Chapter VII (2)

"Scarcely eighteen summers had passed over the golden-hued
silkiness of the tightly-bound tresses of that classic head. The
flush of health was on her peachy cheeks. The joyousness of youth
lit up her big blue eyes, and wreathed her red lips into a smile,
that showed two rows of glistening teeth. The tightly-fitting dress
revealed in all its glorious young beauty the faultless contour of
her form.

"She cast an eye of pardonable pride upon the shapely limbs
supporting her; then turned her eyes upward towards the horizontal
bar, set her teeth, and jumped.

"An instant later, and she had sat down sharply on the resonant
bounding-board with a deuce of a bump! and all the plain young
women looking on were smiling...."

"NURSERY MORALS" (_JUDY_).

_Published by Mr. Gilbert Dalziel._]

One of the most interesting series of stories that Charles H. Ross wrote for _Judy_, he called "Behind a Brass Knocker." This was done in conjunction with Fred Barnard, who made all of the drawings. It was rather a sad theme--the experiences of a lot of impecunious people living together in a boardinghouse, the poorest of them all being Mrs. Mite, whose shifts and cunning ways are told with a touch of pathos, her crowning trouble being a drunken husband. The work had considerable success in volume form. Fred Barnard's work in this was of his very best kind.

Ross also wrote a series of wonderfully clever articles to accompany a set of drawings by E. G. Dalziel, which were strangely unlike the usual work of this artist--so much so, as to suggest the idea that he must have been under the influence of Gustave Doré at the time. Ross called them "Nursery Morals," which were of a fanciful character. After playfully rebuking "Little Bo-Peep" on her vanity, he concludes:

"I think the artist might as well have shown us the nose of one
of the silly sheep peeping round a distant corner; but perhaps
the sheep were all tired of her airs and graces, and had taken
themselves off in disgust. I am not naturally of a malignant
disposition, but I sincerely trust she never did find those sheep.
Don't you?"

"On The Giant-Killer," he writes:

"I have every reason to believe that abnormally large men are
comparatively harmless. There must be exceptions, of course, and I
will give you 'Sir Roger' and Count Fosco. The Count, by the way,
is a fictitious personage, and perhaps 'Sir Roger' was also rather
that way inclined.

"These, however, were enormously fat men, not giants, and I have
to do with giants. Now, we have it on good authority, that the
intellect of a giant is generally as weak as his knees. We hear
over and over again of giants in shows being awfully bullied by
the 'smallest man in the world,' who travels with him, and who is
exhibited outside on the parade in a largish-sized doll's house,
through the roof of which he pokes out his head, whilst he rings a
bell from the second-floor window, and rests his feet in the front
parlour."

"NURSERY MORALS" (_JUDY_).

_Published by Mr. Gilbert Dalziel._]

He remarks "On the Utter Wrongness of Nursery Lore":

"The more I reflect upon the unworthiness of the Nursery hero,
as compared with the spotless purity of my own character (I am a
London tradesman), the more am I lost in wonder to think that these
alarming humbugs should so long have been tolerated by an indulgent
public. When I think of that fellow whose name is associated with
the beanstalk of abnormal growth--an unhappy combination of rogue
and fool--when I think of that wholesale murderer (another Jack),
and indeed all the rest of them, I ask myself 'Why so?' and all
that remains of the _Echo_, at one halfpenny, is discreetly silent."

"On Love as a Passion":

"The passion of love is very properly excluded from the subjects
discussed in the best regulated nurseries. Indeed, in households
where the young lady's material has reached a certain height and
breadth and fulness, the love that has any particular amount of
passion in it is not the one discussed. And I think it right that
it should not be.

"Writing as I do exclusively for female babes (or rather, I should
say, young lady babes, because a young lady babe ought not to be
called a female, and would with reason feel annoyed at being called
one), I am anxious to do away with the passionate love-fiction
altogether. Of course, I know I have only to explain the thing
properly, in my own particular way, and the thing will at once be
done away with; and surely it is my duty to do so, when by doing
so, I know I shall do good."

"The Old Curiosity Shop" (Household Edition).--CHARLES DICKENS.

BY CHARLES GREEN, R.I.

_By permission of Messrs. Chapman & Hall._]

In 1888, Gilbert Dalziel, who had been working in the interests of the paper from the day it came into our hands, took over the journal, paying the sum of eight thousand pounds for it. He at once made considerable alterations in the conduct of the paper. Amongst his artistic staff were that powerful draughtsman, W. G. Baxter; Bernard Partridge, one of the most brilliant and deservedly popular black and white men of our time; Maurice Greiffenhagen, whose drawings had graced the pages of _Judy_ from the day of his early studentship; Alfred Bryan, inimitable in his way; Fred Pegram, Raven Hill, F. H. Townsend, and Fred Barnard.

With such a list of artists at work week by week, small wonder that it should now be spoken of as "The Golden Period" of _Judy_.

In the pages of _Judy_, Charles H. Ross created the character of Ally Sloper and also of his friend Ikey Moses. In the early part of 1884, Gilbert Dalziel conceived and modelled a new publication, to be called the _Half-Holiday_, in which Ally Sloper was to be a leading character. It was finally decided, however, to add the Old Man's name to the title, and on May 3rd, 1884, _Ally Sloper's Half-Holiday_ made its first appearance.

Amongst the many quaint features of the paper, perhaps the "Award of Merit" stands foremost. This decoration consists of a very clever design by W. G. Baxter, executed in colours, and has been presented to and accepted by men and women of the highest distinction in all branches of art, science, literature, music, and the professions generally.

"_'Yes, ma'm,' replied Nell, colouring deeply._"

"The Old Curiosity Shop" (Household Edition).--CHARLES DICKENS.

BY CHARLES GREEN, R.I.

_By permission of Messrs. Chapman & Hall._]

Gilbert Dalziel has in his possession a collection of autograph letters, in acknowledgment of the "Award," from some of the most eminent folks before the public during the latter part of the old century, amongst whom may be mentioned--Lord Tennyson, as representing Literature; Sir John E. Millais, Bart., P.R.A., for Painting and Drawing on Wood; Sir Arthur Sullivan, for Music; Sir Charles Russell, for Law; Arthur W. Pinero and Sir Henry Irving, for the Drama; Lord Charles Beresford, for the Navy; and Lord Roberts (when he was in command in India), for the Army.

* * * * *

Charles H. Bennett was one of the most original artists of his period. Alas! his life was all too short. There was an individual stamp about his work--independent in manner and full of deep thought. We had many of his drawings through our hands and knew him well. A more earnest man concerning his work we never met; and, not unlike Pinwell, he held it as a principle that time should never be allowed to enter into the question; the task should be defined, but never trammelled by, "How long will it take?"--whether it be days, weeks or years, for the proper execution of the project. Perhaps his "Bunyan's Pilgrim's Progress" will rank as his greatest achievement.

We have already spoken of our connection with Messrs. Chapman & Hall, on that light feat of Doyle's, the "Panorama." There were also a very clever set of drawings for "Fairy Tales of all Nations," by Richard Doyle, and illustrations to Morley's "Oberon's Horn, and other Fairy Tales," by Charles H. Bennett, which we produced for the same firm.

"_'I don't care for the Town,' said J. Mellows, when I complimented him on the sanitary advantage it may or may not possess; 'I wish I had never seen the Town.'_"

"The Uncommercial Traveller" (Household Edition).--CHARLES DICKENS.

BY E. G. DALZIEL.

_By permission of Messrs. Chapman & Hall._]

When Charles Dickens abandoned the etchings of H. K. Browne as a means of illustrating his books, the next work, "Our Mutual Friend," was placed in the hands of Marcus Stone, whose father, Mr. Frank Stone, A.R.A., had for many years been a next-door neighbour and a very constant friend of Dickens. Some of these drawings, which are marked with all the refinement and good taste of this popular artist, were entrusted to us to engrave.

We were early engaged on the various editions of the works of Charles Dickens, commencing (through our friend, Ebenezer Landells,) with the wood engravings for "Master Humphrey's Clock," which were soon followed by those for the "Christmas Books" from drawings by Richard Doyle, John Leech, and Daniel Maclise.

But by far the most important commission ever placed in our hands by Messrs. Chapman & Hall was the production and entire control of the illustrations for the Household Edition of the Works of Charles Dickens, which was commenced in serial form in 1871 and completed in 1879, thus extending over a period of eight years. The publishers began the issue with "Pickwick," using the original designs by H. K. Browne ("Phiz"), but immediately after this Mr. Frederick Chapman placed the entire control of the illustrations in our hands. We were to find the best artists we considered suitable for the various works. The first selected was James Mahoney, who had already attained some distinction in drawing on wood. He did in all three books, the first being "Oliver Twist," followed by "Little Dorrit" and "Our Mutual Friend." Mahoney had a firm, clear style of manipulation, and no one knew better than he how to make work look solid and firm by leaving large masses of white in his arrangement of colour. He painted some good water colours. We had several small examples, the most important of which is "A Bird of Prey," a repeat of one of his designs for "Our Mutual Friend." Charles Green, R.I., made a beautiful set of illustrations to "The Old Curiosity Shop." Every picture is carefully studied both as to character, scene, and subject; the picture of "Short and Codlin," with Nell and her Grandfather, being one of the most perfect. Green painted many very fine water colour pictures, several of which we were fortunate enough to possess.

"The Uncommercial Traveller" (Household Edition).--CHARLES DICKENS.

BY E. G. DALZIEL.

_By permission of Messrs. Chapman & Hall._]

"78 PARK ROAD.

"DEAR MR. DALZIEL,--These proofs are so beautiful I cannot find
any fault; and should be a brute if I did. The only one I have
touched is because it is a little too dark and heavy--perhaps it is
a heavy proof. I am delighted with them generally. I send two more
drawings. Please do not forget to let me have the three proofs I
mentioned in this morning's letter.

"Yours very truly,
"C. GREEN."

Again on another occasion:

"I like those proofs very much indeed; they are beautiful. There
is only one thing wants touching--the face of the Charwoman in No.
27 is rather muddy, it wants clearing up a bit. I have touched the
proof."

H. French, a clever and popular artist, the son of an accomplished wood engraver, who came of the Bewick school, did the pictures for "Hard Times," and very good they were.

"A Tale of Two Cities" (Household Edition).--CHARLES DICKENS.

BY FREDERICK BARNARD.

_By permission of Messrs. Chapman & Hall._]

F. A. Fraser, a well-known illustrator, made those for "Great Expectations."

A. B. Frost, an American artist of great ability, did "American Notes," and Gordon Thomson "Pictures from Italy." E. G. Dalziel undertook "Reprinted Pieces" and "The Uncommercial Traveller," as well as other short stories. Of "E. G. D.'s" work we will here quote two letters by distinguished artists in appreciation.

"2 PALACE GATE,
"_30th January, 1878_.

"DEAR DALZIEL,--I ought to have thanked you for your kind and
thoughtful present of Xmas books. The illustrations of your son to
'The Uncommercial Traveller' are _admirable_. I recognise his work
in _Fun_, and the care of his work is not lost upon

"Yours very truly,
"J. E. MILLAIS."

"VANBRUGH PARK,
"BLACKHEATH,
"_23rd December, 1877_.

"DEAR MR. DALZIEL,--I thank you for the volume, where your son's
drawings show an amazing care and truth--a certain weirdness most
telling in some subjects, notably, 'Chips, the Carpenter'--the
Devil with the Rat on his shoulder is _grand_. There is a Donkey,
taken into custody by the police, most beautifully drawn. The
Cart is by Albert Durer, so also is 'Mr. Baker's Trap'; 'A Cheap
Theatre' is good, full of varied character; so is the Group of
Chair-menders on title--the man's eyes screwed up because of the
sun, and the woman looking through the back of the chair. There
is a group of old women on p. 136 which is capital; very good
character on p. 101, also on p. 84. 'Mr. J. Mellows,' p. 112, very
good.

"With best wishes for health and happiness to you and yours,

"I am, dear Mr. Dalziel,
"Very truly yours,
"JOHN GILBERT."

"Nicholas Nickleby" (Household Edition).--CHARLES DICKENS.

BY FREDERICK BARNARD.

_By permission of Messrs. Chapman & Hall._]

But of all the artists engaged on this edition Frederick Barnard held the most prominent position, he having fully illustrated no less than nine out of twenty books.

Barnard ranks as one of England's truly comic artists; but he was not only comic, he was one of the most versatile artists of our time. He unquestionably stands among the foremost illustrators of Dickens. The many drawings he made for the Household Edition, as well as some larger pictures, illustrating the works of the great author, all possess a certain peculiarity: while the drawings are strictly in his own style, there is just enough resemblance to the figures created by H. K. Browne to save you a shock; the Dick Swiveller, the Bill Sykes, and other characters are the same as one had accepted when the stories were first written.

A powerful set of drawings are those for "How the Poor Live," which were commissioned by Gilbert Dalziel, in connection with G. R. Sims' articles, for publication in the _Pictorial World_.

Again, how grand are many of his designs for the "Pilgrim's Progress," which we prepared for Alexander Strahan; one of the most effective is "Lord Hategood," from which we commissioned him to paint an oil picture. Barnard was no mean painter: perhaps his "Saturday Night in the East End" and "The Guards' Band Marching" are amongst his most important works. He also painted a "Ball-room Scene," of an elegant character, from one of the Dickens' books, that had a very prominent place in the Institute of Painters in Oil Colours.

Our long connection with Barnard was of close intimacy and friendship; he was a delightful companion, amusing, and full of bright repartee, and would often "set the table in a roar."

As a mimic and comic singer he was inimitable. A favourite song of his at studio evenings was "I Long to be a Hartist, Mother," written by himself, we believe, and screamingly funny. As a practical jokist, Fred Barnard was simply _au fait_. On one occasion he called at Soane's Museum in Lincoln's Inn Fields, and asked the porter if Sir John Soane was at home. "Why, lor bless you, sir," said the man, "Sir John Soane has been dead these sixty years." Barnard was staggered at the news and overwhelmed with grief, and beating his breast he cried, "Dead! Dead! Dead! And we were boys at school together!"

His own death, poor chap, was tragic, and a great shock to all who knew him. He was an ardent smoker. One morning, having had breakfast in bed, he requested that he should not be disturbed again for some hours; when the servant went to call him there was no response, and on the door being forced open the room was found to be full of smoke, the bed-clothes smouldering fire. It is supposed that while courting further sleep he lit a pipe, which, falling from his mouth, ignited the clothes; although somewhat severely burnt, his death was, in fact, due to suffocation, and he passed away while in a state of insensibility.

_1901_

FROM A PHOTOGRAPH BY GRACE AND DORA DALZIEL.]

1901

FROM A PHOTOGRAPH BY GRACE AND DORA DALZIEL.]

FROM A PHOTOGRAPH BY LOVEL DALZIEL.]

FOOTNOTES:

[21] This is the fourth son of Edward Dalziel.

OUR PUPILS.

Early in the year 1844 we took our first pupil, Francis Fricker, a very steady, industrious fellow, who was always punctual and reliable. He became a good engraver, and remained with us, without intermission--with the exception of two or three weeks' holiday in each year, which we made a practice of giving to all our pupils--until we broke up our establishment in 1893.

Being all draughtsmen ourselves, we did not take pupils specially for engraving alone; although, from our earliest days, we made it a rule to place any commission that was intrusted to us in the hands of the best artists we could find, whose peculiar ability suited them for the subject in question.

Nevertheless, we established a school to teach our pupils drawing. We got together a good collection of plaster casts--the best obtainable; also other matter suitable for study from the flat and round; works on "Anatomy," on "Beauty," and on "Perspective." We also provided all the materials for working free of cost. The engraver's day at that time was a long one--nine hours--and the drawing only began after the day's work had been finished; and to this, perhaps, is due the fact that all did not avail themselves of what had been planned for them. The pupils who did attend the meetings, and who doubtless possessed the stronger love of art, benefitted to no small extent.

Among those who availed themselves of these advantages were Harry Fenn and Charles Kingdon, two of our earliest and very cleverest pupils. Soon after they completed their term with us they took ship to Canada, having determined to visit the principal cities there and in the United States of America. This they did, settling in New York City, where they soon found profitable employment.

* * * * *

Harry Fenn took at once to drawing on wood and water colour painting, making very rapid progress in both branches of art, and soon becoming the most popular landscape draughtsman in America. It was he who projected, planned, and made all the drawings for "Picturesque America." It came about in this way. He was dining with the well-known publisher, D. Appleton, who, during conversation, regretted that America did not afford such fine material for landscape art as the Old Country--that there was, in fact, nothing picturesque in America. Fenn said: "Give me the chance and you shall see what a variety of beautiful material you have got in America." The reply was: "Well, you shall have a try if you like. Do a few drawings and let us see." Fenn made a few drawings, which encouraged the publisher to carry out the idea; and he did a work which was, perhaps, one of the most brilliantly successful illustrated books ever published, and the forerunner of several similar works, all of which were filled with beautiful examples of his skilful pencil. He still continues to be a popular black and white artist, but devotes much time to painting in water colours.

Joseph Pennell, in his "Modern Illustration," says, "Henry Fenn's illustrations to 'Picturesque America' entitle him to be called the Nestor of his Guild, not only for the delicacy, truth and refinement of his drawing, but also because of the enormous success of the publication."

* * * * *

Charles Kingdon, by far the best engraver of the two, was also very popular in America, but he was of a restless nature and had not the persistent industry of his companion. He died young, and in his death the world lost a brilliant young artist. He married an American lady soon after settling there, and it is worthy of mention, so we have been told, that his daughter, who evidently inherited her father's art instincts and good looks--for Kingdon was a very handsome fellow--was a popular member of the celebrated Augustin Daly's company, and became the wife of an American millionaire.

* * * * *

Another of the most industrious and constant workers was George G. Kilburne, who, soon after completing his engagement with us, gave up engraving altogether and took to painting--mostly in water colours--in which he has long held a prominent position in the Royal Institute of Painters in Water Colours, as well as being a very frequent exhibitor at the Royal Academy. He was one of the most satisfactory pupils we ever had. He took up engraving with great aptitude, and from the day he came to us his work was always good. Only the second drawing given to him to work upon was so perfect, that it was published with the set to which it belonged. A peculiarity with Kilburne was that if he were asked to do anything, you found him doing it immediately; with him no time was wanted for preparation. Though he left our studio and forsook the branch of art we taught him, our connection, instead of being severed, became the closer by his marrying the elder daughter of our late brother Robert.

* * * * *

Charles A. Ferrier, a young Scotchman of varied capabilities, who had made some small efforts at wood engraving in his native town of Arbroath, without instruction, came to us to seek employment through an introduction he had obtained to William Harvey. He was a youth of considerable promise and full of enthusiasm for his art. Though the specimens he had to show were very crude, he had evidently been looked upon as a genius by his Scottish friends; but on entering our studio he was indefatigable in his studies, and eager for improvement. Before he had been two months with us he became London correspondent to an Arbroath weekly paper. This letter he generally knocked off during the hour allowed for dinner in the middle of the day. We have reason to believe he turned his attention very much to scientific subjects, and became a Fellow of more than one of the learned Societies. During the whole of his life he has been a staunch teetotaler, and has worked hard in the temperance cause. He became the personal friend of George Cruikshank, Dr. Richardson, and many scientific people, who preferred him as an engraver because of the knowledge he possessed of the objects he had to work upon. Taken altogether, Ferrier became one of the most remarkable men who had their beginning in our studio.

* * * * *

"W. Y.," a pupil whose name for obvious reasons we will not give, came to us when about nineteen years of age. He was a member of a good county family--a younger son; he had good taste for art and some skill as a draughtsman. By the wish of his elder brother, he was put with us to learn engraving. His development in our art was simply wonderful, his manipulative power was quite extraordinary; it was the one case in our experience where it seemed as if the pupil had come to teach the masters. He was steady, punctual to his long day's work, and in every way exemplary, a gentleman in manner, and a great favourite with all the assistants and other pupils; but it was known to his fellow-workers that at a certain date he was to come into a considerable sum of money, and he had often said that when he got it, "then farewell to industry, to art, and to respectability." His words were: "When I get it I will let fly." And, sad to relate, he did "let fly." He had been working out of our studio for some two or three months, when he suddenly disappeared, and the last we heard of him was that he was spending his time, and his money chiefly in the immediate vicinity of the Surrey Theatre, and that in an adjacent public-house bar he was seen lighting his pipe with a five pound note. Poor fellow! It was the old, old story--the drink--the drink that did it.

* * * * *

Alexander Aitcheson Dalziel and John Sanderson Dalziel, the two sons of our brother Robert, also, on leaving school, became pupils to learn wood engraving. The elder brother, Alexander, shortly after completing his term, married and went out to South Africa, where for a time he coupled scholastic work with his engraving; but after a bit he gave up art altogether and went on with his teaching only--while John emigrated to America, and settled down in Philadelphia for many years, where he executed a large number of elaborate, highly-finished works, chiefly of a scientific character, much of which has been reproduced in this country. At the time we write he is turning his attention to fruit culture in Colorado.

* * * * *

A. W. Bayes was introduced to us by H. Stacy Marks, R.A., as a young man who had been engaged as a draughtsman at some manufacturing works in the country, and had shown a wonderful capacity for design. We could not say he came to us as a pupil; but whatever progress he made in our studio was the result of the practice derived from the subjects given to him, and owing to the advantage of his seeing a great variety of drawings by the leading artists of the time. He was very industrious and very rapid. He worked with us for many years, until, for the further development in painting and other branches of his art, he found it an advantage to have a place of his own. With us he had illustrated a number of children's books, the most important being the works of Hans Christian Andersen, for which he made a very large number of drawings. These books went through many editions. He also made a set of drawings from Bible history, and another set from the New Testament, all of which were published for us by Messrs. Routledge, Warne & Co., with a fair amount of success. Bayes for some years has devoted himself almost entirely to painting in oil, and has produced many important works--chiefly of a historical order.

* * * * *

Phil Ebbutt came to us on the recommendation of our friend George R. Sims. He had a natural taste for drawing, and was quick at design. He worked much on our publication, _Jack and Jill_, including political cartoons, and romances strictly historical. He also made many drawings for _Fun_, which were mostly of a social character. In all he was an industrious, willing worker, but his progress was hindered by an affection of the eyes, which now and again demanded complete rest; though that, for a time, was got over and he went to work again. He also made many drawings as book illustrations, and was one of the original artists on the _Daily Graphic_, working for the first number of that journal. But the eye trouble again caused him to terminate so close a connection, and he continued as an occasional contributor only. He still holds a prominent place as a journalistic artist, doing much good work.

* * * * *

Hal Ludlow as a boy showed great taste and skill in drawing. His friends wished him to be a wood engraver and placed him with us as an apprentice for that purpose; but he made little or no progress in that branch and was soon put to drawing entirely, and very quickly developed as a clever designer. He made hundreds of drawings for children's and other books; some of the former were carried out in colours--what are generally known as "Toy Books." He soon became an expert in pure pen and ink work, and when the _Pictorial World_ was under our control, made a large number of careful drawings of social life--many of every-day events, notably river and race scenes. He also made many important drawings of theatrical representations--new plays, opera and music hall subjects. His work had become so popular that Mason Jackson came to us on behalf of the _Illustrated London News_, to know if we would allow Ludlow to make drawings on wood for that journal, saying, "it was a pity that such clever drawings should all be reproduced by process," which he regarded as an inferior manner of rendering them. What a change has come since that period! How completely has the then-thought "superior" manner had to stand aside for the "inferior"! We may here state that, in the long past, we always thought that some automatic process would be perfected for the proper reproduction of point work, or what was always known as "facsimile" drawing. Of Ludlow's work as a popular designer and painter, it is not necessary to speak further than to say that his smaller water colours rival in grace and minute finish the work of Jan Van Beers.

* * * * *

George Gatcombe was a companion and friend of Phil Ebbutt, and through that fact came to us. He showed an early taste for drawing, was from the first a very rapid workman, and soon developed to an extent that made his work suitable for publication. We gave him an opportunity by the introduction of his work on _Fun_, in which he evinced a distinct capacity for the elegant in his social pictures. He made many illustrations for books; and did much at various times for "Hood's Annual." Some of his political cartoons, too, showed a distinct taste in that direction. He also produced several designs of a historical character. Gatcombe is a good all-round black and white artist.

* * * * *

Among the many other pupils and assistants who have passed through our studios, and proved themselves steady and accomplished artists, we must not omit to mention Harry Leighton, E. J. Wallis, who has lately turned his attention very successfully to landscape photography, Walter Williams, William Arrowsmith, and James Clark, who, like his fellow-pupil Frank Fricker, remained with us for over forty years.

THE PRINTING OFFICE.

With the object of printing our own "Fine Art Books," early in the year 1857 we decided to set up a small printing office, which necessitated our obtaining much more extensive accommodation than we at that time possessed. We secured a long lease of the premises, 110--at that time known as 53--High Street, Camden Town, and under the style and title of The Camden Press gradually built up a large printing and publishing business. During nearly forty years of varied experience in this branch of the business, we printed a great number of important works for other publishers, as well as our own. Amongst the very last of these was "Dalziel's Bible Gallery."

* * * * *

The Camden Press, where this book was printed, is now in the hands of Charles and Harvey Dalziel. It fully maintains its repute for high-class art work, after the manner of the old firm, but "running to numbers" such as were never dreamt of in the days of

LIST OF

FINE ART AND OTHER ILLUSTRATED BOOKS

PRODUCED BY AND UNDER THE ENTIRE SUPERINTENDENCE OF THE BROTHERS DALZIEL.

DATE. SUBJECT. ILLUSTRATED BY PUBLISHED BY

1850 PILGRIM'S PROGRESS. William Harvey _David Bogue._

" HOME FOR THE Kenny Meadows _J. Cundall._
HOLIDAYS.

1851 JACK THE GIANT Richard Doyle _Cundall & Adey._
KILLER.

" AN OVERLAND
JOURNEY TO THE
GREAT EXHIBITION " " _Chapman & Hall._
OF 1851.

1852 THE SALAMANDRINE. Sir John Gilbert,
R.A., P.R.W.S. _Ingram & Cook._

1854 KRUMMACHER'S J. R. Clayton _Nathaniel Cook._
FABLES.

" ORIENTAL FAIRY William Harvey _Chapman & Hall._
TALES.

1856 LONGFELLOW'S POEMS. Sir John Gilbert,
R.A., P.R.W.S. _G. Routledge &
Co._

1857 POETS OF THE 19TH Various Artists "
CENTURY.

" DRAMATIC POEMS OF
BARRY CORNWALL. " _Chapman & Hall._

" BRYANT'S POEMS. " _Appleton, New
York._
1858 HOME AFFECTIONS OF
THE POETS. " _G. Routledge &
Co._

" GERTRUDE OF " "
WYOMING.

" MILTON'S COMUS. " "

" BEATIE'S MINSTREL. Birket Foster "

" SUMMER TIME IN THE
COUNTRY. Various Artists "

" LIFE OF CHRIST,
AND THE MIRACLES. F. R. Pickersgill, _Chapman & Hall._
R.A.

" FAIRY TALES (H. C. H. Bennett "
MORLEY.)

" OTTO SPECTER'S _Routledge,
PICTURE FABLES. Otto Specter Warnes, &
Routledge._

1859 OBERON'S HORN (H. C. H. Bennett _Chapman & Hall._
MORLEY.)

" WORDSWORTH'S POEMS. Various Artists _Routledge,
Warnes, &
Routledge._

" ODES AND SONNETS. Birket Foster "

" MILES STANDISH. Sir John Gilbert,
R.A., P.R.W.S. "

1860 MONTGOMERY'S POEMS. Various Artists "

" ELIZA COOK'S POEMS. " "

1858 SHAKESPEARE'S
TO WORKS (3 VOLS.) Sir John Gilbert,
1861 R.A., P.R.W.S. "

1861 ORLEY FARM. Sir J. E. Millais, _Chapman & Hall._
P.R.A.

" LALLA ROOKH. Sir John Tenniel _Longman & Co._

1861 WOOD'S NATURAL
to HISTORY & WOOD'S Various Artists _Routledge,
1863 NATURAL HISTORY Warne, &
OF MAN (5 VOLS.) Routledge._
1861
and BIRDSEYE VIEWS OF Richard Doyle _Smith, Elder &
SOCIETY. Co._
1862

1862 PICTURES OF Birket Foster _Routledge,
ENGLISH LANDSCAPE. Warne, &
Routledge._

" ENGLISH SACRED Various Artists "
POETRY.

" FRAMLEY PARSONAGE. Sir J. E. Millais, _Smith, Elder &
P.R.A. Co._

1863 PILGRIM'S PROGRESS. J. D. Watson, _Routledge,
R.W.S. Warne, &
Routledge._

1864 PARABLES OF OUR Sir J. E. Millais, "
LORD. P.R.A.

" ROBINSON CRUSOE. J. D. Watson, "
R.W.S.
" THE SMALL HOUSE AT
ALLINGTON. Sir J. E. Millais, _Smith, Elder &
P.R.A. Co._

" DALZIEL'S ARABIAN Various Artists _Ward & Lock._
NIGHTS.

" THE GOLDEN HARP. " _Routledge,
Warne, &
Routledge._

1865 DALZIEL'S G. J. Pinwell, _Ward & Lock._
GOLDSMITH. R.W.S.

" ALICE IN Sir John Tenniel _Macmillan & Co._
WONDERLAND.

" HOME THOUGHTS. A. Boyd Houghton, _Routledge,
R.W.S. Warne, &
Routledge._

" AN OLD FAIRY TALE. Richard Doyle "

" PILGRIM'S PROGRESS. Thomas Dalziel _Ward & Lock._

1866 DON QUIXOTE. A. Boyd Houghton, _F. Warne & Co._
R.W.S.

" WORDSWORTH'S POEMS J. PETTIE, R.A.,
FOR THE YOUNG. AND J. MacWhirter, _A. Strahan & Co._
R.A.

" THE SPIRIT OF Various Artists _F. Warne & Co._
PRAISE.

" GRISET'S Ernest Griset _G. Routledge &
GROTESQUES. Sons._

1867 A ROUND OF DAYS. Various Artists "

" GOLDEN THOUGHTS. " _F. Warne & Co._

" JEAN INGELOW'S " _Longman & Co._
FABLES.

1868 NORTH COAST POEMS
(ROBT. BUCHANAN) " _G. Routledge &
Sons._

1869 WAYSIDE POSIES. " "

" BALLAD STORIES OF
THE AFFECTIONS. " "

" KRILOF FABLES. A. Boyd Houghton, _A. Strahan & Co._
R.W.S.

" RHYME AND REASON. Various Artists _G. Routledge &
Sons._

1870 LEAR'S BOOK OF Edward Lear "
NONSENSE.

" OUR NATIONAL
NURSERY RHYMES. Various Artists _Novello, Ewer &
Co._
1871 THROUGH THE
LOOKING GLASS. Sir John Tenniel _Macmillan & Co._

" CHRISTMAS CAROLS. Various Artists _Novello, Ewer &
Co._
1872 SING SONG
(CHRISTINA Arthur Hughes _G. Routledge &
ROSSETTI) Sons._

1874 PICTURE POSIES. Various Artists "

" SUNLIGHT OF SONG. " _Novello, Ewer &
Co._
1877 ART RAMBLES IN
THE ISLANDS AND
HIGHLANDS OF J. T. Reid _G. Routledge &
SCOTLAND. Sons._

1877 ARABIAN NIGHTS
ENTERTAINMENT. Thomas Dalziel _G. Routledge &
Sons._
1871 DICKENS'S
TO HOUSEHOLD EDITION. Various Artists _Chapman & Hall._
1879

1880 PILGRIM'S PROGRESS. " _A. Strahan & Co._

" DALZIEL'S BIBLE " _G. Routledge &
GALLERY. Sons._

1880 BYGONE MOODS (J.
T. JUDKIN) " _Longman for
J.T.J._
1883 RHYME AND REASON
(LEWIS CARROL) A. B. Frost _Macmillan & Co._

1885 A TANGLED TALE
(LEWIS CARROL) " "

FINE ART BOOKS

PARTLY THE WORK OF THE BROTHERS DALZIEL.

DATE. SUBJECT. ILLUSTRATED BY PUBLISHED BY

1841 POEMS AND PICTURES. Various Artists _J. Burns._

1841 WAVERLEY NOVELS.
to (ABBOTSFORD " _T. Cadell._
1846 EDITION)

1849 THE KING OF THE _Smith, Elder &
GOLDEN RIVER. Richard Doyle Co._

" FAIRY TALES OF ALL _Chapman & Hall._
NATIONS. "

" A JAR OF HONEY _Smith, Elder &
FROM MOUNT HYBLA. " Co._

1854 TUPPER'S _Hatchard & Co._
PROVERBIAL Various Artists
PHILOSOPHY.

" THE POETICAL WORKS _J. Nisbet & Co._
OF GEORGE HERBERT. "

1857 TENNYSON'S POEMS. " _Moxon & Co._

" POLLOCK'S COURSE " _Blackwood & Co._
OF TIME.

1858 LAYS OF THE HOLY " _J. Nisbet & Co._
LAND.

" THE BOOK OF JOB. Sir John Gilbert,
R.A., P.R.W.S. "

1859 THOMPSON'S SEASONS. Various Artists "

1863 LAYS OF THE Sir J. Noel Paton, _Blackwood & Co._
SCOTTISH P.R.S.A., and H.
CAVALIERS. Waller Paton

1864 INGOLDSBY LEGENDS. J. Leech, G.
Cruikshank and
Sir John Tenniel _R. Bentley._

INDEX.

PAGE

His Gracious Majesty, King Edward VII. (The Prince of Wales), 35

Absolon, John, R.I., 27, 28

Ainsworth, Harrison, 76

Alford, Dean, 54

Allan, Sir William, R.A., P.R.S.A., 26

Allingham, William, 86, 192

Andrews, G. H., R.W.S., 178

Ansdell, Richard, R.A., 160

Appleton, Messrs. D., & Co., 180, 344

Barnard, Frederick, 308, 328, 339

Barry, Sir Charles, R.A., 114

Baxter, W. G., 328

Bayes, A. W., 348

Bell, Sir Charles, 14

Bennett, Charles H., 330

Bentley, Richard, 124, 132

Beresford, Sir Charlesv, 330

Bewick, Thomas, 8, 10, 12, 13

Black, Adam & Charlesv, 34

Blackwood, Messrs. William, & Sons, 132

Blanchard, Leman, 292

Blomfield, Dr., Bishop of London, 49

Bogue, David, 17, 28

Bohn, Henry G., 30

Boucher, W., 318

Boughton, G. H., R.A., 160

Boyce, George, R.W.S., 114

Bradbury & Evans, 6, 82

Braddon, Miss, 19

Brewtnall, E. F., R.W.S., 254, 264

Browne, Hablot K., 8, 332, 338

Brunton, W. S., 314

Bryan, Alfred, 328

Bryant, William Cullen, 180

Buchanan, Robert, 158, 212

Burne-Jones, Sir Edward, 81, 161, 163, 254

Burton, Sir F. W., 168

Byron, Lord, 94

Byron, Henry J., 292

Cadell, of Edinburgh, 26, 29

Carrol, Lewis (Rev. C. Dodgson), 126

Chapman & Hall, 330, 332

Christie, Alexander, 26

Claxton, Florence and Adelaide, 188

Clay & Sons, 266

Clayton, John R., 19, 114, 180

Colburn, 132

Cole, Sir Henry, 28

Coleman, W. S., 270

Coleridge, Samuel, 94

Colvin, Sydney, 156

Cook, Dutton, 292

Cook, Nathaniel, 40

Corbould, Edward H., R.I., 26, 34, 122

Cornwall, Barry, 124

Creswick, Thomas, R.A., 17

Cruikshank, George, 16, 44, 49

Cundall, Joseph, 28, 102

Daly, Augustin, 345

Dalziel, Alexander A., 348

Dalziel, Charles, 294

Dalziel, E. G., 192, 218, 264

Dalziel, Gilbert, 326, 328, 338

Dalziel, John S., 348

Dalziel, Margaret, 19

Dalziel, Thomas, 13, 122, 187, 222, 228, 230, 235

Davis, Mrs. Charles, 224

Dickens, Charles, 48, 193, 194, 212, 330, 332, 338

Dicks, William, 25, 26

Dodgson, George, R.W.S., 27, 116, 120, 122

Dodgson, Rev. C., 126

Doré, Gustave, 180, 324

Doyle, Richard, 40, 58, 63, 82, 134, 308

Doyle, Henry, C.B., 308

Dulcken, Dr. H. W., 116, 226

Du Maurier, George, 180

Duncan, Edward, R.W.S., 114, 116, 122

Dunraven, Earl, 314

Duval, Marie, 320

Eastlake, Sir Charles Lock, P.R.A., 14

Ebbutt, Phil, 349

Elmore, Alfred, R.A., 27

Evans, Edmund, 10

Everet, Allen E., 204, 205

Fenn, Harry, 344

Ferrier, Charles Anderson, 346

Foster, Birket, 17, 114, 124, 138, 140, 149, 150, 156, 172, 176,
180, 193, 196

Franklin, John, 26, 27, 28, 36

Fraser, F. A., 312

Fraser, Gordon, 312

French, Harry, 312

Fricker, Francis, 343

Frith, W. P., R.A., 44

Frost, A. B., 126

Frost, W. E., R.A., 54, 55

Gatcombe, George, 312, 351

Gilbert, Sir John, R.A., P.R.W.S., 8, 16, 30, 31, 41, 68, 122, 124,
178, 182, 193, 310, 336

Gilbert, W. S., 284

Gordon, General, 302

Graham, Tom, 158, 188

Gray, Charles, 2, 10

Gray, Paul, 307

Green, Charles, R.I., 334

Green, Towneley, R.I., 266

Griset, Ernest, 313

Grove, Sir George, 260

Guthrie, Dr. Thomas, 156

Hall, S. Carter, 36, 37

Halswell, Keeley, 184

Hans Breitmann (Charles Leland), 290

Harding. J. D., 122

Harris, Sir Augustus, 292

Harvey, William, 8, 12, 14, 16, 17, 21, 122, 196, 266

Haydon, Benjamin, 14

Herkomer, Hubert von, R.A., 202, 205, 206, 310

Hill, Raven, 328

Hogg, James, Junr., 188

Hogg, John, 188

Hood, Tom, 272, 278, 286, 288, 293, 314

Hook, J. C., R.A., 54, 56

Horsley, H. C., R.A., 29

Houghton, A. Boyd, R.W.S., 42, 81, 110, 192, 218, 220, 228, 234

How & Parsons, Messrs., 36

Hughes, Arthur, 87, 91, 192

Hunt, Holman, 86, 162, 176, 177

Hunt, Leigh, 134

_Illustrated London News_, 6, 17, 40

Ingelow, Jean, 212

Ingram & Cook, 116

Ingram, Herbert, 6, 8, 40

Irving, Sir Henry, 296, 330

Jackson, Mason, 350

Jerrold, Douglas, 6, 8, 11

Judkin, Rev. T. J., 54

Keene, Charles, 114, 178

Kilburne, George G., R.I., 345

Kingdon, Charles, 345

Knight, Charles, 15, 17, 22

Lance, George, 14

Landells, Ebenezer, 4, 6, 10, 66, 138, 332

Landells, Robert, 12

Landseer, Sir Edwin, R.A., 14

Lawless, J. M., 236

Lawson, J., 236

Lear, Edward, 317

Leech, John, 6, 41, 42, 44, 332

Leigh, Henry S., 282

Leighton, Lord, P.R.A., 42, 81, 134, 149, 237

Leland, Charles H., 290

Lemon, Mark, 8

Lewis, Arthur, 114

Linton, Sir James D., P.R.I., 266

Longman, Messrs., & Co., 125

Lover, Samuel 18, 19

Lucas, J. Seymour, R.A., 160

Ludlow, Hal, 310, 350

Macdonald, Dr. George, 192

Mackay, Dr. Charles, 69, 116

Macleod, Dr. Norman, 156

Maclise, Daniel, R.A., 332

Macmillan, Messrs., & Co., 86

Madox Brown, Ford, 120, 122, 252

Marks, Stacy, R.A., 178, 192, 348

Maxwell, John, 19

Mayhew, The Brothers, 8

McConnell, William, 190

McIan, Robert, 26

MacWhirter, J., R.A., 158

Meadows, Kenny,16, 38

Menzel, Herr Adolf, 16

Millais, Sir John Everett, P.R.A., 42, 81, 94, 102, 104, 119, 123,
142, 143, 158, 188, 226, 330, 336

Millais, Lady, 105, 106

Morley, Professor Henry, 330

Moxon, Edward, 82, 83, 86

Muloch, Miss (Mrs. Craik), 198

Mulready, William, R.A., 28

Murch, A., 254

Murray, John, 15

Napoleon III., Emperor, 146, 148

Nelson, Messrs. Thomas, & Sons, 184

Nelson, William, 186

Nisbet, J., & Co., 70, 110

North, J. W., A.R.A., 17, 194, 196

Novello, Ewer, Messrs., & Co., 192

Orchardson, W. Q., R.A., 158

Owen, Sir Richard, 190

Partridge, Bernard, 328

Pasquier, J. A., 190

Paton, Sir J. Noel, P.R.S.A., 36, 108, 126

Pegram, Fred, 328

Pettie, John, R.A., 155, 158, 188

Pickersgill, F. R., R.A., 27, 53, 114, 124, 160

Pinero, A. W., 330

Pinwell, G. J., R.W.S., 81, 190, 192, 210, 216, 235

Powell, J. H., 114

Poynter, Sir Edward J., P.R.A., 42, 81, 234, 246, 252

Prior, J., 16

Prior, Melton, 16

Proctor, John, 318

Prowse, Jeffrey, 288, 307

Ralston, John, 264

Ramsay, J., 23

Richardson, Dr. W. B., 52, 347

Roberts Brothers, 234

Ross, Charles H., 318, 322

Rossetti, Christina, 90, 91

Rossetti, Dante G., 81, 86

Rossetti, W. M., 90

Routledge, Messrs. George, & Sons, 30, 86, 92, 98, 139, 142, 152,
168, 266, 271, 317

Ruskin, John, 134, 154, 156

Russell, Lord, of Killowen (Sir Charles Russell), 330

Sala, George Augustus, 136, 286

Sampson, Henry, 293, 296, 317

Sandys, Frederick, 81, 134, 178, 190, 258, 262

Scott, Clement, 286

Scott, Sir Gilbert, R.A., 114

Scott, Sir Walter, 17, 26

Scott, W. Bell, 36

Sims, George R., 293, 296, 338

Sketchley, Arthur, 286

Small, William, 234, 235, 264, 312

Smith, Elder, Messrs., & Co., 134, 136

Smith, George Murray, 134

Smith, J. Orrin, 38

Stanfield, Clarkson, R.A., 25, 26, 54

Staunton, Howard, 72

Stephens, J., 226

Stirling, Madame Antoinette, 186

Stone, Marcus, R.A., 332

Strahan, Alexander, 98, 156, 158, 163, 170, 235, 264

Sullivan, Sir Arthur, 330

Sullivan, J. F., 312

Summerly, Felix (Sir Henry Cole), 28

Swain, Joseph, 44

Taylor, Frederick, P.R.W.S., 29

Taylor, Tom, 143, 144

Tenniel, Sir John, 26, 47, 114, 120, 124, 126, 128, 130

Tennyson, Alfred, Lord, 83, 142, 330

Tennyson, Lady, 143

Thackeray, W. M., 44, 58, 205

Thomas, George, 41

Thompson, of Duddingston, 1

Thompson, John, 15

Thomson, Gordon, 188, 308, 312, 336

Topham, F. W., 27, 116

Townsend, F. H., 328

Trollope, Anthony, 81

Tuck, Harry, 312

Tupper, Martin F., 124

Turner, Godfrey, 292

Van Voorst, 28

Walker, Frederick, A.R.A., R.W.S., 17, 43, 81, 176, 193, 196, 205, 234

Walker, F. S., R.H.A., 312

Ward, E. M., R.A., 37, 54

Ward & Lock, Messrs., 230

Warne, Messrs. Frederick, & Sons, 30, 34

Warne, William, 32

Warren, Ernest, 320

Warren, Henry, P.R.I., 36

Watson, J. D., R.W.S., 165, 174, 176, 188, 226, 236

Watts, G. F., R.A., 244, 245, 252

Weigand, W. J., 308

Weir, Harrison, 122, 178, 182

Wells, H. T., R.A., 114

Whymper, J. W., 193, 230

Wilkie, Sir David, R.A., 26

Williams ----, 134

Wilson, Professor J. (Christopher North), 188

Wolf, Joseph, 114, 182, 234, 266, 268

Wood, Rev. J. G., 266, 268

Wordsworth, William, 182

Wylam, Edward, 272, 308

"W. Y.", 347

Yates, Edmund, 286

Zwecker, J. B., 190, 270

Transcriber's Notes:

Silently corrected simple spelling, grammar, and typographical
errors.

Retained anachronistic and non-standard spellings as printed.

Enclosed italics markup in _underscores_.

Enclosed fancy or unusual font markup in ~tildes~.