure o f a youth , n early nude, b u t w earin g the “ bonnet ro u ge ,” lies a prisoner betw een tw o g u a rd s; one, a feudal k in g in arm our, w ith a sp ear; the other, a priest, w ith a crozier and a book. T he prisoner, lo o k in g towards the lig h t, perceives the w in ged figure o f “ F re edom ,” like a vision, b reakin g into the prison-house w ith the sunshine of Spring, w hile the sin ister guards slum ber, and his chains fa ll from his lim bs.

‘ P an dora,’ a w ater-colour, w as also exhib ited at the same tim e at the G rosvenor G allery.

I om itted to m ention some w orks painted b y me and exh ib ited at the R o yal In stitute o f P ainters in W ater- Colours, and the In stitute o f P ainters in Oil, w h ile I w as a m em ber o f those bodies. T he prin cipal w ater-colours were ‘ S p rin g ,’ ‘ N ig h t/ and ‘ M orn,’ ‘ P a n -P ip e s ’ (founded on the frontispiece to m y book o f the same title) and ‘ A D iver/ a nude figure o f a man, seen under w ater, p lu n gin g into blue and green depths, the air-bubbles rushing upw ards in a cloud. T h is w ork afterw ards obtained a silver m edal at the Paris E xh ib ition o f 1889 (!).

A t the In stitute o f P ainters in Oil, in 1883, I had another picture o f a bather— a nym ph b y a forest stream and a deer com ing to d rin k ,— and ‘ A London G arden/ and in 1884, ‘ L a Belle Dam e Sans M erci,’ a sub ject I had tried in ve ry early d ays— the k n ig h t m eeting the w itch lad y in the meads.

A n outcom e o f m y In stitute connection w as also a w ater-colour com position in three com partm ents typ ica l o f the three periods o f Italian A rt — V en ice, F lorence, and Rome ; bein g the pictorial renderin g o f a sim ilar group in a m asque o f painters or series o f tableau x given at the Institute under the presidency o f S ir Jam es D. L inton in 1885. T h is w as at the G rosvenor in 1886.

In 1887 I sent ‘ T he C hariots o f the H ours/ fa irly w ell know n now, I th in k, b y reproductions, and now in the collection o f H err E rn st Seeger, o f Berlin, w ho also possesses m any o f the pictures before m entioned. It was, how ever, badly hung.* M y w ork seem ed, after m any years, to fa ll out o f favour w ith S ir Coutts L in d sa y.

T he n ext year, 1888, saw the opening o f the N ew* It is curious that some years afterwards this picture, being exhibited at the

Munich Glass Palace, was awarded a Gold Medal.

THE WORK OF WALTER CRANE 27

G-esso Plaster Ceiling at Combe Bank, Sevenoaks. Designed by Walter Crane.


“ The Genius of Mechanical Invention uniting Agriculture and Commerce.”A Plaster Frieze at Paddock- hurst.Designed by- Walter Crane. By permission of Sir Weetman D. Pearson, Bart., M.P.

G allery b y the former D irectors o f the Grosvenor, and this appeared to mean, practically , the transference o f the principal Grosvenor exhibitors and supporters to the new venture in R egen t Street. I forget i f I had any work there the first year, but either then or the n ext I sent a draw ing called ‘ A W ater-D ily ’— a single figure in diaphanous w hite drapery am ong reeds and water.

B eing elected an Associate o f the Old W ater-Colour Society about this time. I th in k that g a llery absorbed such time and en ergy as I had for easel work, w hich was not very much in the years 1888, 1889 and 1890, partly ow ing to other kinds o f w ork, and partly ow ing to m y connection w ith the A rt-w orkers’ G uild and the A rts and C rafts E xhibition Society, over both o f w hich bodies at that tim e I was chosen to preside ; and, o f course, in the earl}' stages o f starting a society like the latter, a great deal o f time and en ergy was necessarily consum ed by those most closely concerned w ith its organization. Decoration and book-work, already sppken of, filled up m uch time also. ‘ Su n rise,’ ‘ F lo ra ,’ and ‘ P egasus,’ were m y principal draw ings o f this period, though I generally contributed a num ber o f landscape .studies to the G allery in Pall Mall East.

D uring m y v is it to Am erica, beyond the book-w ork and the frieze at N ewport, R .I., before spoken of, m y prin cipal w orks in painting and decoration had been two large m ural pictures for the W om en’s C hristian T em perance B uild in g, in C hicago, representing Tem perance and P urity, and Justice and M ercy, each b y female figures w ith em b lem s; also some designs for mosaic panels w hich I undertook for Mr. W illiam Pretym an, an E n glish decorative artist liv in g at C hicago, and m y good friend and kind host. In sp eakin g o f mosaic design — th at is to say o f tesserated cartoons to be w orked in m osaic— perhaps I m ay mention here that when Professor A itchison was build in g the late Lord L eigh to n ’s Arab H all to enshrine his wonderful Persian tiles, I was applied to for designs for the m osaic frieze to surm ount them , and prepared several cartoons for the different portions—

antelopes, palm trees, sirens, ships, peacocks, sphinxes, cockatoos, and a snake and eagle in com bat formed the principal ornam ental un its in th is frieze, w hich was executed p artly b y M essrs. Salviati, B urke & Co., and p artly b y the M urano Com pany, I th in k, and all the panels were done at V en ice. O ther designs for m osaic were some panels for another house o f Mr. A itch iso n ’s design, th at built for Mr. S tew art H odgson, in South A u d ley Street — designs o f sin gle figures w ith attributes, representin g Earth, Air, and Fire, and also stags d rin k in g, and S atyrs and a vin e.

On m y return from Am erica, inspired, no doubt, b y the close com panionship o f the ocean, both on the N an tu ck et coast and on the voyage, I com m enced m y picture,‘ N eptune’s H orses,’ exhibited at the N ew G allery in 1893, together w ith a w ater-colour— ‘ A F a iry -R in g .’ I had .shown a first sketch for the ‘ N eptun e’s H orses ’ in the previous W in ter E xh ib ition o f the Old W ater-Colour Society, and this is reproduced here as an extra coloured plate. B y a curious coincidence Mr. W atts also exhibited a picture at the N ew G allery at the same tim e as mine, entitled ‘ Sea H orses ’ ; but though the main idea, o f the foam -crests form ing w hite horses w ith tossing manes, was the same, Mr. W a tts ’ picture showed a w ave breaking at sea, w hile mine depicted w aves breakin g upon a shore — though m y first sketch expresses the form er idea.

The same season at the W ater-Colour I had ‘ A M asque o f the F ive S e n s e s ’ and ‘ Poppies and C o rn .’ ‘ The Sw an M aidens ’ appeared at the N ew G allery the n ext year (1894) w ith ‘ In the C louds ’ and ‘ L ilies ’ ; ‘ E nsigns o f Spring ’ being m y c h ie f w ater-colour w ork.

‘ E n g la n d ’s E m b lem ,’ now in Berlin, follow ed at the N ew G allery in 1895— S ain t George, in arm our on a w hite horse w ith red housin gs, ch argin g at the D ragon, w hich lies upon the desolated land, b reathin g fire and vapour o f sm oke. In the b ackgroun d a river w inds to the sea past a neglected plough le ft in the furrow, and beyond are seen the pale cliffs o f A lbion ; inland, dark again st a lurid sunset, are suggested the gau n t forms o f factory


“ The Genius of Electricity- uniting the Parts of the Earth.”A. Plaster Frieze at Paddock- hurst.Designed by- Walter Crane. By permission of Sir Weetman D. Pearson, Bart., M.P.

chim neys. ‘ Eohengrin ’ appeared the same year at the W ater Colour. T h e m otive was suggested b y h earin g the opera at B ayreu th .

‘ The R ainbow and the W ave’ was m y n ext picture, and offers a very different conception, both in treatm ent and sentim ent. It was an attem pt to em body another im pression or vision o f the sea and the forces o f nature in elem ental p lay. T his picture m ay fairly be taken to represent m y later feelin g in painting ; ‘ The B ridge o f T ife ’ stands for the Italianised allegorical feeling o f the m iddle period ; w hile ‘ The H erald o f Spring ’ represents m y earlier tim e.

B ut few more pictures rem ain to be recorded, nam ely, in water-colour, ‘ B ritom art ’ and ‘ Sum m er ’ ; and in oil,‘ B ritan n ia ’s V ision ’— m y N ew G allery picture this year. It is an attem pt to present in allegorical form the outlook o f the country, political, econom ic, and social, in the year 1897, conceived as a pictorial scheme. W hile so m any can discern in paint the face o f the sk y and earth, m ay it not be possible also for others to discern the signs o f the tim es ? The picture seems to have proved more than u su ally irritatin g to the professional newspaper critics, w ith whom, indeed, from the first m y pictures (in E ngland at least) have found but little favour. A t the W ater-Colour, ‘ The Dawn ’ and ‘ The W est W ind ’ com plete m y list, excep t a few studies o f landscape, for which I have never lost m y love, and w hich has been m y ch ief school o f sentim ent and colour.

A s to the general theory o f A rt w hich has influenced m y practice, or perhaps has been evolved from it, if one m ay attem pt to put it into words, it is som ething like t h is : A rt o f an y kind is a means o f expression— at its best, the h igh est and m ost beautiful means. It is a lan guage, in short, o f the m ost delicate and sym pathetic kind, h a vin g m any varieties or, as we m ight say, dialects.

B ut these varieties seem to fa ll into two m ain divisions, w hich have th eir different exponents.

On the one hand there is the art w hich springs d irectly out o f nature— the record o f im pressions, or a rendering

1S98.

o f the forms, facts, and accidents o f the external w orld— more or less im itative in aim. On the other there is the art w hich is in directly influenced b y nature— the record or re-creation of ideas, w hich selects or invents only such forms as m ay express a preconceived idea, as a poet uses w ord s—more or less typical, sym bolical and decorative in aim.

The artistic im agination and selective individual feeling m ay work in either kind, and the two kinds m ay occasion ally overlap, and even be practised as d istin ct b y the same a r t is t ; but, broadly speaking, the first is the record m ainly o f the older vision ; the second is m ainly the record o f the innei- vision.

The first obviously depends m uch upon fidelity to the forms and aspects o f nature ; the second but little . The artist m ay draw en tirely from m em ory, or invent freely as he goes on, and nature m ay become quite transfigured in his hands.

A t all events I feel convinced that in all designs o f a decorative character, an artist w orks freest and best w ithout any direct reference to nature, and should have learned the forms he m akes use o f b y heart.

W e draw or paint, perhaps, as m uch influenced b y w hat we k n ow and feel as b y w hat we a ctu ally s e e ; and alth ou gh betw een the a rtist who a lw ays w orks in the presence o f n ature — w hose them es and m otives are a lw ays taken d irectly from w hat he sees— and the artist who w orks from the resu lt o f past im pressions, or b y a kind o f selectiv e m em ory and creative im agination, there would appear to be a great gu lf, the difference m igh t som etim es be reduced to one o f degree. The m ind o f the first k ind would exercise its selective artistic function in the treatm ent o f the w ork as it progressed, leavin g out no essentials, and subordin ating secondary facts to the main or central facts, w hich form the m eans for the expression o f the m otive o f the work. H is artistic powers m ig h t be concentrated upon the aim o f im p ressin g upon the mind, th rou gh the vision, the beauty, the m ystery, the suggestiven ess o f som e effect o f lig h t

h


“ The Transla- “7. tion of Elijah A Stained Glass Window at the Church of “ The Ark of the Covenant,” Stamford Hill Designed by- Walter Crane.

a ctu ally observed— the golden dream o f a sum m er a fternoon— the storm y lig h t o f an autum n sun set— a c ity wrapped in the g rey m ists o f m ornin g or even in g, w hen everyth in g is lost in m ystery, illum in ed here and there b y a speck o f lig h t lik e the sp arkle o f a je w e l am id the folds o f diaphanous drapery ; such effects as these could not be grasped and fixed at once, in a ll th eir en tirety, as th ey appear in nature. T h e artist, how ever m uch o f a realist, is driven to inven t som e species o f short-hand — some m ethod o f representin g to the vision such scenes. E ach has to be passed through or absorbed b y his m ind and im agination ; and it is upon th is process o f absorption— a kin d o f artistic sum m ing-up o f the essen tia l facts or features n ecessary to dw ell upon— th at the artistic value o f the w ork w ill u ltim ately depend. T he power o f the pictorial artist com es out in this direction.

I should be inclined to extend the m eaning o f the term p ortrait— to m ake it more com prehensive, so as to cover, or designate, in fact, the aim o f the naturalist, or p ictorial artist, and to differentiate him from the ideal, inventive, or decorative artist. C reative pow er m ay be im portant to the former how ever, ju st as naturalism m ay be im portant to the latter, but both w ould come out or be exercised in a different w ay and b y different m ethods o f expression.

In a rea lly sa tis fy in g portrait o f a person, we ask for more than a fa irly accurate map o f the features; we exp ect more. W e feel there is often all the difference in the w orld betw een portraits o f the same person b y different hands. One, perhaps, m igh t be more correctly described as a landscape— or a landscape treatm ent o f a person ality; another as a purely decorative arrangem ent; in a third, the sub ject m ay appear m erely as a kind o f

If

1

p eg upon w h ich to h a n g various theories o f painting. A t last, perhaps, w e find the character we know in a picture, it m ay be u n itin g or com bin ing some o f the sam e q u alities— the face in stin ct w ith life and th o u g h t — a liv in g presentm ent o f a hum an b ein g — a portrait — a po rtrayal in ev ery sense o f the ; word. E xam ination and com parison betw een such a w ork and others less con vin cin g only r e v e a l g r e a t e r su b tle ty o f draughtsm anship, perhaps, or a lig h ter hand in p ain tin g, a more delicate and a more com plete perception. T h e p ain ter’s lan g u a g e— his own particu lar k in d o f conven tion — appears to be in more com plete relation to h is conception o f h is subject, h is m ental and m anual power are both greater— he is a m aster, th at is a ll w e can say.

In w h at w e call an ideal w ork, w e m ay be m oved b y qualities quite rem ote from any sk ilfu l representation o f nature or natural effects.

A representation it w ill be, b ut it is a representation not o f a concentration o f the m ind upon the translation o f certain n atural aspects or features— the sum o f certain selected observ a tio n s— b u t it w ill be the resu lt o f a concentration o f the m ind upon the tran slation o fits own inner v isio n — the sum unot on ly o f certain selected ob- servations, but o f the power o f m em ory and im agination, stim ulated, it m ay be, and enriched b y all sorts o f direct im pressions from nature, but rather used as words and sen- I tences to express certain h arm onies o f line, or form, or colour, con sciously created, and not n ecessarily founded upon som e m otive d irectly observed in nature.

T he ideal artist m ay, o f course, derive as m uch suggestion from the extern al aspects o f n ature and the dram a o f every-d ay life h e o b s e r v e s around him as the naturalist, b u t he uses his m aterial in a different w ay.

W e m igh t be interested in a n atu ralistic p icture o f navvies reposing upon a ra ilw ay bank in their dinner-hour. There w ould be p le n ty o f room 'fo r artistic treatm en t— character, lig h tin g , tone, and colour.

W e m igh t also be interested in a p icture o f a sleep in g E ndym ion, fu ll o f m ystery and poetic su g gestio n — and

. 1

Stained Glass. Designed by- Walter Crane.

THE WORK OF WALTER CRANE. 3'Lustre Ware Pottery. Designed by Walter Crane. By permission of Messrs. Maw & Co., Ltd., Ben- thall Works, Salop.

y e t it is quite possible the painter o f th e la tter m igh t have derived his suggestion from a n a v v y reclin in g upon a ra ilw ay bank.

T he n aturalist is content to w atch the eddies, the surface ligh ts, the lu cen t shadow s, the bubbles o f the stream . T h e id ea list can not help seein g nereids therein .

T he decorative designer, again, m ay rely alm ost en tire ly upon certain rh yth m ical arrangem ents o f line, certain harm onious com binations o f form, w hich, though th e y m ay correspond to certain lines o f construction or m ovem ent in nature, m ay not rea lly su g g est or represent a n y natural organic form at all. H e m ay, again, m ake use o f certain n atural form s, such as birds or flowers, in h is schem e o f line as his notes o f form .

D esign o f th is sort is o f th e nature o f a k in d o f m usic appealin g to the eye, and re ly in g upon the association of ideas o f linear b eau ty and harm onious su ggestion .

The various techn ical conditions and lim itations b elo n gin g to the various handicrafts, or the necessities o f m anufacture— to w hich the designer has to adapt his conceptions, his schem es o f surface pattern, his linear com positions—these (conditions and lim itations) really fo r m t h e i n strum ents upon w hich he plays.T he true m usician does not try (or w ant) to m ake the vio lin im itate the harp, or the v i o lo n c e l l o , o r an y other in stru m ent ; he desires as an artist to g iv e each in stru m ent its own characteristic expression, and seeks, w hatever his instrum ent, to in terpret the m usic in strict accordance with its nature and construction.

In the m atter, too, o f the ve ry elem ents o f design or linear com position from one point o f view o f the construction o f pattern, there are certain fundam ental geom etric bases, not on ly form ing str ictly logical patterns in them selves, but also furnishin g

a consistent structure or kind o f linear .skeleton or scaffolding upon w hich, or b y means o f w hich, m ay be built and extended the varied and delicate fabric o f surface design, w hich m ay either (for prim itive purposes and sim pler processes), severely em phasize the rigid geom etric logic o f the linear p lan — square, or circular, or d iagonal as the case m ay be— or disguise it alm ost en tirely b y a redundant superstructure o f floral form. The lim its o f individual choice, taste, or invention, w ithin th is realm o f design have never yet been discovered ; although, no doubt, as in the natural world, types and species m ay be identified, and there appears to be an irresistible law o f evolution, not only in the field o f design regarded h istorically, but also as regards each individual or local developm ent.

Under the operation o f such a law we m ay observe how gen erally an y kind o f design — say, in pottery, textiles, or m etal w ork— begins at first severely restricted, sim ple, and logical. In early art o f all races apparently the b egin nin gs of pattern consist in the repetition o f certain constructive lines or o f sym bolic units. H orizontal lines em phasizing the shoulders or rim s o f vessels,

enclosing the repeated form of the sun ’s circle ; z igza g and m eandering lines for w a te r ; sharp, in dented points for fire. The fret and the s e r p e n t in e lines alm ost seem to divide the p rim itive p a t t e r n w o r l d b e t w e e n

them , and lon g after th ey were actu ally visib le as patterns b y them selves, th ey controlled the general disposition and contours o f the ornam ental elem ents used, for instance, in friezes and borders o f all kinds, and o f different periods o f art. I f we follow the evolution o f ornament, say, in architectural enrichm ent, from the severe Norman to the later phases o f G othic, we observe how the recurring points o f the

Tiles.Designed by Walter Crane. By permission of Messrs. Maw & Co., Ltd., Ben- thall Works, Salop.

3 2T H E E A S T E R A R T A N N U A L .

Portrait of Walter Crane, r y G. F. Watts, It.A.

zigza g border form sufficient and pleasant linear con- trast and relief to the massive sim plicity and dign ity of the round arch and the plain wall, t h e more complex dog-tooth serves the same office to the E arly Pointed, and seems a lineal descendant of the zigzag. I hen, with the use o f more elaborate and deeply concave mouldings, the desire to enrich their hollows and get an extra sparkle and richness of l ight and shadow, a n d counteracting lines and masses against the recurring sweep o f the mouldings, knot, and flower, and leaf, curling under and over in serpentine lines, or cut into isolated units, appear. F lo r i a t e d c r o c k e t s spring from the sides of g a b l e s , w h i c h break into the full blossom of the crocket at their crests.Then to control the exuberance o f the carved stone-work, the architect again uses severe verticals and horizontals; o r , r a t h e r , b u t tresses and parapets being necessary to m e e t t h e a l t e r e d demands o f structure in large w in dows and low-pitched roofs, artistic use is made of them. .So the eye is gradually led back, and after the luxuriant invention and intricate carving o f flamboyant work, is prepared to welcome the severe lines o f column and lintel, of frieze and pediment of classical tradition, with its more restricted range of subsidiary ornament, and its main decorative interest centred upon the sculpture of the human form.

Something analogous to these changes may take place in the work of an individual artist (and every artist

would do well to remember the relation o f all the arts to architecture). W hile he m ay be only conscious of str iving after his own particular artistic ideal o f tech nical perfection or harmonious creation, he m a y really be under the sw ay o f an irresistible law of evolution, under which his temperament, acted on b y his surroundings, has its seed and spring and flowering time, like

any flower o f the field.

H o w e v e r , apparent! y free and in dividual— and let us by all means have as m u c h i n d i v i d u a l freedom as possible — we are still but units in a com prehensive scheme. W e are related to our contemporaries — to our age — to past a ges— to our im m ediate predecessors, as our successors will be related to us. Time alone m ay put that relation in its true light, as it will determine the position o f ever}7 artist; but I thin k we ought to be none the worse artists for r e a l i s i n g t h e s e things, and possibly better men and w o men ; and such a point o f view ought c e r t a i n l y to h e l p us in clearing our own path and determ ining our d irection.

From the great universal storehouse every artist after his kind quarries out his material. Y e ars o f w ork and experiment teach him its properties, and giv e him facility in dealing w ith it, un til he finally forms from it the speech and lan gu ag e w hich seems to him best fitted to em body and convey to the world w h a t he has in his eye and mind.

W a l t e r C r a n e .

PRINTED BY J. S. VIRTUE & CO., LIMITED,] [294, CITY ROAD, LONDON, E.C.


«* GEO, ROWNEY is CO.’SOIL a n d water colours

IN THE MARKET.FINEST GROUND MOST PERMANENT PUREST AND BRIGHTEST

DAY BE OBTAINED FROM ALL ARTISTS' COLOURMEN AND STATIONERS, OR DIRECT FROM THE MANUFACTURERS.

G E O R G E R O W N EY & CO., 64, OXFORD STREET, LONDON, W.ILLUSTRATED CATALOGUES FREE ON APPLICATION.

BELFAST, and 164, 166, & 170, REGENT ST., LONDON, W.Grand Diploma o f Honour, Edinburgh, 1890. Two Prize Medals, Paris, 1889.

IrishC a m b ric Pocket H a nd kerch iefs.

Bordered— Children’sLadies’Gents’

Hemstitched-Ladies’Gents’

per dozen : is. 3d. 2S. 3d.3 s- 3d.

3s-<jd.

i id.

Irish D am ask T a b le & House Linen.

COLLARS.— Ladies’ 3-fold, from 3s. 6d. per dozen; Gents’ 4-fold, 4s. n d. per dozen.

CU FFS.— For Ladies or Gentlemen, from 53. 1 id. per dozen.

SH IRTS.— Best quality Longcloth, with 4-fold Linen Fronts, 35s. 6d. per half- dozen (to measure 2s. extra). Old Shirts made good as new, with best materials in neckband, cuffs, and fronts, for 14s. the half-dozen.

Fish Napkins, 2s. nd. per doz. Dinner Napkins, 5s. 6d. per doz. Table cloths, - yds. sq., 2s. 1 id .; yds. by 3 yds., 5s. Od. each. Kitchen Table Cloth, 11 Ad. each. Strong Huckaback Towels, 4s. Gd. per doz. Frilled Linen Pillow Cases, from is. 4*d. each.

Monograms, Crests, Coats of Arms, Initials, &c., woven and embroidered.

Linen C ollars, C u ffs , & S hirts.

Samples and Price Lists Post Free.Special Appointments to the Queen and the Empress Frederick of Germany.

y . B .— To prevent Delay all Letter Orders and inquiries fo r Samples should be sent direct to Belfast.

Lincrusta - Walton. : •The Sunbury Wall Decoration.

N O V E L T I E S F O R 1898 : . . . .FILLINGS and CEILINGS at 1/- per yard, 21 inches wide

“Y . A . ” (Victorian Adjustable) C E I L I N G S .S O L I D . - - - - - H I G H - R E L I B F . — - L I G H T . - - - - - M O J O I N T S .

Lincrusta-Walton,Is the only Wall Decoration on the Market which is at the same time

SOLID i n COLOUR, SOLID i n RELIEF, a n d SOLID i n VALUE.

W R IT E F O R P R IC E L IS T , IL L U S T R A T IO N S , E T C ., T O

FREDK. W ALTON & 0 0 ., Ltd.,Sole Patentees and Manufacturers,

2, NEWMAN STREET, OXFORD STREET, LONDON, W ,T elephone: 3769 G E R R A R D . T elegrams: “ L IN C R U S T A -W A L T O N , L O N D O N ,”


v iNc e Nt &BLAIKLEY,

. . . Photo------

. . . Gngravers,ETC.

T h e C u pre ous A rt Studio ,

34, BARBICAN, LONDON, E.C.Tele grains: “ Pictography London."

d>peGiaIitie§.— High-Class Half-Tone and------~ > Superior Line Blocks fscrew

mountedj on Copper.

C harges M o derat e . Prices and S pecimens on A pplic atio n .

N .B .— We quote to include Printing i f desired.

ILLUSTRATEDBIOGRAPHIES OF ARTISTS

BEING THE

A R T A N N U A L S ■OR

Extra Numbers o f “ THE A R T JOURNAL.’ ’

With Three full-page Etchings and Engravings and Forty Illustrationsin the Text.

P r ice 2s. 6 1 ., cr cloth g ilt, g i lt edges, 53*. each.

The Life and W o rk of S i r F. L e i g h t o n , B a r t . , P .R .A .S i r J. E. M i l l a i s , B a r t . , P .R .A .

L. A l m a T a d e m a , R .A .J. C. H o o k , R.A .

• J . L. E. M e i s s o n i e r .;R o s a B o n h e u r .

B i r k e t F o s t e r .B r i t o n R i v i e r e , R .A .

H u b e r t H e r k o m e r , R .A .W . H o l m a n H u n t .

S i r E d w a r d B u r n e - J o n e s .L u k e F i l d e s , R .A .

G. F. W a t t s .M a r c u s S t o n e , R .A .

S i r E . J . P o y n t e r , P . R . A .W . Q. O r c h a r d s o n , R .A .

Also the Life and Work of SIR J. NOEL PAT ON, R.S.A. (Her Majesty's Limner for Scotland). Being the Special Number of "T h e Art Journal ” for Easter, 1895 . Paper is. 6d., or cloth gilt, gilt edges, 4s.

J. S. VIRTUE & CO., L t d ., 26, IVY LAN E, LONDON, E.C.

HANDBOOKS FOR ALL INTERESTED IN ART, ARCHITECTURE, &e.P ost 8vo, cloth9 p rice 5s. W ith over 150 Illustrations .

THE TRAINING OF A CRAFTSMAN, By F red M iller . Illustrated by many workers' in theA rt C rafts. C ontents : T h e C raftsm an and N atu re— D esign and C raftsm anship— M etal W o r k — R epousse and F in e M etal- W o r k — W ro u g h t Iron — J e w e lle ry — E nam ellin g — P otters and P ain ters— G lass P ain ters— W o o d -C a rv ers— B ookbin ders— W om en W o rk e rs in the A rt C ra fts— Surface D ecoration — W a ll P apers and T e x tile s— T h e C raftsm an o f T o -d a y .

The author has drawn special designs fo r binding, title-page, and end-papers.u An excellent account of the principal means of training at the disposal of a young man or woman in England who wishes to practise decorative art.” — The Times. “ One of the most admirable technical handbooks which we have so far encountered. . . . The book is written with knowledge.” — Speaker.“ A beautiful work of solid value.” — Bristol Times and Mirror.

ADELINE’S ART DICTIONARY. Containing a complete Illustrated Index of all Terms used in Art,Architecture, Heraldry, and Archaeology. With nearly 2,000 Illustrations. Post 8vo, 7s. 6d.‘ A handy, well-printed, and comprehensive lexicon, with clear, brief, and accurate definitions.” — Saturday Review.

DECORATIVE COMPOSITION, a Manual of, for Designers, Decorators, Architectsand Industrial Artists. By H enri Mayeux (Architect to the French Government). Translated by J. G onino, and illustrated by nearly 300 Engravings. New Edition. Revised by Walter Millard. Post 8vo, 6s.

“ This is a thoroughly admirable, because a thoroughly practical work.” — Manchester Guardian.

Price 3s. 6d. Nineteenth Annual Issue.TH E YEAR’S ART, 1898. A Concise Epitome of all matters relating to the Arts of Painting, Sculpture,

and Architecture which have occurred during the Year 1897, together with information respecting the events of the Year 1898. W ith 32 pages of illustrations, and including the Names and Addresses of about 6,000 Artists.

D em y Svo, cloth g ilt, p r ic e i s .

ILLUSTRATED CATALOGUE OF TH E T A T E GALLERY. With 83 Reproductions, and anIntroduction by D avid Croal T homson, Editor of T he A rt Journal.

H andsom ely Bound, cloth gilt9 gilt edges, 10s . 677.P R E S ID E N T S O F T H E R O YAL A C A D E M Y :------

SIR E. J. POYNTER, SIR J. E. MILLAIS, LORD LEIGHTON.With numerous Full-page Etchings, Photogravures, and about ioo Illustrations in the Text.

London : J. S. V IR T U E & CO., Limited, 26, Ivy Lane, Paternoster R ow, E.C.

THE EASTER ANNUAL ADVERTISER. 11

I HE Majority of the Blocks in this = =

1 = SPECIAL NUMBER were made by

the Acme Tone Engraving co., Ltd.,

Watford, Herts.

Prices and particulars of similar work, for

Illustrating Catalogues, Magazines, etc., will be

forwarded on application.

E m b o s s e d +

L e a t h e r . - *

Fine Art Photographs. Tl?e No. 4Assortments sent by Post for Selection to any

Part of the World.

No Deposit required from responsible Applicants.

FARIS Salon Pictures, Classical TTn- draped Figures, Secular, and Re

ligious Subjects, Statuary, Views, Yachts, Actresses, Heads, Portraits, Artists’ Life Studies (including the celebrated Series by Gloeden), Children, Eastern Types, Animals, Flowers, Fruit, Clouds, Waves, Rustic Scenes.

Collections from the National Gallery, South Kensington and British Museums, Louvre, Luxembourg, Vatican, Dresden, and other Noted Gaellries.

ERDMANJI & SCtyANZ, Publishers( E s t a b l i s h e d 1876),

4 , S A L K O A T E D ., N O RTH CO TE E D .,N e w W a n d s w o r t h , L o n d o n , S .W .

Write for our latest 36-page price Catalogue, Post Free, 2d. ; or the equivalent in Foreign stamps from Residents abroad. _____________

Embossed and Lacquered Leather after Mediaeval manner. Panels for Furniture, &c. Bookcovers and Bindings, Cigar and Cigarette Cases, &c.

Estimates 011 application«Amateurs supplied with Tools, Leather,

and Designs. Articles made up.

YOST TYPEWRITER.

.'i HEWS

SKILFUL c o n s t r u c t io n ; INGENUITY OF DEVICE, PERFECT WORKMANSHIP, & A CAREFUL REGARD FOR THE NEEDS OF THE TIMES.

£23, less 5 per cent, for prompt cash.

IT IS AT ONCE

ST .

J. HANMER HUTCHINGS,<?raft8/i\ai? aijd Desi^o^r ip Leatl^r,

P E T E R ’ S C H U R C H Y A R D , CHESTER.

Jl?<? Simplest to fsarp, Ea$i<?st to Op<?rat<?,

It. BRIGGS & SON,LAY-FIGURE

MAKERS,8, THE TERRACE,

HIGH ROAP, KILBURN, LONDON.40 Years in Welbeck Street.

AND p roduce tl?<? F'99st U/orl(WITH THE f g a s t £xp(?tyditiir<?

of labour, ai?d Ei?i?r$y.

t h e y o S T TYPEWRITER CO., LTD.,50, Holbom Viaduct, London, E.C.


E D MU N D E V A NS ,R a r a u s p P r m t ^ G

Engraver and Printer

of the well-known Toy-

Books o f - - - -

WALTER CRANE,

KATE GREENAWAY, &

RANDOLPH CALDECOTT.

SPECIALITIES.

IVood Colour Printing.

Three-Colour Process Block

Printing.

Half-tone Process Block Printing

4, RACQUET COURT,

*

FLEET ST., LONDON, E.C.

T H E “P E L IC A N SE L F -F E E D IN G P E N (PATENTED)-A . F o u n t a i n 3P e n w i t l i S b . u . t - o f f V a l v e .

O R DINARY SIZE,

10/6E X T R A LAR G E,

16/6B 7 I7 / 1 4 - C A R A T G O L D T E N , I R I D I U M - E O J A T E D .

Writes INSTANTLY and CONTINUOUSLY, and may be carried in any position without fear of leakage.

T H E “ .NOTA B E N E S T Y L O G R A P HO r - F L T J I D P E K T C I L ( P a t e n t e d )

The Stylo may be considered THE HANDIEST OF ALL WHITING INSTRUMENTS, as it is always ready for use without adjustment,and may be carried in any position without fear of leakage.

Sold by all Stationers. Wholesale only by the Manufacturers, THOS. DE LA RUE & CO. Ltd., Bunhill Row, London.

OLDRIDGE’S BALM OF COLUMBIA

FOR THE HAIR.(Established 1821)

Is the Best and Only Certain Remedy Ever Discovered for PRESERVING, STRENGTHENING, BEA U TIFYIN G

ob RESTORING the H A IR , W H ISKER S, and MOUSTACHES, and PREVEN TIN G THEM TURN ING G REY.

The first application stops the Hair from failing offfrees it from Scurf, and causes it to assume a beautiful wavy appearance.

Price 3s. 6d., 6s., and 11s. per Bottle. Sold by all Chemists and Perfumers, and at all the Principal Stores.

For Children it is invaluable, as it forms the basis of a magnificent head of Hair.

22, WELLINGTON STREET,^ STRArlt), LONDON.

E S T A B L I S H E D 1851.-

B I R K B E C K B A N K ,SOUTHAMPTON BUILDINGS, CHANCERY LANE, LONDON, W .C.

INVESTED FUNDS - - £8,000,000.Number of Accounts, 79,497.

TWO-AND-A-HALF per CENT. INTERE8T allowed on DEP08ITS, repayable ondemand.

TWO per CENT.' on CURRENT ACCOUNTS, on the minimum monthly balances, when not drawn below £100. J

STOCK8, SHARES, and ANNUITIES purchased and sold for customers.

Savings department.Small Deposits received, and Interest allowed monthly on each completed £1.

THE BIRKBECK ALMANACK, with full particulars, post free.Telephone N o. 5 Holhom.Telegraphic Address: “ BIRKBECK, LONDON.”

FRANCIS RAVEN8CROFT, Manaoer.

Established1806.

A S S U R A N C E

*>'

?k " =-jA p 3» J

■ Establishedf 1806.

C O M F A NW E A L T H -S E C U R ITY -S TA B IL ITY .

P A I D XIST 0 3 L . A I A X 8 U P W A R D S O K £ 1 1 , 3 0 0 , 0 0 0 . Profits divided among Policy-Holders upwards of £ 4 , 1 4 0 , ( 1 9 0 .

T R U S T F U N D I N V E S T M E U T P O L I C I E S .PROVISION FOR OLD-AGE ASSURANCES—ANNUITIES—PENSIONS.

LOW PREMIUM RATES FOR WITHOUT PROFIT POLICIES.L E A S E H O L D S I N K I N G F U N D P O L I C I E S . .

C H IE F O F F I C E 15, NEW BRIDGE STREET, LONDON, E G GEORGE S. ORISFORD, A o t u a ry .

“ That remarkable succession of M on og ra .-ph s” -D a z ly N e w s .

The PortfolioIllustrated Monographs on Artistic Subjects.T h e “ PORTFOLIO ” is issued Q uarterly, in Super R oyal 8vo, a t 38.6d. net. B ach num ber is about One H undred pages in length,

and contains betw een T h irty and F o rty Illustrations.1808. — No. 35 January RUBENS. By R . A . STEVENSON. With two

Copperplates, eight Illustrations in Sepia, and twenty-four other Illustrations. 3s. 6d. net.

No. 36. April (to be published April 15th), GREEK BRONZES. By A . S T U A R T M U R R A Y , L L .D ., Keeper of the Greek and Roman Antiquities in the British Museum.

M ONOGRAPHS ALREADY P U BLISH ED :1897. 3«. 6d. net.— A L B E R T D U R E R ’S P A IN T IN G S . By Lionel Cust.

C R O M E and C O T M A N . By Laurence Binyon. T I T I A N ’S E A R L IE R W O R K . By Claude Phillips. A R M O U R I N ’ E N G L A N D . By J. Starkie Gardner.

Foundry :

The Goldsmith Foundry,

1 <5 ?* 2, Goldsmith Street,

Gough Square, Fleet S tr eet, E .C .

Branch Offices .

69, Market Street, Manchester.

71, Lord Street, Liverpool.

A n d West Not wood.

Telegrams : 14 Hentschel% London."

Telephones :' Holbom, 169. .Holbom, 26a.

1808. 3s. 6d. net.— P IC T U R E G A L L E R Y O F C H A R L E S I. By Claude Phillips. JO H N L A F A R G E . By Cecilia Waern. R IC H M O N D -O N -T H A M E S . By Dr. Garnett.T H E L IF E O F V E L A Z Q U E Z . By Walter Armstrong.T H E A R T O F V E L A Z Q U E Z . By Walter Armstrong.R O Y A L E N G L IS H B O O K B IN D IN G S . By Cyril Davenport.

1898. 28.'6d. net.— T H E E A R L Y W O R K O F R A P H A E L . By Julia Cartwright. W . Q. O R C H A R D S O N . By Walter Armstrong.C L A U D E L O R R A IN . By George Grahame.W H IT E H A L L . By W . J. Loftie.JA P A N E S E W O O D E N G R A V IN G S . By Prof. Anderson. W A T T E A U . By Claude Phillips.IS L E O F W IG H T . By C. J. Cornish.R A P H A E L IN R O M E . By Julia Cartwright.D U T C H E T C H E R S . By Laurence Binyon.W IL L IA M B L A K E . By Dr. Garnett.B E L G IA N S C U L P T U R E . By O. Destree.G E R A R D D A V ID . By W . James Weale.

DIRECTPH O TO ENGRAVERS

FINE ART ELECTROTYPERS

1894. 2S.'6d. net.—R E M B R A N D T ’S E T C H IN G S . By P. G. Hamerton. M A L T A . By W . K . R . Bedford.W E D G W O O D . By Prof. A. H. Church.B A S T IE N L E P A G E . By Julia Cartwright.D . G . R O S S E T T I. B y F. G. Stephens.F . W A L K E R . By Claude Phillips.F A IR W O M E N . B y William Sharp.T H E N E W F O R E ST . By C . J. Cornish. G A IN S B O R O U G H . By Walter Armstrong. B O O K B IN D IN G IN F R A N C E . By W . Y . Fletcher. A L B E R T D U R K R ’S E N G R A V IN G S . By Lionel Cust. IT A L IA N ! B O O K IL L U S T R A T IO N S . By A . W . Pollard.

London: SEELEY & CO., Limited, 38, Great Russell Street, W.C.

STEREOTYPERS

Head Office:

182,183,184, FLEET STREET, E.C.JPOR YO U TH FU L APPEARAN CE. BEA U TIFU L HAIR.

OW E L IQ U ID .No. 1.. Black No. 2 . .Dark Brown No. 3 . .Light Brown ■jx- a ( Golden Brown

* i or Auburn No. 5 . .Pure Golden

No. 6 Imperial Hair Grower

Harmless, Perfect, Permanent & Odourless,

A Medical Certificate ^ with each bottle.

210, 3/6, 5/- & 10/6 (PRIVATELY PACKED).J. Brodie> 41 museum sTREET> London

Established 1868. Once Tried, Always Used.

PERRY & CO.ELECTRIC LIGHT FITTINGS

IN ALL

of Decoration.

The Choicest Designsav> m

BEST W ORK.

17, GRAFTON ST.,BOND ST., LONDON, W.

Catalogues.

BENHAM & SONS, Sir Edward Burne-Jones, Bart., · 2018-10-24 · Sir Edward Burne-Jones, Bart., AND...

Documents

Transcript of BENHAM & SONS, Sir Edward Burne-Jones, Bart., · 2018-10-24 · Sir Edward Burne-Jones, Bart., AND...