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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #51643 (https://www.gutenberg.org/ebooks/51643)
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-The Project Gutenberg EBook of Book-plates of To-day, by Various
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Book-plates of To-day
-
-Author: Various
-
-Editor: Wilbur Macey Stone
-
-Release Date: April 3, 2016 [EBook #51643]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK BOOK-PLATES OF TO-DAY ***
-
-
-
-
-Produced by Chris Curnow, Sam W. and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
-
-
-
-
-
-
-
-Transcriber's Note
-
-Illustration captions in {braces} have been added by the transcriber
-for the convenience of the reader.
-
-
-
-
-       BOOK-PLATES _of_ TO-DAY
-
-
-     Edited By WILBUR MACEY STONE
-
-
-               NEW YORK
-          TONNELÉ & COMPANY
-                 1902
-
-
-  Copyrighted 1902 by Tonnelé & Co.
-
-
-
-
-  BOOK-PLATES OF TO-DAY
-    TONNELÉ & COMPANY
-        NEW YORK
-
-  [Illustration: {Book-plate of Amy Ivers Truesdell.}]
-
-
-
-
-TABLE OF CONTENTS
-
-
-  Book-plate of Mrs. Amy Ivers Truesdell, in colors.
-    Designed by Jay Chambers.                             Frontispiece
-
-  Book-plate of Arnold William Brunner, in colors.
-    Designed by Thomas Tryon.                                 Facing 3
-
-  American Designers of Book-plates: William Edgar
-    Fisher. By W. G. Bowdoin.                                        3
-
-  Book-plate of William Frederick Havemeyer, from the
-    copper. Designed by Thomas Tryon, engraved by E. D.
-    French.                                                   Facing 9
-
-  Nineteen Book-plates by British Designers.                         9
-
-  Book-plate of T. Henry Foster, in colors. Designed by
-    Jay Chambers.                                            Facing 19
-
-  The Artistic Book-plate. By Temple Scott.                         19
-
-  Book-plate of Miss Henrietta M. Cox, in colors.
-    Designed by Thomas Tryon.                                Facing 23
-
-  Thirty-two book-plates from various sources.                      23
-
-  Book-plate of Robert Fletcher Rogers, in colors.
-    Designed by Homer W. Colby.                              Facing 33
-
-  Book-plates and the Nude. By Wilbur Macey Stone.                  33
-
-  Book-plate of Willis Steell, in colors. Designed by
-    Thomas Tryon.                                            Facing 39
-
-  The Architect as a Book-plate Designer. By Willis
-    Steell.                                                         39
-
-  Book-plate of William A. Boland, in colors. Designed by
-    Homer W. Colby.                                          Facing 45
-
-  A Check-list of the Work of Twenty-three Book-plate
-    Designers of Prominence. Compiled by Wilbur Macey
-    Stone.                                                          45
-
-
-
-
-  BOOK-PLATES OF TO-DAY
-    TONNELÉ & COMPANY
-        NEW YORK
-
-  [Illustration: {Book-plate of Arnold William Brunner.}]
-
-
-
-
-AMERICAN DESIGNERS _of_ BOOK-PLATES: WM. EDGAR FISHER
-
-By W. G. BOWDOIN
-
-
-The book-plate designers of to-day are legion because they are many.
-Almost every one who can draw, and many who cannot, have ventured into
-the field of book-plate designing; and the result has been that many
-of the book-plates that are current have little to commend them to
-critical observers. The present increasing interest in these little
-bits of the graver's art has greatly encouraged the production of
-them, and new ones arise daily. It is desirable, therefore, if we are
-to have book-plates at all, that they shall be as artistic as may be;
-and it is important, from an art standpoint, to all those who are
-about to adopt the use of these marks of ownership that they shall
-have, as they may have, the artistic flavor about them.
-
-  [Illustration: {Book-plate of Library of the Studio Club.} By Wm.
-    Edgar Fisher]
-
-  [Illustration: {Book-plate of Winifred Knight.} By Wm. Edgar Fisher]
-
-Most of our leading designers have hitherto been grouped in the
-eastern section of our country, or at least not much further west than
-Chicago. Some few designs, it is true, have been produced in
-California, but for the most part the book-plates of note have been
-marked with an eastern geographical origin.
-
-In William Edgar Fisher we have a designer who has strikingly departed
-from geographical conditions of book-plate designing heretofore
-prevailing, and in faraway Fargo, North Dakota, has set up his studio
-from whence have come designs that are fresh, original and very
-pleasing. Mr. Fisher loves to work in a pictorial field. He makes a
-plate that tells a story, and in his best plates there is artfully
-placed something bookish that harmonizes with the design-form
-selected; and, because of art coherence and harmony in design that go
-hand in hand, his plates are more than satisfactory. The general
-eastern notion in regard to North Dakota is that nothing artistic can
-come out of the State, but the work done there by Mr. Fisher quickly
-dispels such an idea. The plates he has drawn are acknowledged as
-highly meritorious by the best American masters of book-plate
-designing. In all the plates from the hand of this artist that are
-here grouped, and which may be regarded as quite typical of him, there
-are only two that do not contain a book as a detail somewhere in the
-finished plate.
-
-  [Illustration: {Book-plate of Maie Bruce Douglas. Book-plate of Mary
-    N. Lewis.} By Wm. Edgar Fisher]
-
-One of the exceptions is the plate of the Studio Club that gains
-infinitely by the omission of a book in the plate as produced. The
-grouping of the five observers (symbolic of the members of the Studio
-Club) around the feminine portrait is most charming, and to the writer
-it appears one of the happiest of recent productions in appropriate
-book-plates.
-
-Mr. Fisher's feminine figures that he introduces into many of his
-plates are likewise exceedingly effective. This is particularly the
-case when to the charms of femininity he has added those of symbolism,
-as in the case of the plate for Miss Winifred Knight, in which the
-graceful female masker appears at the shrine of the idealized god Pan,
-who writes, it may be something oracular, in her proffered album. The
-figure is gracefully posed and the lines of the arms and neck are
-marked by pleasant curves.
-
-  [Illustration: {Book-plate of John Charles Gage. Book-plate of
-    Elizabeth Allen. Book-plate of Leila H. Cole. Book-plate of
-    Elizabeth Langdon.} By Wm. Edgar Fisher]
-
-In the plate of Maie Bruce Douglas, Mr. Fisher may have been
-influenced by Hans Christian Andersen. At any rate, whether or not
-this is so, he has neatly and most effectively grouped the old-time
-jester with his cap and bells, the pointed shoes from whence came our
-modern samples, and the maiden with the quaintness of head-dress and
-drapery, that at least suggests the fairy and the incidental sacred
-stork, making this plate with its shelf of books and the panel of
-repeated heraldic shields very attractive even to the chance observer.
-
-In the plates for the Misses Mary N. Lewis, Elizabeth Langdon, Leila
-H. Cole and Elizabeth Allen there are several diverse methods shown in
-which convention has been pleasingly utilized. The vine and tree forms
-that are motifs are very effective, and in all of these we see
-suggestions of treatment similar to that which stands out perhaps a
-little more pronouncedly in the plate of Miss Douglas. Costume
-quaintness, charm of pose, graceful outline, the tendency toward
-lecturn detail and delicacy of touch, are in each instance here seen
-to be characteristic of the artist.
-
-The plate of John Charles Gage has in it the atmosphere of the
-monastery. Two friars are busy with a folio manuscript that has been
-beautifully illuminated. The one reads the lessons for the day from
-the book of hours. The other has a pleasing bit of gossip that he is
-telling to his brother friar as he reads, and the reader hears with
-eagerness with his ears while he reads without absorption with his
-eyes.
-
-  [Illustration: {Book-plate of Samuel H. Hudson. Book-plate of Silvanus
-    Macy Jr.} By Wm. Edgar Fisher]
-
-Into the plate of Samuel H. Hudson the atmosphere of the monastery is
-also introduced. The cordelier sits absorbedly reading his matins.
-Through the open window of the monkish cell is seen the morning
-medieval landscape whose charms exercise no influence upon the
-solitary recluse, solitary save for the monkey who plays sad havoc
-with the vellum volume that lies upon the cell floor and the
-destruction of which the Franciscan is too absorbed to notice. The
-monkey as a foil for the ascetic in this plate shows that Mr. Fisher
-has a strong appreciation of the most delicate humor, which here crops
-out most delightfully. The border makes the plate a trifle heavy, but
-this can easily be excused because of the charm of the plate
-otherwise.
-
-  [Illustration: {Book-plate of Stanley Shepard.} By Wm. Edgar Fisher]
-
-The dog is given a prominent place in the plate of Miss Lula Thomas
-Wear. He dominates even the books, and it may be that the owner
-prefers her dachshund to her library, although it is evident that her
-books have some place in her esteem.
-
-The design on the plate of Stanley Shepard suggests a derivation from
-an old print. The caravel rides upon the waves according to the
-conception of the old-time engravers. The anchor, the sword fish of
-the deep sea, and the sea-stars all suggest the ocean voyager who has
-deep down in his heart a love of books.
-
-  [Illustration: {Book-plate of Edna B. Stockhouse.} By Wm. Edgar
-    Fisher]
-
-In contrast with the plate of Mr. Shepard's appears that bearing the
-name of Silvanus Macy, Jr. The love of hunting stands out right boldly
-here, and in the fox hunt does Mr. Macy undoubtedly revel. He could
-not have such a book-plate otherwise, and live with it every day, let
-it be in all his books and have it stand for him as it does, unless it
-was fairly representative of the man's personality. That is what makes
-a book-plate so eminently interesting, aside from the art work put
-upon it. Books appeal to all sorts and conditions of men, as the work
-of Mr. Fisher's here grouped clearly indicates.
-
-The plate from the books of Miss Edna B. Stockhouse is a trifle
-shadowy in motif notwithstanding which there can be no doubt the owner
-loves books. The face in the book-plate reads. There is also a love of
-the beautiful in ceramics indicated as an incident in the plate. No
-wonder the head wears an aureole.
-
-The "Bi Lauda" plate is that of a secret society at Wellsville,
-N. Y., and we, therefore, forgive if we cannot forget its poverty of
-bookish design.
-
-  [Illustration: {Book-plate of Wm. Edgar Fisher.} By Wm. Edgar Fisher]
-
-In the personal plate of the designer, of all those here reproduced,
-we catch glimpses of the artist's own personality. We see him as a
-book-lover and something of his inspiration is spread out before us.
-He goes reading along, carrying reserve volumes in case the one that
-engages his attention in the portraiture is happily finished. Mr.
-Fisher has been producing book-plates only since 1898, since which
-time he has to his credit some forty examples of work in this field.
-He is perhaps happiest in his rendition of the plate pictorial, and he
-has sometimes tinted his plates most charmingly. Mr. Fisher prepared
-for Cornell at Phillips Academy, Andover, Mass. At Cornell he studied
-architecture for two years, with especial attention to drawing. He
-also studied, for six months, at the Art Institute, Chicago, Ill.,
-whither he went from Cornell. He has been largely self-taught in the
-matter of designing, but his work indicates that his teacher was a
-good one. He has privately but carefully studied the work of the best
-modern pen-and-ink draughtsmen, and from this he has formed his
-personal style. The methods and craftsmanship of reproduction were the
-subject of special study on his part while he was with one of the
-large Chicago engraving houses. Anything that comes from his hand will
-be sure of the most kindly reception, so long as his work is
-maintained at the present high standard.
-
-  [Illustration: {Book-plate of Bi Lauda. Book-plate of Lula Thomas
-    Wear.} By Wm. Edgar Fisher]
-
-
-
-
-  BOOK-PLATES OF TO-DAY
-    TONNELÉ & COMPANY
-        NEW YORK
-
-  [Illustration: {Book-plate of William Frederick Havemeyer.}]
-
-
-
-
-NINETEEN EXAMPLES OF DECORATIVE BOOK-PLATES BY MODERN BRITISH
-DESIGNERS
-
-From THE LONDON "STUDIO"
-
-
-  [Illustration: {Book-plate of Charles Holme.} By J. W. Simpson]
-
-  [Illustration: {Book-plate of Frank Lynn Jenkins.} By Byam Shaw]
-
-  [Illustration: {Book-plate of Théodule, Comte de Grammont.} By R.
-    Anning Bell]
-
-  [Illustration: {Book-plate of P. C. Konody.} By Walter Essie]
-
-  [Illustration: {Book-plate of Edward Morton.} By E. H. New]
-
-  [Illustration: {Book-plate of J. W. Simpson.} By J. W. Simpson]
-
-  [Illustration: {Book-plate of Katie Black. Book-plate of R. C.
-    Book-plate of Edy. Book-plate of K. D.} Four Designs by Gordon
-    Craig]
-
-  [Illustration: {Book-plate of Hugh Giffen McKinney.} By J. Williams]
-
-  [Illustration: {Book-plate of R. Mullineux Walmsley.} By J. Williams]
-
-  [Illustration: {Book-plate of W. S. George.} By W. B. Pearson]
-
-  [Illustration: {Book-plate of Kenneth N. Bell.} By S. A. Lindsey]
-
-  [Illustration: {Book-plate of Therese Alice Mary Jackson.} By Enid M.
-    Jackson]
-
-  [Illustration: {Book-plate, no name.} By Anna Dixon]
-
-  [Illustration: {Book-plate of A. H. V.} By Arthur H. Verstage]
-
-  [Illustration: {Book-plate of Robert M. Mann.} From Drawing after
-    Etching
-      By D. Y. Cameron]
-
-  [Illustration: {Book-plate of Edith A. Kingsford.} By Harold Nelson]
-
-
-
-
-  BOOK-PLATES OF TO-DAY
-    TONNELÉ & COMPANY
-        NEW YORK
-
-  [Illustration: {Book-plate of T. Henry Foster.}]
-
-
-
-
-THE ARTISTIC BOOK-PLATE
-
-By TEMPLE SCOTT
-
-
-A book-plate, in its simplest expression, is a printed indication of
-the ownership of a book. It may take the form of the unadorned
-visiting card, or it may be embellished with heraldic and other
-designs explanatory of the owner's name, ancestry, tastes, or
-predilections. Primarily, however, it is intended to fix ownership.
-How far it satisfactorily serves its purpose, is, perhaps, of little
-moment to the average book-collector; for the book-plate has emerged
-from the stage of practical utility and become a thing in itself, so
-to speak. It has taken its place beside the many _articles de vertu_
-which are godsends to the weary of brain and heart, inasmuch as they
-become the objects of a passion so delightful in its experience, as to
-make us forget the little trials and worries of life that make
-pessimists of us in this "bleak Aceldama of sorrow." Nay, they may
-even become the one sun, shining and irradiating for us all the dark
-places of our wanderings, and cheer us with the hopes for newer and
-finer acquisitions than we already have.
-
-When, however, we come to a consideration of the _artistic_
-book-plate, we enter upon a new field of enquiry entirely. It
-indicates that a simple usage of a necessary and harmless convention
-has developed into a complex expression--an expression not merely of
-the individual to whom the book belongs, but also of the artist whose
-business it is to give pictorial form to the desires and wishes and
-tastes of his patron.
-
-From the crude, if sufficient, paste-board stuck on the end-paper, to
-the heraldic display, was, surely, no very far cry. In the countries
-of the Old World, where pride of ancestry touches the worthy and
-unworthy alike, it was to be expected that so valuable an opportunity
-for flaunting the deeds of "derring do" of one's forefathers as a sign
-of one's own distinction, such as the book-plate offers, was certainly
-not to be neglected. So we find that the coats of arms which once
-served as inspirations, and which once had a genuine meaning to their
-owners and retainers, now do service in the more peaceful realms of
-Bookland. And, assuredly, there are certain books in a library, which
-are more worthily acknowledged after this ancient and martial fashion.
-We cannot but believe that a Froissart from the press of Caxton or
-Wynkyn de Worde, would be handled with more reverence if one saw on
-the verso of its front cover a glorious display of the arcana of
-heraldry, in all its magnificence of mysterious meaning. This feeling
-would also be aroused in turning the leaves of, say, Philippe le
-Noir's edition of the "Gesta Romanorum" (1532), or of Hayton's "Lytell
-Cronycle" from the shop of Richard Pynson, or of Mandeville's
-"Voyages and Travailles," issued by T. Snodham in 1625, or of Pliny's
-"Historia Naturalis" from the Venetian press of Nic. Jenson in 1472,
-or of Rastell's "Pastyme of People," "emprynted in Chepesyde at the
-Sygne of the Mermayd" in 1529. To these and their like a book-plate of
-heraldic story comes as a fitting and graceful complement.
-
-But the average mortal of this work-a-day world and age has not the
-means wherewith to acquire such treasures of the bibliophile. Nor,
-perhaps, has he the necessary pedigree with which to adorn them, if
-acquired; though on this latter consideration, we suspect that the
-Herald's College in the purlieus of Doctors' Commons, and the more
-amenable, though not less expensive Tiffany on this side of the
-Atlantic, would, no doubt, prove excellent aids to a full
-satisfaction.
-
-But we are not here dealing with the pomp and glorious circumstance of
-Heraldry. In dealing with the artistic book-plate, we are considering
-a matter which concerns itself not with past stories or past
-individuals, but with the present tale and the particular living
-personage who has the laudable and humble ambition to distinguish his
-copy of a book from his friend's copy of the same book. A taste in
-books may be easily whitewashed, but a taste in a book-plate flares
-its owner's heart right into the eyes of the demurest damsel or the
-simplest swain. It may be that our collection is but a series of
-Tauchnitz editions carefully garnered on a European tour, or a handful
-or two of Bohn's Library, accumulated from our more studious days, or
-a treatise on golf, chess, gardening and photography, or a history of
-the state or town in which we live--it matters little what--these are
-the treasures we most prize, and we wish to hold them. Now, how best
-shall the collector mark them as his own?
-
-He writes his name on the title-page. Ugh! What a vandal's act! The
-man who could so disfigure a book deserves to have it taken from him,
-and his name obliterated. He who could find it in his heart to write
-on title-pages could surely commit a murder. We'd much rather he
-turned a leaf down to mark the place where he had left off in his
-reading; though to do that is bad enough, in all conscience. Nor does
-he save his soul by writing on the fly-title, or even end-paper.
-Moreover, this will not save his book either. A visiting card can
-easily be taken out--it looks too formal, nondescript, meaningless,
-common, to inspire any respect in a would-be thief. But an artistic
-book-plate! Ah! that's another thing altogether.
-
-An artistic book-plate is the expression in decorative illustration of
-the proprietor's tastes, made by an artist who has sympathetically
-realized the feeling intended. It should objectify one, and only one,
-salient characteristic, either of temperament, habit, disposition, or
-pleasure, of its owner. If it does less, it is not individual; if it
-does more, it is not satisfying.
-
-Now each one of us has some characteristic trait that is not common to
-us all--then let that be the aim of the artist to embody in decorative
-form. And let that embodiment be simple and direct--the simpler and
-more direct it is, the more will it appear; and the more beautiful it
-is the more will it soften the kleptomaniacal tendencies of the
-ghoulish book-hunter. For nothing touches him so nearly to the finer
-impulses of nature than the contemplation of beauty; and he would be
-less than human did he fail to respond. We would even go to the length
-of giving as an admirable test of the book-plate artist's powers, the
-lending of a book (whose loss would give no qualms) containing the
-plate. If it come not back, there's something the matter with your
-plate; or, you can libel your friend as a beast of low degree, which
-suggests a good way of finding out your friend's true character. But
-then, there's no limit to the powers of a beautiful book-plate.
-
-Now there are a great many coy people who don't care to wear their
-hearts on their sleeves; these would naturally feel indisposed to post
-themselves thus before the public eye, be the book-plate never so
-beautiful. To these we would say: Give us what you prize best--your
-home, your wife, your sweetheart, your motto (though that's giving
-yourself away too), your baby, anything that is truly yours. (Babies
-are quite _à propos_, and should be characteristic, though it does not
-always follow. Some babies have a habit of taking after quite other
-people.) The idea is, to embody something individual, something
-special and particular.
-
-If he can afford a large library, or is a collector of the works of
-one or two authors, there's a way out of the difficulty for the coy
-person, by having the book-plate represent the characteristic of the
-author and have his name as an addition. That may be taking a
-liberty--but authors are accustomed to that; and, besides, you are
-appreciating them, and that should exorcise the spirit of an indignant
-"classic" from the four walls of your library. Have the original of
-the design framed on the wall; it may save you a lot of explanation
-should the spook even get "mad." You can always lay the blame on the
-artist. Of course, this means a book-plate for each author; but as
-book-plates are not, after all, such very expensive luxuries, this
-consideration need be a matter of but small moment.
-
-Yet another idea is to have an artistic treatment of a representation
-of your library, your "den." That sounds very inviting and certainly
-can hurt no one's feelings. If you don't happen to possess a special
-apartment, give an apartment such as you would like to possess. Or
-show your favorite chair, or nook, or greenwood tree, or running
-brook, or garden plot. There are thousands of ways in which to fashion
-a book-plate, and an artistic book-plate, too. We thus can see what an
-advance the modern artistic book-plate is on the old style article--so
-formal, so characterless, so inchoate and so amorphous.
-
-Indeed the artistic book-plate is a genuine inspiration, or it may be
-made so. How charming, or delight-giving, or valuable, or intoxicating
-it is, depends largely on the artist. But it also depends on the
-individual who desires it. It should be planned with care and executed
-with feeling. It should be like no other book-plate in the sense that
-it possesses some _flavor_ that is private and personal. It should be
-as much an indication of the owner's taste as is his library--and no
-man can hide his nature from the friend who has had access to that.
-There are many things a book-plate should not be--but these may be
-summed up in the advice--it should not be a mask. You may order your
-books by the hundredweight from your bookseller, but that won't stand
-you in any stead when your friend handles them and turns to you for a
-criticism, or an opinion. You may also commission your artist for a
-book-plate; but you are in a worse plight if you fail in the more
-direct explanation you will be required to make to the insistent
-inquiries as to its meaning or appositeness. No! Be it ever so humble,
-let it be yours. It may be a poor thing, but it is your own; but it
-may be also a very rich thing, and your own also.
-
-  [Illustration: {Book-plate of James Dick.} By J. W. Simpson]
-
-
-
-
-  BOOK-PLATES OF TO-DAY
-    TONNELÉ & COMPANY
-        NEW YORK
-
-  [Illustration: {Book-plate of Henrietta M. Cox.}]
-
-
-
-
-THIRTY-TWO EXAMPLES OF BOOK-PLATES _from_ PRIVATE COLLECTIONS _and
-Other Sources_
-
-
-  [Illustration: {Book-plate of the Worcester Art Museum.} From Steel
-    Engraving By E. D. French]
-
-  [Illustration: {Book-plate of the Authors' Club Library.} By Geo.
-    Wharton Edwards]
-
-  [Illustration: {Book-plate of Theodore Brown Hapgood Jr.} By T. B.
-    Hapgood, Jr.]
-
-  [Illustration: {Book-plate of Eaton.} By Charles Selkirk]
-
-  [Illustration: {Book-plate of Frances Louise Allen.} By T. B. Hapgood,
-    Jr.]
-
-  [Illustration: {Book-plate of David Turnure.} By Louis H. Rhead]
-
-  [Illustration: {Book-plate of A. Squire.} By B. G. Goodhue]
-
-  [Illustration: {Book-plate of William Snelling Hadaway.} By W. S.
-    Hadaway]
-
-  [Illustration: {Book-plate of Edwin Allis de Wolf.}]
-
-  [Illustration: {Book-plate of John B. Larner.} From Steel Engraving
-      By E. D. French]
-
-  [Illustration: {Book-plate of Constance Grosvenor Alexander.} By
-    H. E. Goodhue]
-
-  [Illustration: {Book-plate of Amy M. Sacker.} By H. E. Goodhue]
-
-  [Illustration: {Book-plate of Udolpho Snead.} By B. G. Goodhue]
-
-  [Illustration: {Book-plate of Barreau de Bruxelles.} By Fernand
-    Khnopff]
-
-  [Illustration: {Book-plate of Hans Thoma.} By Hans Thoma]
-
-  [Illustration: {Book-plate of May v. Feilitzsch.} By Bernhard Wenig]
-
-  [Illustration: {Book-plate of Max Ostenrieder.} By Julius Diez]
-
-  [Illustration: {Book-plate of Charles E. Eldred.} By Charles E.
-    Eldred, of English Navy]
-
-  [Illustration: {Book-plate of Richard Butler Glaenzer.}]
-
-  [Illustration: {Book-plate of Reginald C. Vanderbilt.}]
-
-  [Illustration: {Book-plate of Alice Hillingdon. Book-plate of Mildred
-    Chelsea. Book-plate of Sarah Isabel Wilson. Book-plate of Clementine
-    F. A. Walsh.} From Steel Engravings by Wm. Phillips Barrett]
-
-  [Illustration: {Book-plate of Anthony, Earl of Shaftesbury. Book-plate
-    of Constance Derby. Book-plate of Alice Stanley. Book-plate of
-    Gladys de Grey.} From Steel Engravings by Wm. Phillips Barrett]
-
-  [Illustration: {Book-plate of George Louis Beer. Book-plate of Lewis
-    W. Hatch. Book-plate of Irving and Sissie Lehman. Book-plate of Julian
-    Pearce Smith.} Four designs by Thomas M. Cleland]
-
-
-
-
-  BOOK-PLATES OF TO-DAY
-    TONNELÉ & COMPANY
-        NEW YORK
-
-  [Illustration: {Book-plate of Robert Fletcher Rogers.}]
-
-
-
-
-BOOK-PLATES AND THE NUDE
-
-By WILBUR MACEY STONE
-
-
-  [Illustration: Book-Plate of Mr. Carl Schur]
-
-Lovers of the beautiful have been burdened with endless talk and
-writing and many quarrels on the nude in art, and now I have the
-temerity to open a new field of battle and throw down the gauntlet for
-strife. The Eternal Feminine is a prominent factor in the picture
-book-plates of the day, and she is showing some tendencies to appear
-minus her apparel. Question: is it wise and in good taste?
-
-Of course, to start with, I am quite free to admit that good taste is
-a movable feast and is much influenced by the point of view. Your
-taste is good if it agrees with mine; otherwise it is bad taste or no
-taste. At any rate, there are a few things we can agree upon, I think.
-For instance, that there is a wide distinction between the nude and
-the naked. Also, that the human form divine is most beautiful, but
-that to remain most beautiful it must deviate not one jot or tittle
-from the divine, for any deviation is to tend to the earthy and gross,
-which is vulgar and--bad taste. We can also agree, I think, that
-partially draped figures can be, and often are, sensual and repulsive
-beyond the frankly nude, and this without the direct intent or
-knowledge of the artist.
-
-    "A hair perhaps divides the false and true,
-    Yes; and a single slip were the clue--"
-
-But above all things a nude figure should never carry the idea of a
-consciousness of its nudity! Also, clothing or drapery used simply to
-hide portions of the figure is execrable and more suggestive than any
-entire absence of clothing; while to add, as I have seen done, a hat
-and French-heeled shoes to a nude figure is abominable beyond
-condemnation.
-
-But all this is of broad application and is sawing upon the same old
-and frayed strings. Abstractly, a beautiful nude is as beautiful on a
-book-plate as in a portfolio or in a frame, and some of the most
-beautiful book-plates I have ever seen have been nudes. Nevertheless,
-to me the nude seems out of place and in questionable taste on a
-book-plate; the simple matter of repetition is enough to condemn it.
-
-The partially draped figures by R. Anning Bell are chaste and
-beautiful, and one never thinks of them other than as clothed; so they
-can hardly be considered in this discussion. Many of the book-plates
-by Henry Ospovat contain partly draped figures which are always
-beautifully drawn, pure and a constant delight. But really, I think it
-would jar me to meet even an angel--the same one, mind you--in each of
-a thousand volumes. Emil Orlak, in Austria, has made some fairly
-pleasing nudes, but they lack that purity of conception without which
-they are common. Armand Rassenfosse, of Belgium, has etched a number
-of dainty, faultlessly drawn and really most beautiful nudes, but many
-of them have been ruined by the needless addition of shoes and fancy
-head-dresses. Pal de Mont, of Antwerp, has a plate by Edmond van Oppel
-which he probably thinks a work of art, but which is surely the height
-of vulgarity; while in "Composite Book-Plates" is a design by Theodore
-Simson containing a large figure of a nude woman with her hair done in
-a pug, seated in a grove amid dandelions and poppies, and diligently
-reading a book. The figure is treated in broad outline, which is ill
-adapted to the subject, and it lacks that refinement without which
-nothing is beautiful. She is absolutely at variance with her
-environment, and the whole is a _tour de force_ quite unforgivable.
-
-  [Illustration: {Book-plate of Robert H. Smith.} By H. Nelson]
-
-Miss Labouchere, in her volume on ladies' plates, shows a rather
-amusing pair of designs for Miss Nellie Heaton. These plates both bear
-the legend, "Gather ye roses while ye may." In the first, the
-designer, Mrs. Baker, has a fair creature in all the glory of entire
-nudity plucking blossoms from a rose-vine. In the other, she used the
-same design throughout, but has fully clothed the figure. Evidently
-Miss Heaton protested.
-
-These designs by a woman call to mind the fact that among the
-book-plates of over one hundred and fifty women designers with which I
-am familiar, I know of but one other nude. This other is by Miss Mary
-Florence, and is of a large full-length angel entirely undraped.
-
-  [Illustration: {Book-plate of Arthur Guthrie.} By H. Ospovat]
-
-  [Illustration: {Book-plate of H. v. W.} By A. Rassenfosse]
-
-Fritz Erler, a German designer of much strength, has made a number of
-symbolic book-plates. All, I believe, have the feminine as motif, and
-in several the figures are nude. The design for Emil Gerhäuser is
-inoffensive and well-drawn, but surely is not beautiful, and lacks a
-good excuse for existence. In a generally pleasing decorative
-arrangement for Robert H. Smith, Harold Nelson, an English designer,
-shows a rather attenuated nude maiden looking with envy at a gorgeous
-peacock on the opposite side of the design; while the peacock in turn
-seems to say, "Why don't you grow some feathers?"
-
-We naturally expect to find well-drawn, if not always pleasing, nudes
-in the French school. Henry André, one of the best known French
-designers of book-plates, uses the nude quite freely in his work; in
-some instances pleasingly, but in one or two with marked vulgarity.
-Octave Uzanne has the most pleasing nude plate that I have ever seen.
-It is designed by Guérin, and represents a tortoise bearing the
-implements of the artist, and coaxed along by the hot torch of
-knowledge in the hand of a light-winged cupid. By Sherborn, the great,
-I have seen but one nude in a book-plate, and that a poor thing but
-innocuous, for Mr. Harris Fahnestock of New York. Mr. E. D. French has
-made but one nude that I have seen, that for Mr. E. H. Bierstadt; the
-design shows a nude shepherd boy piping to his flock. The plate Mr.
-French engraved for Mr. De Vinne, from the design by Geo. Fletcher
-Babb, has nude termini for bearers, and is elegant and beautiful, an
-ideal plate.
-
-  [Illustration: {Book-plate of John & Jessie Hoy.} By H. Ospovat]
-
-American artists have essayed the nude but little in book-plate
-design, perhaps through wisdom, perhaps through fear; but the fact
-remains that they have thereby avoided the perpetration of at least
-some crimes. Judging by the examples we have been able to cite, and
-they are representative, it would seem that the best advice we can
-give those tempted to use the undraped beautiful in their book-plates
-is--don't.
-
-  [Illustration: {Book-plate of Al Mockel.} From Drawing after Etching
-    by A. Rassenfosse]
-
-  [Illustration: {Book-plate of Octave Uzanne.} After Etching by Guérin]
-
-  [Illustration: {Book-plate of Emil Gerhäuser.} By Fritz Erler]
-
-
-
-
-  BOOK-PLATES OF TO-DAY
-    TONNELÉ & COMPANY
-        NEW YORK
-
-  [Illustration: {Book-plate of Willis Steell.}]
-
-
-
-
-THE ARCHITECT AS A BOOK-PLATE DESIGNER
-
-By WILLIS STEELL
-
-
-  [Illustration: {Book-plate of Frank Jean Pool.} By Thomas Tryon]
-
-Among the book-plate designers of the present day the architect may,
-if he choose, take a high place. He is one whose studies have led him
-through the paths of artistic training where his eye and hand have
-learned to see color and form and balance of parts, and while the
-usual media of his profession are wood, stone, terra cotta and iron,
-there are many by-paths through which he must travel to appreciate the
-value of his pencil lines upon the flat.
-
-No more delightful by-way than the book-plate route will open before
-him, hedged in as it is by purely artistic shrubbery and leading
-constantly to pretty and even beautiful designs in which the genius of
-architecture has played a great part. Moreover, all his preceding
-journey through the hard conventional country to which architecture at
-first seems limited, has equipped him thoroughly to give expression to
-his fancy. That the gift of imagination is among his endowments should
-be taken for granted, however, if the architect is to succeed in the
-line of drawing book-plates.
-
-Fancy and imagination being in his mental equipment the architect can
-"rest" his mind in no more delightful fashion than by giving them full
-scope in this gem-like art. His experience, his collections of
-drawings, the work of others of his craft which he has studied, all
-tend to render his fund of information large, and if he has the key to
-book-plate art, inexhaustible, since nothing comes amiss to the pen of
-one whose facile fancy can grasp a good motive and direct it to a
-purpose other than that originally intended.
-
-  [Illustration: JAMES SEYMOUR TRYON
-      By Thomas Tryon]
-
-In the early days of art the architect was not only a designer of
-buildings but was also a sculptor and sometimes a decorative painter.
-He was called upon by his patrons to design whatever was needed at the
-moment, and these men were "all-round" artists, the day of
-specialization and the speculator not having dawned.
-
-Buonarotti is an awesome name to call up, but this great painter,
-sculptor, architect and builder touched nothing that he did not adorn,
-and in many of the hundreds of crayon sketches and cartoons that he
-left behind him, the feeling of the book-plate artist is clear. Had
-Lorenzo the Magnificent wanted a book-plate for use in his library,
-the great Michael Angelo could have filled the want from his own
-notes, with very little of either suppression or expansion. It may
-seem strange to think of this Titan of art, the creator of the
-sweeping "Last Judgment" turning his pencil to the delicate lines, the
-imperceptible nuances demanded by a book-plate, yet it may be
-repeated, in his work may be found a myriad of suggestions for these
-gem-like products.
-
-  [Illustration: {Book-plate of Annah M. Fellowes.} By Thomas Tryon]
-
-Buonarotti was not, however, first and last an architect. Painter and
-sculptor also, these sides of his artist soul would have been drawn on
-for the book-plate. Therefore the statement that not every architect
-can design so fanciful and dainty a work as a book-plate becomes a
-truism patent to everybody. The architect's profession calls for a
-two-fold nature, the one side tending toward that of the engineer with
-its eminently practical and very necessary tables of stress and
-strain, its mathematical calculations for loads and disposition of
-carrying walls, while the other side leans to a nice discernment of
-color and proportion. The laying out of vistas and the arrangement of
-surfaces and lines, so that the eye is aided in receiving the best
-impression from all points of view. Of this turn of mind is the one
-who can and does design book-plates. The very practical architect, if
-he wishes the glory, which is doubtful, has one of his draftsmen make
-the design and then signs the drawing and gets the glory. It would be
-amusing if such an one through some luck charm received constant
-application for such work. His draftsmen would change and his drawings
-be as dissimilar as the men who drew them. Possibly the signature
-would lead the long-suffering public to think him very versatile.
-
-It is not of this class of architect that we write. It is of him who
-is half painter or sculptor, and who loves his pen and pencil and
-delights in the personal expression of his ideals. He finds that his
-way of seeing things is more to his liking than any way of any other
-man. He sees the infinite beauty of nature and loves her shifting
-pictures in the clouds. Then too, he must have the ability to clearly
-comprehend the half-formed ideas of him whose plate he undertakes to
-draw. This is not always an easy matter. There are but few in the
-world who can formulate their ideas, much less invent a picture
-without first seeing it. Here the architect has, perhaps, an advantage
-over the purely imaginative artist, since the average man does not
-know the difference between the Classic period and the Gothic, the
-Napoleon era and the modern German renaissance.
-
-Of the architects who have obtained unquestioned recognition in this
-exquisite art, Thomas Tryon is among those whose work is especially
-prized. His adaptation of architectural forms to the confined space of
-the book-plate shows the work of a man who has command of his tools
-and knowledge, and despite the narrow confines of the field his work
-is not at all "cabined or cribbed." The illustrations accompanying
-this essay are taken rather at random from among Mr. Tryon's designs,
-but they will convey to those unfamiliar with his work, a fair idea of
-its scope and treatment. His first design was a plate for his father,
-an ornate armorial design, the name being set up in type at the base.
-The plate for Miss Annah M. Fellowes is quite elaborate. A long-haired
-and bewhiskered knight stands before us in a suit of rich armor, his
-right hand bearing his sword and helmet, and his left resting upon his
-shield. His helmet is surmounted by a pair of spreading wings. The
-design is backed by a rambling rose bush on which is hung the motto
-ribbon.
-
-  [Illustration: {Book-plate of Loyall Farragut.} By Thomas Tryon]
-
-  [Illustration: {Book-plate of George Elder Marcus.} By Thomas Tryon]
-
-Mr. Frank Pool is obviously a lover of the drama. In an oval window
-set in masonry, is a Roman gentleman, laurel crowned, reading from a
-large volume, while at the upper right and left sides are comedy and
-tragedy masks from which hang a gracefully festooned wreath. Palms,
-ribbon and name plate finish the design. For Mr. Farragut, the son of
-our old admiral, Mr. Tryon has made a very "salt water" arrangement of
-arms. The shield is surmounted by a quaint ship and the bearers are
-dolphins, which on one side encircle a trident and on the other a
-sword. The conventional acanthus leaves give body and decoration to
-the whole. Perhaps one of the most distinctively beautiful of Mr.
-Tryon's designs is the fleur-de-lis for Mr. Marcus. In this the artist
-has blended most delightfully the natural and the heraldic flower and
-has produced a gem of which one never tires. For his sister and her
-children Mr. Tryon has made a light and airy design, distinctively
-feminine and graceful. The main feature of the design is an ornate
-cypher of the letters S T. On the ribbon below the name is shown. This
-is changed to the names of Mrs. Stone's three daughters for their
-individual use. The plate reproduced here is that of one of Mrs.
-Stone's daughters. The design for "The Boys Club" is surmounted by the
-American eagle perched upon the globe, and the flag of our country is
-draped over the tablet bearing the lettering. This plate has been
-reproduced both by photo-process and copper plate.
-
-  [Illustration: {Book-plate of Rachel Norton Tryon Stone.} By Thomas
-    Tryon]
-
-  [Illustration: {Book-plate of Library of the Boys Club.} By Thomas
-    Tryon]
-
-Of the three color plates reproduced the first was made for Mr. A. W.
-Brunner, and has for "piece de resistence" a very ingenious monogram
-set in an oval frame. For bearers there are two graceful palms and the
-keystone is surmounted by a pile of books and a classic student's
-lamp. The base of the design is relieved by a pleasing arrangement of
-acanthus leaves. The plate for Miss Cox is a seal-like design,
-dignified yet dainty, and would be entirely in place in all kinds of
-volumes. The plate for Mr. Steell quite speaks for itself and makes
-the sportsman feel wildly for the trigger of his gun. The buck and doe
-silhouetted against the yellow of evening and the reflection in the
-stream are a delight.
-
-Three of Mr. Tryon's designs have been engraved by Mr. E. D. French.
-The famous Sovereign plates being two, and one for Mr. Havemeyer being
-the third. This plate for Mr. Havemeyer is indicative of the owner's
-collection of Washingtoniana, and is surrounded by several of the
-well-known portraits of the father of his country, while at the top is
-a small view of Mount Vernon. The portraits and view are interwoven
-with foliage and ribbon and form a frame in which Mr. Havemeyer's arms
-are displayed. The "Sovereign" plates, which were made in 1895 for the
-library of Mr. M. C. D. Borden's yacht, are of great richness, the
-first or "crown" design being especially so. This one did not please
-the owner, who had a second one made surmounted by an eagle instead of
-a crown. This is simpler in treatment and not so decorative as the
-earlier design. These plates were both cut on the copper by Mr. French
-who treated them in a very sympathetic manner and brought out in clear
-relief the ideas of the designer.
-
-Mr. Tryon's production has not been great, reckoned by the number of
-plates made, but as his work is never done hurriedly or slightingly it
-carries an air of finished dignity and worth that gives it lasting
-qualities. As he usually has one or two plates in hand to which he
-adds a few lines and a few thoughts from time to time, we may still
-expect pleasant surprises in this miniature art from his workshop.
-
-  [Illustration: {Book-plate, no name.}]
-
-  [Illustration: {Book-plate of the Library of the Harvard Union.} By
-    B. G. Goodhue]
-
-  [Illustration: {Book-plate of M. A. de Wolfe Howe.} By B. G. Goodhue]
-
-  [Illustration: {Book-plate of Barrett Wendell.} By E. D. French]
-
-  [Illustration: {Book-plate of Harvard University Library, Lowell
-    Memorial Library of Romance Literature.} By B. G. Goodhue]
-
-
-
-
-  BOOK-PLATES OF TO-DAY
-    TONNELÉ & COMPANY
-        NEW YORK
-
-  [Illustration: {Book-plate of William A. Boland.}]
-
-
-
-
-A CHECK-LIST of the WORK of TWENTY-THREE BOOK-PLATE DESIGNERS of
-PROMINENCE
-
-Compiled by WILBUR MACEY STONE
-
-
-It was thought that interest and value would be added to this book by
-the inclusion of lists of the book-plates made by the more prominent
-artists whose work is reproduced here. These lists are the nearest
-complete of any that have ever been published, and as they have been
-verified in many instances by the artists themselves, and in others
-carefully collated from the actual book-plates, they may be relied
-upon as highly accurate. The sundry notes, bibliographical and
-otherwise, by which the individual lists are prefaced, are in no way
-exhaustive, but just a cursory gathering to relieve the bareness of
-the lists and to give some little additional assistance to the
-amateur. The lists are arranged alphabetically under the artists'
-names as follows:
-
-    William Phillips Barrett
-    Robert Anning Bell
-    D. Y. Cameron
-    Thomas Maitland Cleland
-    Gordon Craig
-    Julius Diez
-    George Wharton Edwards
-    Fritz Erler
-    William Edgar Fisher
-    Edwin Davis French
-    Bertram G. Goodhue
-    Harry E. Goodhue
-    T. B. Hapgood, Jr.
-    Harold E. Nelson
-    Edmund H. New
-    Henry Ospovat
-    Armand Rassenfosse
-    Louis Rhead
-    Byam Shaw
-    Joseph W. Simpson
-    Hans Thoma
-    Thomas Tryon
-    Bernhard Wenig
-
-
-WILLIAM PHILLIPS BARRETT
-
-In Great Britain every family of rank has its arms suitably emblazoned
-on its harnesses, carriages, table-plate, dining-chairs, and, of
-course, in its library. When a new coach is ordered, or a new set of
-harnesses, the coach-builder or the harness-maker furnish the proper
-trimmings. So milord's stationer fixes up the family letter-paper
-_and_ the family book-plate. Somebody has to lick into some semblance
-of artistic unity the records of prowess of our medieval ancestors. In
-the workshops of Messrs. "Bumpus Limited," Mr. William Phillips
-Barrett performs this more or less genial task. He has signed some
-ninety to one hundred designs, which were cut by the workmen in the
-Bumpus establishment. Mr. Barrett's designs are not wholly without
-merit, but they so apparently lack the spark of vitality and their
-execution is in many cases so hard and mechanical that one is inclined
-more to pity than to praise. In the pages of the London Ex Libris
-Journal, that industrious encourager of the ordinary and banal in
-book-plate design, Mr. Barrett's work is exploited at length. Vol.
-II., page 81, et seq.
-
-
-    1896
-
-    Lady Gerard
-    Hon. E. Byng
-    Mr. Jack Cummings
-    Lord Manners
-    Lady Sarah Wilson
-    Lady Charles Bentinck
-    H. Somers Somerset, Esq.
-    Lady K. Somerset
-
-
-    1897
-
-    J. Watson Armstrong, Esq.
-    Lady Angela Forbes
-    Mrs. Panmure Gordon
-    Hon. Mrs. Charles Harbord
-    Miss Beatrice Dudley Smith
-    The Marchioness of Headfort
-    Miss Audrey Battye
-    Lady Beatrix Taylour
-    Miss Rachel Duncombe
-    J. S. Forbes, Esq.
-
-
-    1898
-
-    Lady Maud Warrender
-    Lady de Trafford
-    Hon. Marie Hay
-    The Countess Mar and Kellie
-    Mrs. Brocklebank
-    The Viscountess Wolseley
-    Robertson Lawson, Esq.
-    Baron Königswarter
-    Baroness Königswarter
-    Miss Van Wart
-    Reginald Nicholson, Esq.
-    Lady Sybil Carden
-    The Countess of Lathom
-
-
-    1899
-
-    The Duchess of Bedford
-    Miss Eadith Walker (Australia)
-    The Countess of Wilton
-    The Viscountess Chelsea
-    Mrs. Duff
-    J. E. Ballie, Esq.
-    Lord Bolton
-    Lady Margaret Levett
-    Miss Howell
-    Basil Levett, Esq.
-    Mrs. Harcourt Powell
-    Lady Ampthill
-    J. & E. (Mr. and Mrs. Muller)
-    Bishop Lefroy of Lahore
-    Mrs. McCalmont
-    Miss Gabrielle de Montgeon
-
-
-    1900
-
-    Her Royal Highness Princess Victoria of Great Britain
-    The Earl of Lathom
-    The Duke of Beaufort
-    Hon. Mrs. Gervase Beckett
-    The Countess of Gosford
-    The Marchioness of Bath
-    Mrs. Lee Pilkington
-    Freda and Winifreda Armstrong
-    Mrs. Wernher
-    Miss Freda Villiers
-    Miss Muriel Dudley Smith
-    Lord Kenyon
-    Lady Savile Crossley
-    Hon. Hilda Chichester
-    Lady Dickson-Poynder
-    Sir John Dickson-Poynder
-    Gervase Beckett, Esq.
-    Canon Stanton
-    The Duke of Portland
-    Mrs. Alfred Harmsworth
-    Mrs. Arthur Wilson
-    J. Hutchinson, Esq.
-    Hon. Mrs. G. Kenyon
-    Captain Noble
-    Edward Hubbuck, Esq.
-    R. L. Foster, Esq.
-    Royal Naval and Military
-    Will Watson Armstrong
-    Masonic Supreme Council, 33° (Large and small)
-    The Earl of Shaftesbury
-    Miss Barclay (Wood block Armorial)
-    H. A. Harben, Esq.
-
-
-    1901
-
-    Ivor Fergusson, Esq.
-    Harold Harmsworth, Esq.
-    Lord Haddo
-    Lady Mary Cayley
-    Mrs. Sheridan (Frampton Court)
-    The Marchioness Anglesey
-    Sir Charles Cust
-    The Countess of Derby
-    Lady Hillingdon
-    Lady Alice Stanley
-    Lady Clementine Walsh
-    R. C. Donaldson-Hudson, Esq.
-
-
-ROBERT ANNING BELL
-
-Robert Anning Bell, Director of the Art School of the Liverpool
-University, is the most prolific designer of artistic picture-plates
-in Great Britain. His work has long been the envy of amateurs, and no
-collection can claim to be representative without some examples of his
-work. His book-plates have been reproduced and commented on in almost
-all published articles on the general subject. The book-plate number
-of the "Studio," Simpson's "Book of Book-plates," Bowdoin's "Rise of
-the Book-plate," Zur Westen's "Ex Libris" (Leipzig, 1901), all show
-examples. His work is characterized by dignity and grace, is in good
-drawing, and has an average of excellence unsurpassed. The list is
-complete to July 1, 1902.
-
-     1 Walter George Bell
-     2 Rainald William Knightley Goddard
-     3 G. R. Dennis
-     4 Barry Eric Odell Pain
-     5 Jane Patterson (circular)
-     6 Jane Patterson (rectangular)
-     7 Christabel A. Frampton
-     8 Frederick Brown
-     9 Matt. Gossett
-    10 Arthur Trevithin Nowell
-    11 Edward Priolean Warren
-    12 Frederick Leighton (small)
-    13 Frederick Leighton (large)
-    14 Arthur Melbourne Sutthery
-    15 Juliet Caroline Fox Pym
-    16 Yolande Sylvia Mina Noble Pym
-    17 Florence and William Parkinson
-    18 Nora Beatrice Dicksee
-    19 Felsted School
-    20 Arthur E. Bartlett
-    21 The Hon. Mabel de Grey
-    22 Geraldine, Countess of Mayo
-    23 Walter E. Lloyd
-    24 George Benjamin Bullock-Barker
-    25 George Benjamin Bullock-Barker
-    26 Thomas Elsley
-    27 University College, Liverpool
-    28 Rowland Plumbe
-    29 Rennell Rodd
-    30 Alicia, Lady Glomis
-    31 H. E. John Browne
-    32 Barham House
-    33 Cecil Rhodes
-    34 Mander Bros.
-    35 Hon. Harriet Borthwick
-    36 Beatrice Patterson
-    37 Walter Drew
-    38 Walter Raleigh
-    39 Théodule, Comte de Grammont
-    40 Joshua Sing
-    41 Alice Emma Wilkinson
-    42 James Easterbrook
-    43 Theodore Mander
-    44 W. H. Booth
-    45 Hector Munro, 1897
-    46 Margaret Wilton
-    47 L. and M. S.
-    48 Gardner S. Bazley
-    49 Ex Libris Sodalium Academicorum Apud Lyrpul
-    50 Roberti A. S. Macfie
-    51 Richard T. Beckett
-    52 Edmund Rathbone, 1898
-    53 Croy Grammont, 1898
-    54 A. J. Stratton
-    55 John Duncan
-    56 Helen Woollgar de Gaudrion Verrall
-    57 C. Kohn
-    58 C. J. R. Armandale
-    59 Wm. Renton Prior
-    60 H. and O. Lewis
-    61 Herbert Lyndon
-    62 Johanna Birkenruth
-    63 Fanny Dove Harriet Lister
-    64 Mary Josephine Stratton
-    65 Louise Frances Foster
-    66 Caleb Margerison
-    67 Ellis Roberts
-    68 Marie Clay
-    69 Fanny Nicholson
-    70 L. and E. Stokes
-    71 Alfred Cecil Gathorne Hardy
-
-
-D. Y. CAMERON
-
-D. Y. Cameron is one of the most prominent artists in the so-called
-"Glasgow School of Designers." His plates are nearly all etchings and
-are decidedly his own in subjects and treatment. They are most
-excellent productions. His work has been most fully exploited in
-Simpson's "Book of Book-plates," Vol. I., No. 4. There are eleven
-designs listed in Fincham, and the "Studio" Book-plate number
-reproduces four.
-
-    Donald & Grace Cameron Swan
-    Robert M. Mann
-    John Roberton
-    John Maclaren
-    Roberta Elliot S. Paterson
-    Joanna Cameron
-    Jeanie Ure MacLaurin
-    Katherine Cameron
-    J. Craig Annan
-    James Arthur
-    John Macartney Wilson
-    James Henry Todd
-    James J. Maclehose
-    Robert G. Paterson
-    R. Y. Pickering, 1895
-    R. Y. Pickering (another design)
-    John A. Downie
-    Beatrice H. MacLaurin
-    Sir James Bell, Bart.
-
-
-THOMAS MAITLAND CLELAND
-
-Mr. Cleland is a young man who has an innate appreciation for
-decorative effect and, what is more to the purpose, an ability to
-apply it. For some years past his skill in typographic arrangement has
-added much to the products of several of our more advanced publishers;
-by more advanced I mean those with a knowledge and belief that it is
-good business to offer to the public books that delight the eye as
-well as the mind. Mr. Cleland has done many decorative bits by way of
-head- and tail-pieces and initials. There are also to his credit a
-baker's dozen of book-plates. These last are intensely decorative, and
-to class them as pictorial really does them injustice. They are
-thoroughly conventional and quite medieval in feeling.
-
-    Sara Stockwell Clark
-    Herbert Wood Adams
-    Laura Gaston Finley
-    Elmer Bragg Adams
-    Lewis W. Hatch
-    Angus Frederick Mackay
-    Julian Pearce Smith
-    Irving and Sissie Lehman
-    Louis and Bertha Stillings
-    Alice and Arthur Cahn
-    Rubie La Lande de Ferrière
-    Maurice M. Sternberger
-    George Louis Beer
-
-
-GORDON CRAIG
-
-"The Page" has been so much exploited in the public press that it
-seems supererogation to write anything more about it or Gordon Craig,
-one the embodiment of the other. Mr. Craig is very much of an
-all-round young man; brought up in the atmosphere of the theater and
-of books and pictures, he has dabbled in all to some purpose. He has a
-clear-cut individuality that differentiates him and his--work, I was
-going say, but perhaps play would be better, for Mr. Craig is one of
-those inconsequential chaps that seem to take things as they come and
-be chipper and happy and youthful-hearted with all. His book-plate
-work is of the meat-ax variety and inspired by the rough wood-cuts of
-the early engravers. His work has the air of the poseur that is as
-balm to the heart of the dilettante.
-
-    James Pryde, 1898
-    M. P. (Margaret Palgrave)
-    Ellen Terry (large), map
-    Ellen Terry (small), map
-    K. D. (Mrs. Kitty Downing), 1900
-    Katie Black
-    E. T., 1899 (Ellen Terry)
-    James Corbet
-    V. C. (Vincent Corbet)
-    R. C. (Robin Craig)
-    H. F. (Helen Fox)
-    C. M. (Carl Michaelis)
-    Nina (Lady Corbet)
-    B. (Beatrice Irwin)
-    C. D. (Charles Dalmon)
-    W. H. Downing
-    M. M. (Maud Meredith)
-    A. L. (Aimée Lowther)
-    William Winter
-    Roche (Charles E. Roche), 1900
-    S. B. B. (S. B. Brereton)
-    C. (Christopher St. John)
-    G. C. (Gordon Craig)
-    Edy (Edith Craig)
-    J. D. (John Drew)
-    L. W., 1897 (Lucy Wilson)
-    Oliver Bath, 1899
-    E. D. L. (monogram) (Edie Lane)
-    G. C., 1898 (Gordon Craig)
-    Martin Shaw
-    Miss Norman
-    Lucy Wilson
-    E. C. (Edith Craig)
-    Ellen Terry
-    Ellen Terry
-    Marion Terry
-    Cissie Loftus
-    Evelyn Smalley
-    Edith Craig
-    C. B. P. (Mrs. Brown-Potter)
-    Tommy Norman
-    Jess Dorynne
-    Jess Dorynne
-    Rosie Craig
-    G. C. (Gordon Craig)
-    Gordon Craig
-    Gordon Craig
-    Gordon Craig
-    Mrs. Enthoven
-    Audrey Campbell
-    M. Tolemache
-    G. Tolemache
-    J. B. R. (Madam Bell-Rauche)
-    M. Fox
-    Anna Held
-    Pamela Colman Smith
-    Katie Dunham
-    Haldone McFall
-    N. F. D. (Mrs. Dryhurst)
-
-
-JULIUS DIEZ
-
-The work of Julius Diez is rich with the flavor of medievalism and
-full decorative effect. The example shown in this book, the plate for
-Max Ostenrieder, is a little masterpiece and an ideal book-plate. Mr.
-Diez has done others much more elaborate, and with well-drawn and well
-thought-out motifs, but none to excel the bit referred to.
-
-    Bayerischer Kunstgewerbe-Verein
-    Gustav Euprius
-    Max Ostenrieder
-    Gustav Wolff
-    Richard Hildebrandt
-    August Drumm
-    Luise Riggaur
-    Joseph Flokmann
-    Dr. Jul. Fekler
-    Julie von Boschinger
-    Georg Hirth
-    Adolf Beermann
-    Julius Diez
-    Paul Scharff
-    Elise Diez
-    Georg Buchner
-    Franz Langheinrich
-    Paul Meyer
-
-
-GEORGE WHARTON EDWARDS
-
-Mr. Edwards has made a large number of very excellent book-cover
-designs and has decorated several volumes throughout. One of the most
-beautiful of the latter is Spenser's Epithalamion, published by Dodd,
-Mead & Company. Mr. Edwards has done a few other book-plates in
-addition to those listed here, but these are all he wishes to stand
-sponsor for.
-
-    Harvard University, Arnold Arboretum, 1892
-    Grolier Club
-    Author's Club Library
-    George Washington Cram
-    Tudor Jenks
-    G. W. Drake
-
-
-FRITZ ERLER
-
-Fritz Erler has been one of the leading contributors to that prince of
-German art periodicals, "Jugend," since its beginning. His book-plates
-are characterized by the same imaginative spirit and weirdness that
-appear in all his work. His work is often reproduced in soft tints
-with excellent effect. In the third volume of "Jugend" there was a
-double page given to prints of Mr. Erler's book-plates.
-
-    Carl Mayr
-    Arthur Scott
-    T. Neisser
-    Hugo Wolf
-    C. Schoenfield
-    Sigmund Schott
-    M. Souchon
-    S. Fuld
-    Albert Schott
-    Ulrich Putze
-    Max Mayr
-    Toni Neisser
-    M. von B.
-    M. von B.
-    E. Gerhäuser
-    H. Marx
-    Gustav Eberius Liebermann
-
-
-WILLIAM EDGAR FISHER
-
-Mr. Fisher's work is fully described in the leading article in this
-book by Mr. Bowdoin. The list of plates is in chronological order and
-is complete to July 1, 1902.
-
-     1 William Edgar Fisher
-     2 William Edgar Fisher
-     3 William Edgar Fisher
-     4 Winifred Knight
-     5 William Lincoln Ballenger
-     6 Stanley Shepard
-     7 William A. Brodie
-     8 Silvanus Macy
-     9 Edna B. Stockhouse
-    10 Leila H. Cole
-    11 C. A. W. (C. A. Wheelock)
-    12 Lula Thomas Wear
-    13 Gertrude T. Wheeler
-    14 Guild of the Holy Child, Peekskill, N. Y.
-    15 Elizabeth Langdon
-    16 John Charles Gage
-    17 Sallie A. Richards
-    18 Albert Edgar Hodgkinson
-    19 Samuel N. Hudson
-    20 John Elliot Richards
-    21 Ellen E. Langdon
-    22 Maria Page Barnes
-    23 Maie Bruce Douglas
-    24 Sara Grace Bell
-    25 Edward A. Wilson
-    26 Peyton C. Crenshaw
-    27 Marion Maude Lindsey
-    28 Chauncey E. Wheeler
-    29 Bi Lauda (secret society)
-    30 Mary N. Lewis
-    31 Elizabeth Allen
-    32 The Studio Club
-    33 (Dr.) I. N. Wear
-    34 William Chauncey Langdon
-    35 Charles S. Young
-    36 Frederic H. Church
-    37 John M. Harrison
-    38 Les Chats Noirs
-    39 George H. Phelps
-    40 Mary Speer
-    41 Julia Locke Frame
-    42 John D. Farrand
-    43 Lucy P. Winton
-    44 Winifred Knight
-    45 Mary Cheney Elwood
-    46 Ernest Orchard
-    47 Reta L. Adams
-    48 Edward C. Brown
-    49 Adeline Cameron
-    50 T. Frank Fisher
-    51 Edna B. Stockhouse
-    52 John Le Droit Langdon
-    53 W. J. Awty
-    54 Henry McLallen
-    55 William Edward Ramsay
-    56 David S. Calhoun
-    57 Walter W. Wait
-
-
-EDWIN DAVIS FRENCH
-
-The book-plates of Edwin Davis French are the most esteemed of those
-of our present American engravers. His work is decidedly the vogue
-among those who can afford the best, and is much prized by collectors.
-There has rarely been an article on book-plates published in the past
-five years or more that has not contained a eulogy of his work, and
-there have been reproductions galore, both from the original coppers
-and by half-tone. There is no American designer whose work is so
-eagerly sought by the collector or for which larger returns are asked
-in exchanges. Mr. French usually designs the work he engraves, but in
-several instances he has cut plates from the designs of others. Such
-instances are noted in the list. Mr. French's work is characterized by
-daintiness of design and great beauty of execution. He is
-unquestionably a master of the graver in decorative work. In the
-following list those numbered 133 and below are from Mr. Lemperly's
-well-known list, and credit is hereby rendered him therefor. The rest
-of the list is made up from various sources and has been very
-carefully compared and is believed to be accurate and complete, with
-the few exceptions noted, to July 1, 1902.
-
-    174 Adams, Ruth
-    141 Allen, Charles Dexter, 1899
-          _a_ with portrait
-          _b_ with book-case
-          _c_ with one club emblem changed
-    170 Alexander, Amy B.
-    187 Adams, Frances Amelia, 1901
-    199 Adams, Edward Dean, 1902
-    207 Adams, Ernest Kempton, 1902
-     44 Alexander, Charles B., 1895
-     11 Andrews, William Loring, 1894
-     76 Andrews, William Loring, Compliments of, 1896
-    195 Adriance Memorial Library, Poughkeepsie, 1902
-    111 Armour, George Allison, 1898
-     98 Author's Club (designed by Geo. Wharton Edwards), 1897
-     10 Avery, In Memoriam, Ellen Walters, 1894
-    142 Bakewell, Allan C.
-     43 Bakewell, A. C., 1895
-     36 Bates, James Hale, 1894
-     53 Barger, Samuel F., 1895
-     17 Baillie, W. E., 1894
-     20 Blackwell, Henry, 1894
-     16 Bierstadt, Edward Hale, 1894
-     42 Bernheim, A. C., 1895
-     60 Biltmoris, Ex Libris (designed by owner, George W. Vanderbilt),
-          1895
-     67 Bar of the City of New York, Association of the (Chas. H.
-          Woodbury's library, 1895), 1896
-    118 Bar of the City of New York, Association of the (the John E.
-          Burrill Fund, 1897), 1896
-    119 Bar of the City of New York, Association of the (Gift of James
-          C. Carter)
-     69 Biltmoris, Ex Libris (like 60, but smaller), 1896
-     87 Bliss, Catherine A., 1896
-    104 Burke, Edward F., 1897
-    133 Bradshaw, Sidney Ernest, 1898
-      1 Brainerd, Helen Elvira, 1892
-      4 Brainerd, Helen Elvira, 1894
-    124 Brown, Georgette (adapted from Parisian trade-card 18th century)
-          _a_ with border
-          _b_ without border
-    176 Borden, M. C. D.
-    177 Borden, M. C. D. (small)
-    139 Boas, Emil L.
-     80 Borland, Harriet Blair, 1896
-    166 Buck, John H. (designed by Miss Marion Buck)
-    171 Bullock, James Wilson, 1900
-    180 Barnes, John Sanford
-     65 Bull, William Lanman, 1895
-    147 Blackwell, Henry (monogram), 1899
-    150 Blackwell, Henry, Compliments of, 1900
-     91 Carnegie, Lucy Coleman, 1897
-     96 Candidati, 1897
-      7 Chew, Beverly, 1894
-     47 Chew, Beverly, 1895
-     41 Church, E. D., 1895
-     59 Champaign Public Library, 1895
-      8 Clark, Charles E., M. D., 1894
-      9 Clark, Charles E., M. D. (smaller), 1894
-     18 Colonial Dames of America
-     28 Coutant (Dr.), Richard B., 1894
-     66 Clough, Micajah Pratt, 1896
-     83 The John Crerar Library, Chicago, 1896
-     97 Connell, William, 1897
-    100 Child Memorial Library (Harvard), 1897
-    125 Cox, Jennings Stockton, 1898
-     51 Clough, Micajah P.
-    156 Cheney, Alice S., 1900
-    167 Chamberlain, Elizabeth (The Orchards), 1900
-    145 Cushing
-     22 Deats, Hiram Edmund, 1894
-    131 Dana, Charles A. (designed by A. Kay Womrath), 1898
-     70 Dows, Tracy, 1896
-     56 De Vinne, Theo. L. (designed by George Fletcher Babb), 1895
-     84 Denver Club, The (designed by Cora E. Sargent), 1896
-    143 Duryee, George Van Wagenen and Margaret Van Nest, 1899
-     46 Ellsworth, James William, 1895
-     88 Emmet, The Collection of Thos. Addis, M. D., New York Public
-          Library, 1896
-      2 French, Mary Brainerd, 1893
-      3 French, Edwin Davis (Volapük), 1893
-      5 E. D. F. (French, Edwin Davis), 1893
-          _a_ E. D. F., without enclosing frame
-          _b_ with frame
-          _c_ Edwin Davis French
-     19 Foote, Charles B., 1894
-    168 Foot, Margaret H., 1900
-    198 Furman, Dorothy, 1902
-     21 Grolier Club, The, 1894
-     29 Goodwin, James J., 1894
-     30 Goodwin, Francis, 1894
-     32 Godfrey, Jonathan, 1894
-     64 Goodrich, J. King, 1895
-     89 Gray, Adelle Webber, 1897
-    110 Goldsmith, Abraham, 1898
-    121 Goldsmith, James A., 1898
-     49 Goodwin, James J., 1895
-    136 Gale, Edward Courtland, 1899
-    185 Gage, Mabel Carleton (design by owner), 1901
-    202 Gray, John Chipman, 1902
-    181 Harvard, Society of the Signet (designed by B. G. Goodhue)
-    186 Harvard Union (designed by B. G. Goodhue), 1901
-          _a_ 1901
-          _b_ In Memoriam Henry Baldwin Hyde
-    184 Harbor Hill (Mrs. Clarence McKay)
-     38 Haber, Louis I, 1894
-    106 Hartshorn, Mary Minturn (designed by Miss E. Brown), 1897
-     55 Havemeyer, William Frederick (designed by Thomas Tryon), 1895
-     73 Herter, Christian Archibald, 1896
-    149 Horsford, Cornelia
-    155 Hopkins (Maj.), Robert Emmet
-     23 Holden, Edwin B., 1894
-     24 Holden, Edwin B. (smaller)
-     61 H(olden), E(mily), (Miss), 1895
-     25 Holden, Alice C., 1894
-     26 Holden, Edwin R., 1894
-    164 James, Walter B., M. D.
-     33 Kalbfleish, Charles Conover, 1894
-     90 O. A. K(ahn), 1897
-     94 Kingsbury, Edith Davies (designed by Lilian C. Westcott), 1897
-    113 Lambert, Samuel W., 1898
-     85 Lamson, Edwin Ruthven (designed by E. H. Garrett), 1896
-    173 Larner, John B.
-     35 Lawrence, Emily Hoe, 1894
-      6 Leggett, Cora Artemisia, 1894
-     15 Lefferts, Marshall Clifford, 1894
-     39 L. B. L(öwenstein), 1895
-    105 Lefferts, Mollie Cozine, 1897
-    102 Lemperly, Paul, 1897
-    169 Loveland, John W. and Lee Partridge
-    159 Livermore, John R.
-    172 Little, Arthur West
-    192 Long Island Historical Society, 1900
-          _a_ Storrs Memorial Fund, 1900
-          _b_ Ecclesiastical History
-    148 K. D. M. (Mackay, Mrs. Clarence) (small monogram with crest)
-     58 Marshall, Frank Evans, 1895
-     37 Mausergh, Richard Southcote, 1895
-     95 Marshall, Julian, 1897
-    188 Merriman, Roger Bigelow
-     40 Metropolitan Museum of Art, 1895
-          _a_ Cruger mansion
-          _b_ new building
-     54 Messenger, Maria Gerard, 1895
-     85 Messenger, Maria Gerard, 1896
-          _a_ gift-plate with book-pile
-          _b_ with view of Pleasantville library
-     74 Morgan, A. J., 1896
-     92 McCarter, Robert H., 1896
-    115 Medicis, Ex Libris (Cushing), 1898
-     45 McKee, Thomas Jefferson
-    151 Messenger, Maria Gerard and Elizabeth Chamberlain (The
-          Orchards), 1899
-     68 V. E. M(acy)
-          _a_ V. E. M.
-          _b_ Macy, Valentine Everit and Edith Carpenter, 1896
-    140 Moore, Louise Taylor Hartshorne
-    128 Nimick, Florence Coleman, 1898
-    163 New York Yacht Club, The (after sketch by the late Walter B. Owen)
-     12 Oxford Club, The, Lynn, 1894
-     57 Osborne, Thomas Mott and Agnes Devens, 1895
-     62 Odd Volumes, The Club of, 1895
-     13 Players, The (designed by Howard Pyle), 1894
-     50 Pyne, M. Taylor, 1895
-     63 Pine, Percy Rivington, 1895
-     81 Plummer, Mary Emma, 1896
-    107 Pyne, M. Taylor, 1897
-    204 Pyne, R. Stockton, 1902
-    108 Princeton University, Library of, 1897
-    132 Prescott, Eva Snow Smith, 1898
-    160 Porter, Nathan T., 1900
-    189 Phillips, William (design arranged from 16th century armorial
-          by P. de Chaignon la Rose), 1901
-     14 Reid, Whitelaw, 1894
-     34 Rowe, Henry Sherburne, 1894
-    103 Ranney, Henry Clay and Helen Burgess, 1897
-    191 Richards, Walter Davis, 1825-1877, 1901
-    158 Robinson, C. L. F.
-     99 Sabin, Ruth Mary, 1897
-    109 Sampson, Florence de Wolfe 1898
-     52 Sherwin, Henry A., 1895
-     77 Sedgwick, Robert, 1896
-     82 Sherwin, Henry A. (similar to 52, but smaller), 1896
-    117 Sherwood, Samuel Smith, 1898
-    129 Scripps, James Edmund, 1898
-    101 Skinner, Mark, Library
-    134 Stickney, Edward Swan (Chicago Historical Society), 1898
-    112 Stratton, A. Dwight, 1898
-     93 Stearns, John Lloyd, 1897
-     71 Sovereign (designed by Thomas Tryon) (crown), 1896
-     79 Sovereign (designed by Thomas Tryon) (eagle), 1896
-    193 Society of Colonial Wars, Connecticut, 1901
-    179 Sherman, William Watts (design by B. G. Goodhue), 1901
-     78 Taylor, Chas. H., Jr. (designed by E. B. Bird), 1896
-    135 Talmage, John F.
-    152 Treadwell Library (Mass. General Hospital) (designed by B. G.
-          Goodhue)
-    127 Thorne, Katherine Cecil Sanford, 1898
-    122 Twentieth Century Club (designed by Mrs. Evelyn Rumsey Carey), 1898
-    157 Union League Club
-    154 University Club, Cleveland
-     48 Vail, Henry H., 1895
-    116 Vassar Alumnae Historical Association, 1898
-    196 Varnum (Gen.), James M.
-    128 Van Wagenen, Frederick W., 1898
-     31 Warner, Beverly, M. A., 1894
-    114 Wendell, Barrett, 1898
-    126 Williams, E. P., 1898
-    130 Wood, Arnold, 1898
-    137 Wood, Ethel Hartshorne
-    182 Worcester Art Museum, 1901
-    144 A. W. (Arnold Wood), 1899
-    146 Williams, John Skelton
-    161 Wodell, Silas
-    175 Woodward, S. Walter, 1900
-    178 Whitin, Sarah Elizabeth
-    120 Winthrop, Henry Rogers, 1898
-     75 Willets, Howard, 1896
-     27 Woodbury, John Page, 1894
-     72 (Yale) The Edward Tompkins McLaughlin Memorial Prize in English
-          Composition, 1896
-
-
-BERTRAM G. GOODHUE
-
-Bertram Grosvenor Goodhue is a Boston architect who has made several
-book-plates of merit. One made for a department of Harvard University
-is particularly rich in decorative effect, and a design of which one
-would not grow weary. Others of Mr. Goodhue's designs are treated in
-broad line and might have been reproduced very effectively by wood
-engraving.
-
-    A. Squire
-    Udolpho Snead
-    Rachel Norton
-    Harvard University Library, Lowell Memorial Library of Romance
-      Literature
-    H. I. K. (H. I. Kimball)
-    Library of the Harvard Union
-    Society of the Signet, Harvard
-    Treadwell Library, Mass. General Hospital
-    M. A. de Wolfe Howe
-    William Watts Sherman
-
-
-HARRY E. GOODHUE
-
-The few book-plates designed by Harry E. Goodhue are mostly of the
-"girl and book" type. In the plate for Jessy McClellan the young woman
-appears to be sorry she "done it," or else is quite discouraged at the
-idea of lifting her folio romance into her lap. Mr. Goodhue's most
-pleasing design is that for Constance Alexander, shown on page 27.
-
-    Amy M. Sacker
-    Constance Grosvenor Alexander
-    Jessy Trumbull McClellan
-    June Eldredge
-    Juliet Armstrong Collins
-
-
-T. B. HAPGOOD, Jr.
-
-Mr. Hapgood is a decorative designer in Boston, and his work on the
-covers of various periodicals and catalogs is well known. Plate No. 5
-was submitted in competition and took second prize. It has never been
-reproduced. No. 1 was reproduced in "The Red Letter," No. 2 in the
-book-plate number of "The Studio," as was also No. 4. No. 14 has not
-been reproduced. No. 15 was originally made as a printer's mark and
-was so used. It was later altered to serve as a book-plate.
-
-     1 Rev. George Fred Daniels, 1896
-     2 Norris Hastings Laughton, 1897
-     3 A. F. Skenkelberger, 1897
-     4 Theodore Brown Hapgood, Jr., 1897
-     5 Society of Mayflower Descendants in Mass., 1897
-     6 Rufus William Sprague, Jr., 1898
-     7 Frances Louise Allen, 1898
-     8 Andrew C. Wheelwright, 1898
-     9 Andrew C. Wheelwright, 1898
-    10 Richard Gorham Badger, 1898
-    11 Thursday Club, 1899
-    12 North Brookfield Free Public Library, 1900
-    13 Edwin Osgood Grover, 1900
-    14 Harriet Manning Whitcomb, 1900
-    15 Carl Heintzemann
-
-
-HAROLD E. NELSON
-
-Many of the figures in the book-plates by Harold Nelson are of the
-attenuated pre-Raphaelite type, but there are others one can believe
-really once lived. The frontispiece to the book-plate number of "The
-Studio" is a beautiful decorative bit by Mr. Nelson, and makes us
-quite willing to forgive him some of his more eccentric designs. The
-plate referred to is enhanced in beauty by a few lines of gold
-judiciously used. The musical plate on page 18 of this volume is a
-pleasing one.
-
-    Mary L. Oldfield
-    Edith A. Kingsford
-    Robert H. Smith
-    Fanny Nelson
-    Ellen Maguire
-    Edward Lomax
-    Ernest Scott Fardell, M.A.
-    Ernest Scott Fardell, M.A.
-    Geoffery Parkyn
-    A. Ludlow
-    James Wilmar
-    Bedford College Library
-    Horace Shaw
-    Harold Edward Hughes Nelson
-    Lady Literary Society
-    Mark Nelson
-    Evelyn Wynne Parton
-    A. A. Wood
-    Maude Burton
-    Marion H. Spielmann
-    Alfred Anteshed
-    Jane Nelson
-    Leopold d'Estreville Lenfestey
-
-
-EDMUND H. NEW
-
-The book-plate designs by Mr. New are in a class by themselves. No one
-else has worked quite the field occupied by this artist. Mr. New has
-used architecture for the motifs of a series of unusually pleasing
-plates. He has treated in a most decorative way whole buildings as
-well as details, doorways, and so forth. His plates are particularly
-adapted to the dignified old houses that contain the libraries for
-which they were made. Mr. New has not limited himself to this field,
-as he has done a number of designs with no architectural suggestion.
-His work in book illustration and decoration is of a most delightful
-quality, and is well known to all lovers of black and white. A number
-of his book-plate designs were reproduced and commented upon in
-Simpson's "Book of Book-plates," Vol. II., No. I. The book-plate
-number of "The Studio" also showed some of his designs. The list is in
-chronological order and complete.
-
-    Herbert New
-    Rev. Richard R. Philpots
-    Rees Price (wood cut)
-    Montague Fordham (wood cut)
-    C. Elkin Mathews
-    Dr. Edmundi Atkinson
-    Edward Morton
-    Frederic Chapman
-    William and Catherine Childs
-    Beatrice Alcock
-    Arthur Fowler
-    No. 1 Highbury Terrace
-    Julia Sharpe
-    Herbert B. Pollard
-    William Malin Roscoe (three sizes), 1897
-    Edward Evershed Dendy
-    J. G. Gardner-Brown
-    Phil. Norman
-    Edward Le Breton Martin
-    Roberti Saundby, M. D., LL. D. (two sizes), 1900
-    George Lewis Burton
-    George Cave, 1900
-    Alexander Millington Sing (two sizes)
-    Peter Jones
-    Edward Alfred Cockayne
-
-
-HENRY OSPOVAT
-
-Henry Ospovat is a young Russian artist residing in London. He has
-done some superb decorative work for the sonnets and poems of
-Shakespeare published by John Lane. His book-plates are precious bits
-of decoration worthy the adoration of all lovers of the beautiful.
-There have been only a few reproductions of them. The book-plate
-number of "The Studio" shows several and Fincham's "Artists and
-Engravers" lists two.
-
-    Arthur and Jessie Guthrie, 1898
-    James and Maud Robertson, 1898
-    John and Jessie Hoy, 1898
-    Arthur Guthrie, 1898
-    Walter Crane
-    Charles Rowley
-    James Hoy
-    James Hoy
-    Frank Iliffe Hoy
-    John and Jessie Hoy (second design)
-    George Moore
-    A. Emrys Jones
-    Fred Beech
-    J. H. Reynolds
-    T. C. Abbott
-    Frank and Marie Hoy
-
-
-ARMAND RASSENFOSSE
-
-Armand Rassenfosse is a resident of Liege, therefore, presumably, a
-Belgian and a subject of the German Empire. But as stone walls do not
-always a prison make, so frontiers do not always mark the nationality
-of art and letters. Mr. Rassenfosse is distinctly French in his
-feeling and artistic point of view. Perhaps I should rather say
-Parisian, for it is of the Latin Quartier and the Beaux Arts that his
-work breathes. His designs are almost entirely of nude femininity and
-his method of expression the etching. He has made some eight or ten
-charming bits, full of life and chic--I was going to say, frou-frou,
-but that would be a misnomer, for his models are innocent of gowns or
-lingerie. Their spirit and beauty of execution is high, but as
-book-plate designs--well, it's a bit like champagne for breakfast.
-
-    Alex. von Winiwarter
-    Alfred Lavachery, 1890
-    M. R. (Marie Rassenfosse)
-    A. R. (Armand Rassenfosse)
-    Alb. Mockel
-    H. v. W. (Hans von Winiwarter)
-    Three designs without names
-    D'Alb. Neuville
-
-
-LOUIS RHEAD
-
-The illustrator of "Pilgrim's Progress" and the "Idylls of the King"
-needs no introduction to the average book-lover, and the hearts of the
-poster-collectors throb at his name. Mr. Rhead is an American of
-English birth and a resident of one of the suburbs of greater Gotham.
-His decorative work has been long and favorably known, and his
-book-plates can but add to his reputation. He has done but fifteen,
-and two of these are yet to be reproduced, but some examples of his
-work are in most collections.
-
-    Gertrude Tozier Chisholm
-    James Henry Darlington
-    Samuel Moody Haskins
-    Le Roy W. Kingman
-    Frank J. Pool
-    Louis Rhead (symbolic)
-    Louis Rhead (fishing)
-    Katharine Rhead
-    W. H. Shir-Cliff, 1897
-    Jean Irvine Struthers
-    Stephen S. Yates
-    David Turnure
-    Ivy Club (Princeton University)
-    Rector Kerr Fox
-    George Weed Barhydt
-
-
-BYAM SHAW
-
-The one or two book-plate designs by Mr. Shaw that have been published
-show a magnificent imaginative conception and makes the lover of the
-beautiful ardently wish for "more." The one for Isabella Hunter, on
-page 216 of Vol. I. of the "International Studio," is at the head of
-its class. Mr. Shaw's other line-drawings and his paintings have a
-richness and weirdness of design that is very attractive.
-
-    C. E. Pyke-Nott
-    Frank Lynn Jenkins
-    Isabella R. Hunter
-    Laurence Koe
-    Mr. Claye
-
-
-JOSEPH W. SIMPSON
-
-Mr. Simpson, of Edinburgh, is a young Scotchman of infinite ambition
-and generous talent. He is not only a clever designer of book-plates,
-but he has a magazine to exploit his schemes and theories of art. This
-is reputed to be a quarterly, but it is erratic, like its sponsor, and
-issues "once in a while." Mr. Simpson's designs are full of feeling
-and rich in treatment. About twenty-five of these have seen the light
-and are prized by the lovers of modernity.
-
-    Robert Bateman, 1897
-    Kris Allsopp, 1897
-    Kris Allsopp, 1897
-    J. A. Whish, 1898
-    James Dick, 1898
-    F. N. and A. W. Hepworth, 1898
-    Cissie Allsopp, 1898
-    J. W. Simpson
-    Charles Holme
-    Julio Guardia
-    K. E., Graf zu Leiningen-Westerburg, 1898
-    Maud H. Scott, 1898
-    A. Gaston Masson
-    Geo. May Elwood
-    T. F. M. Williamson, 1899
-    (Gordon) Craig
-    Mabel Waterson
-    Fiffi Kuhn
-    Maisie Phillips
-    Samuel Linsley
-    Pauline Stone
-    T. N. Foulis
-    Joseph W. Simpson
-    W. M. Stone
-
-
-HANS THOMA
-
-Hans Thoma is a painter of national reputation in Germany who has
-thought it not beneath his dignity to do book-plate designs. This by
-way of recreation or to strengthen his line for more pretentious
-efforts. His designs are along classic and dignified lines. His own
-personal plate is a weird one; on it is a nude youth bearing the torch
-of knowledge and riding a gruesome dragon.
-
-    Dr. S. Herxheimer, 1898
-    Hans Thoma
-    Adolph von Gross, 1896
-    Dr. Henry Thode
-    August Rasor
-    Martin Elersheim
-    S. Herrheimer
-    Sofie Küchler
-    Hermann Levi
-    Dr. Otto Fiser
-    Luisa Countess Erdödy
-    R. Spier
-    J. A. Beringer
-    Karl and Maria Grunelius
-
-
-THOMAS TRYON
-
-Mr. Tryon's work has been described at length in another part of this
-book and a large part of his designs reproduced.
-
-    William Frederick Havemeyer (engraved by E. D. French), 1892
-    James Seymour Tryon, 1892
-    Arnold William Brunner, 1893
-    Frank Jean Pool, 1893
-    "Sovereign," Crown design (engraved by E. D. French), 1896
-    "Sovereign," Eagle design (engraved by E. D. French), 1896
-    Annah M. Fellowes, 1896
-    George Elder Marcus, 1897
-    Loyall Farragut, 1898
-    Mary Tryon Stone, 1900           }   same
-    Janet Tryon Stone, 1900          } design in
-    Rachel Norton Tryon Stone, 1900  } different
-    Mary Tryon Stone (2d), 1900      }   sizes
-    J. C. M. (Miss J. M. Cox), 1901
-    Library of the Boys' Club, 1902
-    Willis Steell, 1902
-
-
-BERNHARD WENIG
-
-Bernhard Wenig is a comparatively newcomer in the field of book-plate
-design, but he has already established for himself an enviable
-reputation in Germany, and his work is meeting with a growing
-appreciation by collectors in this country. Mr. Wenig's general manner
-is that of the old engraved wood block, bold and more or less crude of
-line, but full of virility. Most of his work is reproduced in black on
-white, but in a few instances he has used a color or two with good
-effect. His choice of subjects is varied, but the studious bookman of
-the middle ages seems to be uppermost in his heart and mind. Mr. Wenig
-has made one plate for a child, a small boy, that is among the best
-half-dozen of designs for children.
-
-    Baroness May v. Feilitzsch
-    Bernhard Wenig, 1897
-    Anton Wenig, 1897
-    Joh. Nep. Eser, 1899
-    E. W. J. Gärtner, 1900
-    Richard Schulz, 1900
-    Mathilde Schulz
-    Heinrich Stümcke
-    Karl Emich, Graf zu Leiningen-Westerburg, 1901
-    Günter Otto Schulz
-    Gertrud Schulz
-    Dr. Adolph Brenk
-    Carl Selzer
-    Lorenz Wenig
-    Countess Sofie du Moulin
-    Max H. Meyer
-    Dr. Fr. Weinitz
-    H. von Sicherer
-    Hugo Schmid
-    Julie Speyer
-    Louis King
-    Claire von Frerichs
-    Franz Menter
-    L. Frankenstein
-    Dr. Hans Lichtenfelt
-    Heinrich and Hedwig Brelauer
-    Fr. Schade
-    F. Schaffener
-    G. Drobner
-    H. R. C. Hirzee
-    Wolfgang Quincke
-    Alfred Misterck
-    Ludwig Stivner
-    Max Landmann
-    Hans Jaeger
-    Dr. Louis Merck
-    Richard Jaeger
-    Rosalie Eeginbrodt
-    Georg Ortner
-    Melaine Dorny
-    Anna Furstin
-    Ludwig Klug
-    Doris von Heyl
-    Frieherr Max Heyl
-    Carl R. Peiner
-    David von Flansemann
-    Paulus Museum, Worms
-    (Mrs.) Hedwig Smidt
-    Wilhelm Karl Herams
-    (Mrs.) Julie Wassermann
-    Dr. C. Schonborn
-    Maria von Ernst
-    Wolfgang Quincke
-    Walther Frieherr von Seckendorff
-    Wilhelm von Schon
-
-  [Illustration: {Book-plate of W. S.}]
-
-
-
-
-Transcriber's Note
-
-Minor punctuation errors have been repaired.
-
-Printer errors and inconsistencies have been amended as follows:
-
-    Page 28--Bernard amended to Bernhard--By Bernhard Wenig
-
-    Page 36--Gerhaeuser amended to Gerhäuser--The design for Emil
-    Gerhäuser is inoffensive ...
-
-    Page 43--portaits amended to portraits--The portraits and view
-    are interwoven ...
-
-The final chapter, the check-list of works, contained a number of
-errors and inconsistencies in the names. Where there were other
-mentions of the name in the book, the transcriber has made amendments
-for consistency, as follows:
-
-    Page 45--Bernard amended to Bernhard--Bernhard Wenig
-
-    Page 49--Pierce amended to Pearce--Julian Pearce Smith
-
-    Page 51--F. amended to E.--E. Gerhäuser
-
-    Page 51--Lulu amended to Lula--12 Lula Thomas Wear
-
-    Page 58--Jomes amended to James (second instance)--James Hoy
-
-    Page 61--Havermeyer amended to Havemeyer--William Frederick
-    Havemeyer (engraved by E. D. French), 1892
-
-    Page 61--Fellows amended to Fellowes--Annah M. Fellowes, 1896
-
-The following are likely to be errors, but as they appear only once in
-this book, they are preserved as printed. This list may not be
-exhaustive.
-
-    Page 58--Dr. Edmundi Atkinson should probably be Dr. Edmund
-    Atkinson
-
-    Page 62--Rosalie Eeginbrodt should probably be Rosalie
-    Eigenbrodt
-
-    Page 62--Melaine Dorny should probably be Melanie Dorny
-
-    Page 62--Frieherr Max Heyl should probably be Freiherr Max Heyl
-
-    Page 62--Carl R. Peiner should probably be Carl R. Reiner
-
-    Page 62--Dr. C. Schonborn should probably be Dr. C. Schönborn
-
-    Page 62--Walther Frieherr von Seckendorff should probably be
-    Walther Freiherr von Seckendorff
-
-    Page 62--Wilhelm von Schon should probably be Wilhelm von Schön
-
-The frontispiece illustration has been moved to follow the title page.
-Other illustrations have been moved where necessary so that they are
-not in the middle of a paragraph.
-
-
-
-
-
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-<pre>
-
-The Project Gutenberg EBook of Book-plates of To-day, by Various
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Book-plates of To-day
-
-Author: Various
-
-Editor: Wilbur Macey Stone
-
-Release Date: April 3, 2016 [EBook #51643]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK BOOK-PLATES OF TO-DAY ***
-
-
-
-
-Produced by Chris Curnow, Sam W. and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
-
-
-
-
-
-
-</pre>
-
-
-
-
-<div class="figcenternocap" style="width: 511px;">
-<img src="images/cover.jpg" width="511" height="700"
-alt="Front cover of the book" />
-</div>
-
-
-<div class="titlep">
-<h1>BOOK-PLATES <i>of</i> TO-DAY</h1>
-
-
-<p class="author">Edited By WILBUR MACEY STONE</p>
-
-
-<p class="publisher">NEW YORK<br />
-TONNEL&Eacute; &amp; COMPANY<br />
-1902</p>
-</div>
-
-
-
-<div class="fmatter">
-<p class="copy">Copyrighted 1902 by Tonnel&eacute; &amp; Co.</p>
-</div>
-
-
-
-<p class="repeat">BOOK-PLATES OF TO-DAY<br />
-TONNEL&Eacute; &amp; COMPANY<br />
-NEW YORK</p>
-
-
-<div class="figcenternocap" style="width: 425px;">
-<a name="plate01" id="plate01"></a>
-<img src="images/bpt001.jpg" width="425" height="502"
-alt="Book-plate of Amy Ivers Truesdell" />
-</div>
-
-
-
-<div class="chapter">
-<h2><a name="contents" id="contents"></a>TABLE OF CONTENTS</h2>
-</div>
-
-
-<div class="centered">
-<table border="0" summary="Table of contents">
-  <tr>
-    <td class="tdlt">Book-plate of Mrs. Amy Ivers Truesdell, in colors. Designed by Jay Chambers.</td>
-    <td class="tdrb"><a href="#plate01">Frontispiece</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Book-plate of Arnold William Brunner, in colors. Designed by Thomas Tryon.</td>
-    <td class="tdrb"><a href="#plate02">Facing 3</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">American Designers of Book-plates: William Edgar Fisher. By W.&nbsp;G. Bowdoin.</td>
-    <td class="tdrb"><a href="#chap01">3</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Book-plate of William Frederick Havemeyer, from the copper. Designed by Thomas Tryon, engraved by E.&nbsp;D. French.</td>
-    <td class="tdrb"><a href="#plate03">Facing 9</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Nineteen Book-plates by British Designers.</td>
-    <td class="tdrb"><a href="#chap02">9</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Book-plate of T. Henry Foster, in colors. Designed by Jay Chambers.</td>
-    <td class="tdrb"><a href="#plate04">Facing 19</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">The Artistic Book-plate. By Temple Scott.</td>
-    <td class="tdrb"><a href="#chap03">19</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Book-plate of Miss Henrietta M. Cox, in colors. Designed by Thomas Tryon.</td>
-    <td class="tdrb"><a href="#plate05">Facing 23</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Thirty-two book-plates from various sources.</td>
-    <td class="tdrb"><a href="#chap04">23</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Book-plate of Robert Fletcher Rogers, in colors. Designed by Homer W. Colby.</td>
-    <td class="tdrb"><a href="#plate06">Facing 33</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Book-plates and the Nude. By Wilbur Macey Stone.</td>
-    <td class="tdrb"><a href="#chap05">33</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Book-plate of Willis Steell, in colors. Designed by Thomas Tryon.</td>
-    <td class="tdrb"><a href="#plate07">Facing 39</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">The Architect as a Book-plate Designer. By Willis Steell.</td>
-    <td class="tdrb"><a href="#chap06">39</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">Book-plate of William A. Boland, in colors. Designed by Homer W. Colby.</td>
-    <td class="tdrb"><a href="#plate08">Facing 45</a></td>
-  </tr>
-  <tr>
-    <td class="tdlt">A Check-list of the Work of Twenty-three Book-plate Designers of Prominence. Compiled by Wilbur Macey Stone.</td>
-    <td class="tdrb"><a href="#chap07">45</a></td>
-  </tr>
-</table>
-</div>
-
-
-
-<p class="repeat">BOOK-PLATES OF TO-DAY<br />
-TONNEL&Eacute; &amp; COMPANY<br />
-NEW YORK</p>
-
-
-<div class="figcenternocap" style="width: 304px;">
-<a name="plate02" id="plate02"></a>
-<img src="images/bpt002.jpg" width="304" height="461"
-alt="Book-plate of Arnold William Brunner" />
-</div>
-
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_3" id="Page_3">[<span class="hidden">Pg </span>3]</a></span></p>
-
-<h2><a name="chap01" id="chap01"></a>AMERICAN DESIGNERS <i>of</i> BOOK-PLATES:
-WM. EDGAR FISHER</h2>
-
-<p class="chapauthor">By W.&nbsp;G. BOWDOIN</p>
-</div>
-
-
-<p><span class="dropcap">T</span>HE book-plate designers of to-day are legion
-because they are many. Almost every one
-who can draw, and many who cannot, have
-ventured into the field of book-plate designing;
-and the result has been that many of the book-plates
-that are current have little to commend them
-to critical observers. The present increasing interest
-in these little bits of the graver&rsquo;s art has
-greatly encouraged the production of them, and
-new ones arise daily. It is desirable, therefore, if
-we are to have book-plates at all, that they shall
-be as artistic as may be; and it is important, from
-an art standpoint, to all those who are about to
-adopt the use of these marks of ownership that
-they shall have, as
-they may have,
-the artistic flavor about them.</p>
-
-<div class="figcenter" style="width: 237px;">
-<img src="images/bpt003.png" width="237" height="348"
-alt="Book-plate of Library of the Studio Club" />
-<p class="caption">By Wm. Edgar Fisher</p>
-</div>
-
-<div class="figcenter" style="width: 296px;">
-<img src="images/bpt004.png" width="296" height="503"
-alt="Book-plate of Winifred Knight" />
-<p class="caption">By Wm. Edgar Fisher</p>
-</div>
-
-<p>Most of our leading designers have
-hitherto been grouped in the eastern section
-of our country, or at least not much
-further west than Chicago. Some few
-designs, it is true, have been produced in
-California, but for the most part the book-plates
-of note have been marked with an
-eastern geographical origin.</p>
-
-<p>In William Edgar Fisher we have a
-designer who has strikingly departed from
-geographical conditions of book-plate designing
-heretofore prevailing, and in faraway
-Fargo, North Dakota, has set up his
-studio from whence have come designs that
-are fresh, original and very pleasing. Mr.
-Fisher loves to work in a pictorial field.
-He makes a plate that tells a story, and in
-his best plates there is artfully placed
-something bookish that harmonizes with the
-design-form selected; and, because of art
-coherence and harmony in design that go
-<span class="pagenum"><a name="Page_4" id="Page_4">[<span class="hidden">Pg </span>4]</a></span>
-hand in hand, his plates are more than satisfactory. The general eastern
-notion in regard to North Dakota is that nothing artistic can come out of
-the State, but the work done there by Mr. Fisher quickly dispels such an
-idea. The plates he has drawn are acknowledged as highly meritorious by
-the best American masters of book-plate designing. In all the plates from
-the hand of this artist that are here grouped, and which may be regarded as
-quite typical of him, there are only two that do not contain a book as a detail
-somewhere in the finished plate.</p>
-
-<div class="figcenter" style="width: 266px;">
-<img src="images/bpt005.png" width="266" height="470"
-alt="Book-plate of Maie Bruce Douglas" />
-</div>
-
-<div class="figcenter" style="width: 254px;">
-<img src="images/bpt006.png" width="254" height="477"
-alt="Book-plate of Mary N. Lewis" />
-<p class="caption">By Wm. Edgar Fisher</p>
-</div>
-
-<p>One of the exceptions is the plate of the Studio Club that gains infinitely
-by the omission of a book in the plate as produced. The grouping of
-the five observers (symbolic of the members of the Studio Club) around
-the feminine portrait is most charming, and to the writer it appears one of
-the happiest of recent productions in appropriate book-plates.</p>
-
-<p>Mr. Fisher&rsquo;s feminine figures that he introduces into many of his
-plates are likewise exceedingly effective. This is particularly the case when
-to the charms of femininity he has added those of symbolism, as in the case
-of the plate for Miss Winifred Knight, in which the graceful female masker
-appears at the shrine of the idealized god Pan, who writes, it may be something
-oracular, in her proffered album. The figure is gracefully posed and
-the lines of the arms and neck are marked by pleasant curves.</p>
-
-<div class="figcenter" style="width: 229px;">
-<img src="images/bpt007.png" width="229" height="379"
-alt="Book-plate of John Charles Gage" />
-</div>
-
-<div class="figcenter" style="width: 246px;">
-<img src="images/bpt008.png" width="246" height="412"
-alt="Book-plate of Elizabeth Allen" />
-</div>
-
-<div class="figcenter" style="width: 231px;">
-<img src="images/bpt009.png" width="231" height="557"
-alt="Book-plate of Leila H. Cole" />
-</div>
-
-<div class="figcenter" style="width: 242px;">
-<img src="images/bpt010.png" width="242" height="519"
-alt="Book-plate of Elizabeth Langdon" />
-<p class="caption">By Wm. Edgar Fisher</p>
-</div>
-
-<p>In the plate of Maie Bruce Douglas, Mr. Fisher may have been influenced
-by Hans Christian Andersen. At any rate, whether or not this is so,
-<span class="pagenum"><a name="Page_5" id="Page_5"><!-- original location of illustrations --></a></span>
-<span class="pagenum"><a name="Page_6" id="Page_6">[<span class="hidden">Pg </span>6]</a></span>
-he has neatly and most effectively grouped the old-time jester with his cap
-and bells, the pointed shoes from whence came our modern samples, and the
-maiden with the quaintness of head-dress and drapery, that at least suggests
-the fairy and the incidental sacred stork, making this plate with its shelf of
-books and the panel of repeated heraldic shields very attractive even to
-the chance observer.</p>
-
-<p>In the plates for the Misses Mary N. Lewis, Elizabeth Langdon, Leila
-H. Cole and Elizabeth Allen there are several diverse methods shown in
-which convention has been pleasingly utilized. The vine and tree forms that
-are motifs are very effective, and in all of these we see suggestions of treatment
-similar to that which stands out perhaps a little more pronouncedly
-in the plate of Miss Douglas. Costume quaintness, charm of pose, graceful
-outline, the tendency toward lecturn detail and delicacy of touch, are in each
-instance here seen to be characteristic of the artist.</p>
-
-<p>The plate of John Charles Gage has in it the atmosphere of the monastery.
-Two friars are busy with a folio manuscript that has been beautifully
-illuminated. The one reads the lessons for the day from the book of
-hours. The other has a pleasing bit of gossip that he is telling to his
-brother friar as he reads, and the reader hears with eagerness with his ears
-while he reads without absorption with his eyes.</p>
-
-<div class="figcenter" style="width: 282px;">
-<img src="images/bpt011.png" width="282" height="391"
-alt="Book-plate of Samuel H. Hudson" />
-</div>
-
-<div class="figcenter" style="width: 302px;">
-<img src="images/bpt012.png" width="302" height="402"
-alt="Book-plate of Silvanus Macy Jr." />
-<p class="caption">By Wm. Edgar Fisher</p>
-</div>
-
-<p>Into the plate of Samuel H. Hudson the atmosphere of the monastery
-is also introduced. The cordelier sits absorbedly reading his matins.
-Through the open window of the monkish cell is seen the morning medieval
-landscape whose charms exercise no influence upon the solitary recluse, solitary
-save for the monkey who plays sad havoc with the vellum volume that
-<span class="pagenum"><a name="Page_7" id="Page_7">[<span class="hidden">Pg </span>7]</a></span>
-lies upon the cell floor and the destruction
-of which the Franciscan is too absorbed to
-notice. The monkey as a foil for the ascetic
-in this plate shows that Mr. Fisher has
-a strong appreciation of the most delicate
-humor, which here crops out most delightfully.
-The border makes the plate a trifle
-heavy, but this can easily be excused because
-of the charm of the plate otherwise.</p>
-
-<div class="figcenter" style="width: 283px;">
-<img src="images/bpt013.png" width="283" height="430"
-alt="Book-plate of Stanley Shepard" />
-<p class="caption">By Wm. Edgar Fisher</p>
-</div>
-
-<p>The dog is given a prominent place in
-the plate of Miss Lula Thomas Wear. He
-dominates even the books, and it may be
-that the owner prefers her dachshund to her
-library, although it is evident that her books
-have some place in her esteem.</p>
-
-<p>The design on the plate of Stanley
-Shepard suggests a derivation from an old
-print. The caravel rides upon the waves
-according to the conception of the old-time
-engravers. The anchor, the sword fish of
-the deep sea, and the sea-stars all suggest the ocean voyager who has
-deep down in his heart a love of books.</p>
-
-<div class="figcenter" style="width: 305px;">
-<img src="images/bpt014.png" width="305" height="496"
-alt="Book-plate of Edna B. Stockhouse" />
-<p class="caption">By Wm. Edgar Fisher</p>
-</div>
-
-<p>In contrast with the plate of Mr.
-Shepard&rsquo;s appears that bearing the name
-of Silvanus Macy, Jr. The love of hunting
-stands out right boldly here, and in the
-fox hunt does Mr. Macy undoubtedly
-revel. He could not have such a book-plate
-otherwise, and live with it every day,
-let it be in all his books and have it stand
-for him as it does, unless it was fairly representative
-of the man&rsquo;s personality. That
-is what makes a book-plate so eminently
-interesting, aside from the art work put
-upon it. Books appeal to all sorts and
-conditions of men, as the work of Mr.
-Fisher&rsquo;s here grouped clearly indicates.</p>
-
-<p>The plate from the books of Miss
-Edna B. Stockhouse is a trifle shadowy in
-motif notwithstanding which there can be
-no doubt the owner loves books. The
-face in the book-plate reads. There is
-also a love of the beautiful in ceramics indicated
-as an incident in the plate. No
-wonder the head wears an aureole.</p>
-
-<p><span class="pagenum"><a name="Page_8" id="Page_8">[<span class="hidden">Pg </span>8]</a></span>
-The &ldquo;Bi Lauda&rdquo; plate is that of a secret society at Wellsville, N.&nbsp;Y.,
-and we, therefore, forgive if we cannot forget its poverty of bookish design.</p>
-
-<div class="figcenter" style="width: 235px;">
-<img src="images/bpt015.png" width="235" height="374"
-alt="Book-plate of Wm. Edgar Fisher" />
-<p class="caption">By Wm. Edgar Fisher</p>
-</div>
-
-<p>In the personal plate of the designer, of all those here reproduced, we
-catch glimpses of the artist&rsquo;s own personality. We see him as a book-lover
-and something of his inspiration is spread out before us. He goes reading
-along, carrying reserve volumes in case the one
-that engages his attention in the portraiture
-is happily finished. Mr. Fisher has been
-producing book-plates only since 1898, since
-which time he has to his credit some forty
-examples of work in this field. He is perhaps
-happiest in his rendition of the plate
-pictorial, and he has sometimes tinted his
-plates most charmingly. Mr. Fisher prepared for
-Cornell at Phillips Academy, Andover,
-Mass. At Cornell he studied architecture for
-two years, with especial attention to drawing.
-He also studied, for six months, at the Art
-Institute, Chicago, Ill., whither he went
-from Cornell. He has been largely self-taught
-in the matter of designing, but his work indicates
-that his teacher was a good one. He
-has privately but carefully studied the work
-of the best modern pen-and-ink draughtsmen,
-and from this he has formed his personal style. The methods and
-craftsmanship of reproduction were the subject of special study on his part
-while he was with one of the large Chicago engraving houses. Anything
-that comes from his hand will be sure of the most kindly reception, so long
-as his work is maintained at the present high standard.</p>
-
-<div class="figcenter" style="width: 166px;">
-<img src="images/bpt016.png" width="166" height="213"
-alt="Book-plate of Bi Lauda" />
-</div>
-
-<div class="figcenter" style="width: 163px;">
-<img src="images/bpt017.png" width="163" height="213"
-alt="Book-plate of Lula Thomas Wear" />
-<p class="caption">By Wm. Edgar Fisher</p>
-</div>
-
-
-
-
-<p class="repeat">BOOK-PLATES OF TO-DAY<br />
-TONNEL&Eacute; &amp; COMPANY<br />
-NEW YORK</p>
-
-<div class="figcenternocap" style="width: 368px;">
-<a name="plate03" id="plate03"></a>
-<img src="images/bpt018.jpg" width="368" height="499"
-alt="Book-plate of William Frederick Havemeyer" />
-</div>
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_9" id="Page_9">[<span class="hidden">Pg </span>9]</a></span></p>
-
-<h2><a name="chap02" id="chap02"></a>NINETEEN EXAMPLES OF DECORATIVE
-BOOK-PLATES BY
-MODERN BRITISH DESIGNERS</h2>
-
-<p class="chapauthor">From THE LONDON &ldquo;STUDIO&rdquo;</p>
-</div>
-
-
-<div class="figcenter" style="width: 432px;">
-<img src="images/bpt019.png" width="432" height="642"
-alt="Book-plate of Charles Holme" />
-<p class="caption">By J.&nbsp;W. Simpson</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_10" id="Page_10">[<span class="hidden">Pg </span>10]</a></span></p>
-
-<div class="figcenter" style="width: 501px;">
-<img src="images/bpt020.png" width="501" height="688"
-alt="Book-plate of Frank Lynn Jenkins" />
-<p class="caption">By Byam Shaw</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_11" id="Page_11">[<span class="hidden">Pg </span>11]</a></span></p>
-
-<div class="figcenter" style="width: 510px;">
-<img src="images/bpt021.png" width="510" height="700"
-alt="Book-plate of Th&eacute;odule, Comte de Grammont" />
-<p class="caption">By R. Anning Bell</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_12" id="Page_12">[<span class="hidden">Pg </span>12]</a></span></p>
-
-<div class="figcenter" style="width: 394px;">
-<img src="images/bpt022.png" width="394" height="447"
-alt="Book-plate of P. C. Konody" />
-<p class="caption">By Walter Essie</p>
-</div>
-
-<div class="figcenter" style="width: 234px;">
-<img src="images/bpt023.png" width="234" height="553"
-alt="Book-plate of Edward Morton" />
-<p class="caption">By E.&nbsp;H. New</p>
-</div>
-
-<div class="figcenter" style="width: 422px;">
-<img src="images/bpt024.png" width="422" height="532"
-alt="Book-plate of J. W. Simpson" />
-<p class="caption">By J.&nbsp;W. Simpson</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_13" id="Page_13">[<span class="hidden">Pg </span>13]</a></span></p>
-
-<div class="figcenter" style="width: 390px;">
-<img src="images/bpt025.png" width="390" height="489"
-alt="Book-plate of Katie Black" />
-</div>
-
-<div class="figcenter" style="width: 166px;">
-<img src="images/bpt026.png" width="166" height="588"
-alt="Book-plate of R. C." />
-</div>
-
-<div class="figcenter" style="width: 159px;">
-<img src="images/bpt027.png" width="159" height="166"
-alt="Book-plate of Edy" />
-</div>
-
-<div class="figcenter" style="width: 262px;">
-<img src="images/bpt028.png" width="262" height="316"
-alt="Book-plate of K. D." />
-<p class="caption">Four Designs by Gordon Craig</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_14" id="Page_14">[<span class="hidden">Pg </span>14]</a></span></p>
-
-<div class="figcenter" style="width: 407px;">
-<img src="images/bpt029.png" width="407" height="462"
-alt="Book-plate of Hugh Giffen McKinney" />
-<p class="caption">By J. Williams</p>
-</div>
-
-<div class="figcenter" style="width: 398px;">
-<img src="images/bpt030.png" width="398" height="407"
-alt="Book-plate of R. Mullineux Walmsley" />
-<p class="caption">By J. Williams</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_15" id="Page_15">[<span class="hidden">Pg </span>15]</a></span></p>
-
-<div class="figcenter" style="width: 390px;">
-<img src="images/bpt031.png" width="390" height="411"
-alt="Book-plate of W. S. George" />
-<p class="caption">By W.&nbsp;B. Pearson</p>
-</div>
-
-<div class="figcenter" style="width: 306px;">
-<img src="images/bpt032.png" width="306" height="572"
-alt="Book-plate of Kenneth N. Bell" />
-<p class="caption">By S.&nbsp;A. Lindsey</p>
-</div>
-
-<div class="figcenter" style="width: 385px;">
-<img src="images/bpt033.png" width="385" height="537"
-alt="Book-plate of Therese Alice Mary Jackson" />
-<p class="caption">By Enid M. Jackson</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_16" id="Page_16">[<span class="hidden">Pg </span>16]</a></span></p>
-
-<div class="figcenter" style="width: 390px;">
-<img src="images/bpt034.png" width="390" height="379"
-alt="Book-plate, no name" />
-<p class="caption">By Anna Dixon</p>
-</div>
-
-<div class="figcenter" style="width: 402px;">
-<img src="images/bpt035.png" width="402" height="490"
-alt="Book-plate of A. H. V." />
-<p class="caption">By Arthur H. Verstage</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_17" id="Page_17">[<span class="hidden">Pg </span>17]</a></span></p>
-
-<div class="figcenter" style="width: 418px;">
-<img src="images/bpt036.png" width="418" height="700"
-alt="Book-plate of Robert M. Mann" />
-<p class="caption">From Drawing after Etching<br />
-By D.&nbsp;Y. Cameron</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_18" id="Page_18">[<span class="hidden">Pg </span>18]</a></span></p>
-
-<div class="figcenter" style="width: 391px;">
-<img src="images/bpt037.png" width="391" height="700"
-alt="Book-plate of Edith A. Kingsford" />
-<p class="caption">By Harold Nelson</p>
-</div>
-
-
-
-
-<p class="repeat">BOOK-PLATES OF TO-DAY<br />
-TONNEL&Eacute; &amp; COMPANY<br />
-NEW YORK</p>
-
-
-<div class="figcenternocap" style="width: 315px;">
-<a name="plate04" id="plate04"></a>
-<img src="images/bpt038.jpg" width="315" height="476"
-alt="Book-plate of T. Henry Foster" />
-</div>
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_19" id="Page_19">[<span class="hidden">Pg </span>19]</a></span></p>
-
-<h2><a name="chap03" id="chap03"></a>THE ARTISTIC BOOK-PLATE</h2>
-
-<p class="chapauthor">By TEMPLE SCOTT</p>
-</div>
-
-
-<div>
-<img class="drop-capi" src="images/dcap01.png" width="240" height="236" alt="" />
-</div>
-<p class="drop-capi">A BOOK-PLATE, in its simplest expression, is a
-printed indication of the ownership of a book.
-It may take the form of the unadorned visiting
-card, or it may be embellished with heraldic and
-other designs explanatory of the owner&rsquo;s name,
-ancestry, tastes, or predilections. Primarily,
-however, it is intended to fix ownership. How
-far it satisfactorily serves its purpose, is, perhaps,
-of little moment to the average book-collector;
-for the book-plate has emerged from the stage
-of practical utility and become a thing in itself,
-so to speak. It has taken its place beside the many <i>articles de vertu</i> which
-are godsends to the weary of brain and heart, inasmuch as they become the
-objects of a passion so delightful in its experience, as to make us forget the
-little trials and worries of life that make pessimists of us in this &ldquo;bleak
-Aceldama of sorrow.&rdquo; Nay, they may even become the one sun, shining
-and irradiating for us all the dark places of our wanderings, and cheer us
-with the hopes for newer and finer acquisitions than we already have.</p>
-
-<p>When, however, we come to a consideration of the <em>artistic</em> book-plate,
-we enter upon a new field of enquiry entirely. It indicates that a simple
-usage of a necessary and harmless convention has developed into a complex
-expression&mdash;an expression not merely of the individual to whom the book
-belongs, but also of the artist whose business it is to give pictorial form to
-the desires and wishes and tastes of his patron.</p>
-
-<p>From the crude, if sufficient, paste-board stuck on the end-paper, to
-the heraldic display, was, surely, no very far cry. In the countries of the
-Old World, where pride of ancestry touches the worthy and unworthy alike,
-it was to be expected that so valuable an opportunity for flaunting the deeds
-of &ldquo;derring do&rdquo; of one&rsquo;s forefathers as a sign of one&rsquo;s own distinction, such
-as the book-plate offers, was certainly not to be neglected. So we find that
-the coats of arms which once served as inspirations, and which once had a
-genuine meaning to their owners and retainers, now do service in the more
-peaceful realms of Bookland. And, assuredly, there are certain books in
-a library, which are more worthily acknowledged after this ancient and martial
-fashion. We cannot but believe that a Froissart from the press of
-Caxton or Wynkyn de Worde, would be handled with more reverence if one
-saw on the verso of its front cover a glorious display of the arcana of heraldry,
-in all its magnificence of mysterious meaning. This feeling would
-also be aroused in turning the leaves of, say, Philippe le Noir&rsquo;s edition of
-the &ldquo;Gesta Romanorum&rdquo; (1532), or of Hayton&rsquo;s &ldquo;Lytell Cronycle&rdquo; from
-<span class="pagenum"><a name="Page_20" id="Page_20">[<span class="hidden">Pg </span>20]</a></span>
-the shop of Richard Pynson, or of Mandeville&rsquo;s &ldquo;Voyages and Travailles,&rdquo;
-issued by T. Snodham in 1625, or of Pliny&rsquo;s &ldquo;Historia Naturalis&rdquo; from
-the Venetian press of Nic. Jenson in 1472, or of Rastell&rsquo;s &ldquo;Pastyme of
-People,&rdquo; &ldquo;emprynted in Chepesyde at the Sygne of the Mermayd&rdquo; in 1529.
-To these and their like a book-plate of heraldic story comes as a fitting and
-graceful complement.</p>
-
-<p>But the average mortal of this work-a-day world and age has not the
-means wherewith to acquire such treasures of the bibliophile. Nor, perhaps,
-has he the necessary pedigree with which to adorn them, if acquired;
-though on this latter consideration, we suspect that the Herald&rsquo;s College in
-the purlieus of Doctors&rsquo; Commons, and the more amenable, though not less
-expensive Tiffany on this side of the Atlantic, would, no doubt, prove
-excellent aids to a full satisfaction.</p>
-
-<p>But we are not here dealing with the pomp and glorious circumstance
-of Heraldry. In dealing with the artistic book-plate, we are considering a
-matter which concerns itself not with past stories or past individuals, but
-with the present tale and the particular living personage who has the laudable
-and humble ambition to distinguish his copy of a book from his friend&rsquo;s copy
-of the same book. A taste in books may be easily whitewashed, but a
-taste in a book-plate flares its owner&rsquo;s heart right into the eyes of the
-demurest damsel or the simplest swain. It may be that our collection is
-but a series of Tauchnitz editions carefully garnered on a European tour, or
-a handful or two of Bohn&rsquo;s Library, accumulated from our more studious
-days, or a treatise on golf, chess, gardening and photography, or a history of
-the state or town in which we live&mdash;it matters little what&mdash;these are the
-treasures we most prize, and we wish to hold them. Now, how best shall
-the collector mark them as his own?</p>
-
-<p>He writes his name on the title-page. Ugh! What a vandal&rsquo;s act!
-The man who could so disfigure a book deserves to have it taken from him,
-and his name obliterated. He who could find it in his heart to write on
-title-pages could surely commit a murder. We&rsquo;d much rather he turned a
-leaf down to mark the place where he had left off in his reading; though to
-do that is bad enough, in all conscience. Nor does he save his soul by
-writing on the fly-title, or even end-paper. Moreover, this will not save
-his book either. A visiting card can easily be taken out&mdash;it looks too
-formal, nondescript, meaningless, common, to inspire any respect in a would-be
-thief. But an artistic book-plate! Ah! that&rsquo;s another thing altogether.</p>
-
-<p>An artistic book-plate is the expression in decorative illustration of the
-proprietor&rsquo;s tastes, made by an artist who has sympathetically realized the
-feeling intended. It should objectify one, and only one, salient characteristic,
-either of temperament, habit, disposition, or pleasure, of its owner. If it
-does less, it is not individual; if it does more, it is not satisfying.</p>
-
-<p>Now each one of us has some characteristic trait that is not common to
-us all&mdash;then let that be the aim of the artist to embody in decorative form.
-And let that embodiment be simple and direct&mdash;the simpler and more direct
-<span class="pagenum"><a name="Page_21" id="Page_21">[<span class="hidden">Pg </span>21]</a></span>
-it is, the more will it appear; and the more beautiful it is the more will it
-soften the kleptomaniacal tendencies of the ghoulish book-hunter. For nothing
-touches him so nearly to the finer impulses of nature than the contemplation
-of beauty; and he would be less than human did he fail to respond. We
-would even go to the length of giving as an admirable test of the book-plate
-artist&rsquo;s powers, the lending of a book (whose loss would give no qualms)
-containing the plate. If it come not back, there&rsquo;s something the matter
-with your plate; or, you can libel your friend as a beast of low degree,
-which suggests a good way of finding out your friend&rsquo;s true character. But
-then, there&rsquo;s no limit to the powers of a beautiful book-plate.</p>
-
-<p>Now there are a great many coy people who don&rsquo;t care to wear their
-hearts on their sleeves; these would naturally feel indisposed to post themselves
-thus before the public eye, be the book-plate never so beautiful.
-To these we would say: Give us what you prize best&mdash;your home, your
-wife, your sweetheart, your motto (though that&rsquo;s giving yourself away too),
-your baby, anything that is truly yours. (Babies are quite <i>&agrave; propos</i>, and
-should be characteristic, though it does not always follow. Some babies
-have a habit of taking after quite other people.) The idea is, to embody
-something individual, something special and particular.</p>
-
-<p>If he can afford a large library, or is a collector of the works of one or
-two authors, there&rsquo;s a way out of the difficulty for the coy person, by having
-the book-plate represent the characteristic of the author and have his name
-as an addition. That may be taking a liberty&mdash;but authors are accustomed
-to that; and, besides, you are appreciating them, and that should exorcise
-the spirit of an indignant &ldquo;classic&rdquo; from the four walls of your library.
-Have the original of the design framed on the wall; it may save you a lot
-of explanation should the spook even get &ldquo;mad.&rdquo; You can always lay the
-blame on the artist. Of course, this means a book-plate for each author;
-but as book-plates are not, after all, such very expensive luxuries, this consideration
-need be a matter of but small moment.</p>
-
-<p>Yet another idea is to have an artistic treatment of a representation of
-your library, your &ldquo;den.&rdquo; That sounds very inviting and certainly can
-hurt no one&rsquo;s feelings. If you don&rsquo;t happen to possess a special apartment,
-give an apartment such as you would like to possess. Or show your
-favorite chair, or nook, or greenwood tree, or running brook, or garden
-plot. There are thousands of ways in which to fashion a book-plate, and an
-artistic book-plate, too. We thus can see what an advance the modern
-artistic book-plate is on the old style article&mdash;so formal, so characterless, so
-inchoate and so amorphous.</p>
-
-<p>Indeed the artistic book-plate is a genuine inspiration, or it may be
-made so. How charming, or delight-giving, or valuable, or intoxicating it
-is, depends largely on the artist. But it also depends on the individual who
-desires it. It should be planned with care and executed with feeling. It
-should be like no other book-plate in the sense that it possesses some <em>flavor</em>
-that is private and personal. It should be as much an indication of the
-<span class="pagenum"><a name="Page_22" id="Page_22">[<span class="hidden">Pg </span>22]</a></span>
-owner&rsquo;s taste as is his library&mdash;and no man can hide his nature from the
-friend who has had access to that. There are many things a book-plate
-should not be&mdash;but these may be summed up in the advice&mdash;it should not
-be a mask. You may order your books by the hundredweight from your
-bookseller, but that won&rsquo;t stand you in any stead when your friend handles
-them and turns to you for a criticism, or an opinion. You may also commission
-your artist for a book-plate; but you are in a worse plight if you
-fail in the more direct explanation you will be required to make to the
-insistent inquiries as to its meaning or appositeness. No! Be it ever so
-humble, let it be yours. It may be a poor thing, but it is your own; but
-it may be also a very rich thing, and your own also.</p>
-
-<div class="figcenter" style="width: 377px;">
-<img src="images/bpt039.png" width="377" height="637"
-alt="Book-plate of James Dick" />
-<p class="caption">By J.&nbsp;W. Simpson</p>
-</div>
-
-
-
-
-<p class="repeat">BOOK-PLATES OF TO-DAY<br />
-TONNEL&Eacute; &amp; COMPANY<br />
-NEW YORK</p>
-
-
-<div class="figcenternocap" style="width: 322px;">
-<a name="plate05" id="plate05"></a>
-<img src="images/bpt040.jpg" width="322" height="322"
-alt="Book-plate of Henrietta M. Cox." />
-</div>
-
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_23" id="Page_23">[<span class="hidden">Pg </span>23]</a></span></p>
-
-<h2><a name="chap04" id="chap04"></a>THIRTY-TWO EXAMPLES OF
-BOOK-PLATES <i>from</i> PRIVATE
-COLLECTIONS <i>and Other Sources</i></h2>
-</div>
-
-
-<div class="figcenter" style="width: 436px;">
-<img src="images/bpt041.png" width="436" height="668"
-alt="Book-plate of the Worcester Art Museum" />
-<p class="caption">From Steel Engraving By E.&nbsp;D. French</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_24" id="Page_24">[<span class="hidden">Pg </span>24]</a></span></p>
-
-<div class="figcenter" style="width: 290px;">
-<img src="images/bpt042.png" width="290" height="491"
-alt="Book-plate of the Authors' Club Library" />
-<p class="caption">By Geo. Wharton Edwards</p>
-</div>
-
-<div class="figcenter" style="width: 319px;">
-<img src="images/bpt043.png" width="319" height="474"
-alt="" title="Book-plate of Theodore Brown Hapgood Jr." />
-<p class="caption">By T.&nbsp;B. Hapgood, Jr.</p>
-</div>
-
-<div class="figcenter" style="width: 337px;">
-<img src="images/bpt044.png" width="337" height="434"
-alt="Book-plate of Eaton" />
-<p class="caption">By Charles Selkirk</p>
-</div>
-
-<div class="figcenter" style="width: 260px;">
-<img src="images/bpt045.png" width="260" height="436"
-alt="Book-plate of Frances Louise Allen" />
-<p class="caption">By T.&nbsp;B. Hapgood, Jr.</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_25" id="Page_25">[<span class="hidden">Pg </span>25]</a></span></p>
-
-<div class="figcenter" style="width: 605px;">
-<img src="images/bpt046.png" width="605" height="700"
-alt="Book-plate of David Turnure" />
-<p class="caption">By Louis H. Rhead</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_26" id="Page_26">[<span class="hidden">Pg </span>26]</a></span></p>
-
-<div class="figcenter" style="width: 248px;">
-<img src="images/bpt047.png" width="248" height="423"
-alt="Book-plate of A. Squire" />
-<p class="caption">By B.&nbsp;G. Goodhue</p>
-</div>
-
-<div class="figcenter" style="width: 323px;">
-<img src="images/bpt048.png" width="323" height="560"
-alt="Book-plate of William Snelling Hadaway" />
-<p class="caption">By W.&nbsp;S. Hadaway</p>
-</div>
-
-<div class="figcenternocap" style="width: 457px;">
-<img src="images/bpt049.png" width="457" height="341"
-alt="Book-plate of Edwin Allis de Wolf" />
-</div>
-
-<p><span class="pagenum"><a name="Page_27" id="Page_27">[<span class="hidden">Pg </span>27]</a></span></p>
-
-<div class="figcenter" style="width: 307px;">
-<img src="images/bpt050.png" width="307" height="399"
-alt="Book-plate of John B. Larner" />
-<p class="caption">From Steel Engraving<br />
-By E.&nbsp;D. French</p>
-</div>
-
-<div class="figcenter" style="width: 349px;">
-<img src="images/bpt051.png" width="349" height="345"
-alt="Book-plate of Constance Grosvenor Alexander" />
-<p class="caption">By H.&nbsp;E. Goodhue</p>
-</div>
-
-<div class="figcenter" style="width: 315px;">
-<img src="images/bpt052.png" width="315" height="503"
-alt="Book-plate of Amy M. Sacker" />
-<p class="caption">By H.&nbsp;E. Goodhue</p>
-</div>
-
-<div class="figcenter" style="width: 304px;">
-<img src="images/bpt053.png" width="304" height="388"
-alt="Book-plate of Udolpho Snead" />
-<p class="caption">By B.&nbsp;G. Goodhue</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_28" id="Page_28">[<span class="hidden">Pg </span>28]</a></span></p>
-
-<div class="figcenter" style="width: 275px;">
-<img src="images/bpt054.png" width="275" height="361"
-alt="Book-plate of Barreau de Bruxelles" />
-<p class="caption">By Fernand Khnopff</p>
-</div>
-
-<div class="figcenter" style="width: 385px;">
-<img src="images/bpt055.png" width="385" height="396"
-alt="Book-plate of Hans Thoma" />
-<p class="caption">By Hans Thoma</p>
-</div>
-
-<div class="figcenter" style="width: 322px;">
-<img src="images/bpt056.png" width="322" height="458"
-alt="Book-plate of May v. Feilitzsch" />
-<p class="caption">By Bernhard Wenig</p>
-</div>
-
-<div class="figcenter" style="width: 303px;">
-<img src="images/bpt057.png" width="303" height="327"
-alt="Book-plate of Max Ostenrieder" />
-<p class="caption">By Julius Diez</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_29" id="Page_29">[<span class="hidden">Pg </span>29]</a></span></p>
-
-<div class="figcenter" style="width: 510px;">
-<img src="images/bpt058.png" width="510" height="579"
-alt="Book-plate of Charles E. Eldred" />
-<p class="caption">By Charles E. Eldred, of English Navy</p>
-</div>
-
-<div class="figcenternocap" style="width: 326px;">
-<img src="images/bpt059.png" width="326" height="340"
-alt="Book-plate of Richard Butler Glaenzer" />
-</div>
-
-<div class="figcenternocap" style="width: 268px;">
-<img src="images/bpt060.png" width="268" height="365"
-alt="Book-plate of Reginald C. Vanderbilt" />
-</div>
-
-<p><span class="pagenum"><a name="Page_30" id="Page_30">[<span class="hidden">Pg </span>30]</a></span></p>
-
-<div class="figcenter" style="width: 275px;">
-<img src="images/bpt061.png" width="275" height="317"
-alt="Book-plate of Alice Hillingdon" />
-</div>
-
-<div class="figcenter" style="width: 264px;">
-<img src="images/bpt062.png" width="264" height="356"
-alt="Book-plate of Mildred Chelsea" />
-</div>
-
-<div class="figcenter" style="width: 305px;">
-<img src="images/bpt063.png" width="305" height="471"
-alt="Book-plate of Sarah Isabel Wilson" />
-</div>
-
-<div class="figcenter" style="width: 320px;">
-<img src="images/bpt064.png" width="320" height="414"
-alt="Book-plate of Clementine F. A. Walsh" />
-<p class="caption">From Steel Engravings by Wm. Phillips Barrett</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_31" id="Page_31">[<span class="hidden">Pg </span>31]</a></span></p>
-
-<div class="figcenter" style="width: 511px;">
-<img src="images/bpt065.png" width="511" height="402"
-alt="Book-plate of Anthony, Earl of Shaftesbury" />
-</div>
-
-<div class="figcenter" style="width: 301px;">
-<img src="images/bpt066.png" width="301" height="215"
-alt="Book-plate of Constance Derby" />
-</div>
-
-<div class="figcenter" style="width: 335px;">
-<img src="images/bpt067.png" width="335" height="158"
-alt="Book-plate of Alice Stanley" />
-</div>
-
-<div class="figcenter" style="width: 347px;">
-<img src="images/bpt068.png" width="347" height="488"
-alt="Book-plate of Gladys de Grey" />
-<p class="caption">From Steel Engravings by Wm. Phillips Barrett</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_32" id="Page_32">[<span class="hidden">Pg </span>32]</a></span></p>
-
-<div class="figcenter" style="width: 394px;">
-<img src="images/bpt069.png" width="394" height="442"
-alt="Book-plate of George Louis Beer" />
-</div>
-
-<div class="figcenter" style="width: 282px;">
-<img src="images/bpt070.png" width="282" height="509"
-alt="Book-plate of Lewis W. Hatch" />
-</div>
-
-<div class="figcenter" style="width: 285px;">
-<img src="images/bpt071.png" width="285" height="482"
-alt="Book-plate of Irving and Sissie Lehman" />
-</div>
-
-<div class="figcenter" style="width: 321px;">
-<img src="images/bpt072.png" width="321" height="410"
-alt="Book-plate of Julian Pearce Smith" />
-<p class="caption">Four designs by Thomas M. Cleland</p>
-</div>
-
-
-
-
-
-<p class="repeat">BOOK-PLATES OF TO-DAY<br />
-TONNEL&Eacute; &amp; COMPANY<br />
-NEW YORK</p>
-
-
-<div class="figcenternocap" style="width: 410px;">
-<a name="plate06" id="plate06"></a>
-<img src="images/bpt073.jpg" width="410" height="674"
-alt="Book-plate of Robert Fletcher Rogers" />
-</div>
-
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_33" id="Page_33">[<span class="hidden">Pg </span>33]</a></span></p>
-
-<h2><a name="chap05" id="chap05"></a>BOOK-PLATES AND THE NUDE</h2>
-
-<p class="chapauthor">By WILBUR MACEY STONE</p>
-</div>
-
-
-<div class="figcenternocap" style="width: 346px;">
-<img src="images/bpt074.png" width="346" height="496"
-alt="Book-Plate of Mr. Carl Schur" />
-</div>
-
-<p><span class="dropcap">L</span>OVERS of the beautiful have been
-burdened with endless talk and
-writing and many quarrels on the
-nude in art, and now I have the temerity
-to open a new field of battle and throw
-down the gauntlet for strife. The Eternal
-Feminine is a prominent factor in the
-picture book-plates of the day, and she
-is showing some tendencies to appear
-minus her apparel. Question: is it wise
-and in good taste?</p>
-
-<p>Of course, to start with, I am quite
-free to admit that good taste is a movable
-feast and is much influenced by the point
-of view. Your taste is good if it agrees
-with mine; otherwise it is bad taste or no
-taste. At any rate, there are a few things
-we can agree upon, I think. For instance,
-that there is a wide distinction between
-the nude and the naked. Also, that the
-human form divine is most beautiful, but
-that to remain most beautiful it must
-deviate not one jot or tittle from the
-divine, for any deviation is to tend to the earthy and gross, which is vulgar
-and&mdash;bad taste. We can also agree, I think, that partially draped figures
-can be, and often are, sensual and repulsive beyond the frankly nude, and
-this without the direct intent or knowledge of the artist.</p>
-
-<div class="poemcenter">
-<div class="poem">
-<div class="stanza">
-<div class="i0">&ldquo;A hair perhaps divides the false and true,</div>
-<div class="i0">Yes; and a single slip were the clue&mdash;&rdquo;</div>
-</div>
-</div>
-</div>
-
-<p>But above all things a nude figure should never carry the idea of a consciousness
-of its nudity! Also, clothing or drapery used simply to hide
-portions of the figure is execrable and more suggestive than any entire
-absence of clothing; while to add, as I have seen done, a hat and French-heeled
-shoes to a nude figure is abominable beyond condemnation.</p>
-
-<p>But all this is of broad application and is sawing upon the same old and
-frayed strings. Abstractly, a beautiful nude is as beautiful on a book-plate
-as in a portfolio or in a frame, and some of the most beautiful book-plates I
-have ever seen have been nudes. Nevertheless, to me the nude seems out
-of place and in questionable taste on a book-plate; the simple matter of
-repetition is enough to condemn it.</p>
-
-<p><span class="pagenum"><a name="Page_34" id="Page_34">[<span class="hidden">Pg </span>34]</a></span>
-The partially draped figures by
-R. Anning Bell are chaste and beautiful,
-and one never thinks of them
-other than as clothed; so they can
-hardly be considered in this discussion.
-Many of the book-plates by
-Henry Ospovat contain partly draped
-figures which are always beautifully
-drawn, pure and a constant delight.
-But really, I think it would jar me to
-meet even an angel&mdash;the same one,
-mind you&mdash;in each of a thousand
-volumes. Emil Orlak, in Austria,
-has made some fairly pleasing nudes,
-but they lack that purity of conception
-without which they are common.
-Armand Rassenfosse, of Belgium,
-has etched a number of dainty, faultlessly
-drawn and really most beautiful
-nudes, but many of them have been
-ruined by the needless addition of
-shoes and fancy head-dresses. Pal
-de Mont, of Antwerp, has a plate by
-Edmond van Oppel which he probably
-thinks a work of art, but which
-is surely the height of vulgarity;
-while in &ldquo;Composite Book-Plates&rdquo;
-is a design by Theodore Simson
-containing a large figure of a nude
-woman with her hair done in a pug,
-seated in a grove amid dandelions
-and poppies, and diligently reading a book. The figure is treated in broad
-outline, which is ill adapted to the subject, and it lacks that refinement without
-which nothing is beautiful. She is absolutely at variance with her
-environment, and the whole is a <i>tour de force</i> quite unforgivable.</p>
-
-<div class="figcenter" style="width: 390px;">
-<img src="images/bpt075.png" width="390" height="684"
-alt="Book-plate of Robert H. Smith" />
-<p class="caption">By H. Nelson</p>
-</div>
-
-<p>Miss Labouchere, in her volume on ladies&rsquo; plates, shows a rather
-amusing pair of designs for Miss Nellie Heaton. These plates both bear
-the legend, &ldquo;Gather ye roses while ye may.&rdquo; In the first, the designer, Mrs.
-Baker, has a fair creature in all the glory of entire nudity plucking blossoms
-from a rose-vine. In the other, she used the same design throughout, but
-has fully clothed the figure. Evidently Miss Heaton protested.</p>
-
-<p>These designs by a woman call to mind the fact that among the
-book-plates of over one hundred and fifty women designers with which I
-am familiar, I know of but one other nude. This other is by Miss Mary
-Florence, and is of a large full-length angel entirely undraped.</p>
-
-<p><span class="pagenum"><a name="Page_35" id="Page_35">[<span class="hidden">Pg </span>35]</a></span></p>
-
-<div class="figcenter" style="width: 460px;">
-<img src="images/bpt076.png" width="460" height="700"
-alt="Book-plate of Arthur Guthrie" />
-<p class="caption">By H. Ospovat</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_36" id="Page_36">[<span class="hidden">Pg </span>36]</a></span></p>
-
-<div class="figcenter" style="width: 362px;">
-<img src="images/bpt077.png" width="362" height="499"
-alt="Book-plate of H. v. W." />
-<p class="caption">By A. Rassenfosse</p>
-</div>
-
-<p>Fritz Erler, a German designer
-of much strength, has made a number
-of symbolic book-plates. All, I believe,
-have the feminine as motif, and
-in several the figures are nude. The
-design for Emil Gerh&auml;user is inoffensive
-and well-drawn, but surely is not
-beautiful, and lacks a good excuse for
-existence. In a generally pleasing decorative
-arrangement for Robert H.
-Smith, Harold Nelson, an English
-designer, shows a rather attenuated
-nude maiden looking with envy at a
-gorgeous peacock on the opposite
-side of the design; while the peacock
-in turn seems to say, &ldquo;Why don&rsquo;t you
-grow some feathers?&rdquo;</p>
-
-<p>We naturally expect to find well-drawn,
-if not always pleasing, nudes
-in the French school. Henry Andr&eacute;,
-one of the best known French designers
-of book-plates, uses the nude quite
-freely in his work; in some instances pleasingly, but in one or two with
-marked vulgarity. Octave Uzanne has
-the most pleasing nude plate that I have
-ever seen. It is designed by Gu&eacute;rin,
-and represents a tortoise bearing the implements
-of the artist, and coaxed along by
-the hot torch of knowledge in the hand
-of a light-winged cupid. By Sherborn,
-the great, I have seen but one nude in a
-book-plate, and that a poor thing but
-innocuous, for Mr. Harris Fahnestock
-of New York. Mr. E.&nbsp;D. French has
-made but one nude that I have seen,
-that for Mr. E.&nbsp;H. Bierstadt; the design
-shows a nude shepherd boy piping
-to his flock. The plate Mr. French
-engraved for Mr. De Vinne, from the
-design by Geo. Fletcher Babb, has nude
-termini for bearers, and is elegant and
-beautiful, an ideal plate.</p>
-
-<div class="figcenter" style="width: 342px;">
-<img src="images/bpt078.png" width="342" height="476"
-alt="Book-plate of John &amp; Jessie Hoy" />
-<p class="caption">By H. Ospovat</p>
-</div>
-
-<p>American artists have essayed the
-nude but little in book-plate design, perhaps
-through wisdom, perhaps through
-<span class="pagenum"><a name="Page_37" id="Page_37"><!-- original location of illustrations --></a></span>
-<span class="pagenum"><a name="Page_38" id="Page_38">[<span class="hidden">Pg </span>38]</a></span>
-fear; but the fact remains that they have thereby avoided the perpetration
-of at least some crimes. Judging by the examples we have been able to cite,
-and they are representative, it would seem that the best advice we can give
-those tempted to use the undraped beautiful in their book-plates is&mdash;don&rsquo;t.</p>
-
-<div class="figcenter" style="width: 324px;">
-<img src="images/bpt079.png" width="324" height="568"
-alt="Book-plate of Al Mockel" />
-<p class="caption">From Drawing after Etching<br />
-by A. Rassenfosse</p>
-</div>
-
-<div class="figcenter" style="width: 491px;">
-<img src="images/bpt080.png" width="491" height="381"
-alt="Book-plate of Octave Uzanne" />
-<p class="caption">After Etching by Gu&eacute;rin</p>
-</div>
-
-<div class="figcenter" style="width: 360px;">
-<img src="images/bpt081.png" width="360" height="673"
-alt="Book-plate of Emil Gerh&auml;user" />
-<p class="caption">By Fritz Erler</p>
-</div>
-
-
-
-
-
-<p class="repeat">BOOK-PLATES OF TO-DAY<br />
-TONNEL&Eacute; &amp; COMPANY<br />
-NEW YORK</p>
-
-
-<div class="figcenternocap" style="width: 265px;">
-<a name="plate07" id="plate07"></a>
-<img src="images/bpt082.jpg" width="265" height="632"
-alt="Book-plate of Willis Steell" />
-</div>
-
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_39" id="Page_39">[<span class="hidden">Pg </span>39]</a></span></p>
-
-<h2><a name="chap06" id="chap06"></a>THE ARCHITECT AS A BOOK-PLATE
-DESIGNER</h2>
-
-<p class="chapauthor">By WILLIS STEELL</p>
-</div>
-
-
-<div class="figcenter" style="width: 317px;">
-<img src="images/bpt083.png" width="317" height="399"
-alt="Book-plate of Frank Jean Pool" />
-<p class="caption">By Thomas Tryon</p>
-</div>
-
-<p><span class="dropcap">A</span>MONG the book-plate designers
-of the present day the architect
-may, if he choose, take a high
-place. He is one whose studies have
-led him through the paths of artistic
-training where his eye and hand have
-learned to see color and form and balance
-of parts, and while the usual media
-of his profession are wood, stone, terra
-cotta and iron, there are many by-paths
-through which he must travel to appreciate
-the value of his pencil lines upon
-the flat.</p>
-
-<p>No more delightful by-way than
-the book-plate route will open before
-him, hedged in as it is by purely artistic
-shrubbery and leading constantly to
-pretty and even beautiful designs in
-which the genius of architecture has
-played a great part. Moreover, all his preceding journey through the hard
-conventional country to which architecture at first seems limited, has
-equipped him thoroughly to give expression to his fancy. That the gift of
-imagination is among his endowments should be taken for granted, however,
-if the architect is to succeed in the line
-of drawing book-plates.</p>
-
-<p>Fancy and imagination being in his
-mental equipment the architect can
-&ldquo;rest&rdquo; his mind in no more delightful
-fashion than by giving them full scope in
-this gem-like art. His experience, his
-collections of drawings, the work of
-others of his craft which he has studied,
-all tend to render his fund of information
-large, and if he has the key to book-plate
-art, inexhaustible, since nothing
-comes amiss to the pen of one whose
-facile fancy can grasp a good motive and
-direct it to a purpose other than that
-originally intended.</p>
-
-<div class="figcenter" style="width: 304px;">
-<img src="images/bpt084.png" width="304" height="359"
-alt="" />
-<p class="caption">JAMES SEYMOUR TRYON<br />
-By Thomas Tryon</p>
-</div>
-
-<p>In the early days of art the architect
-<span class="pagenum"><a name="Page_40" id="Page_40">[<span class="hidden">Pg </span>40]</a></span>
-was not only a designer of buildings but was also a sculptor and sometimes
-a decorative painter. He was called upon by his patrons to design whatever
-was needed at the moment, and these men were &ldquo;all-round&rdquo; artists, the day
-of specialization and the speculator not having dawned.</p>
-
-<p>Buonarotti is an awesome name to call up, but this great painter,
-sculptor, architect and builder touched nothing that he did not adorn, and in
-many of the hundreds of crayon sketches and cartoons that he left behind
-him, the feeling of the book-plate artist is clear. Had Lorenzo the Magnificent
-wanted a book-plate for use in his library, the great Michael Angelo
-could have filled the want from his own notes, with very little of either suppression
-or expansion. It may seem strange to think of this Titan of art,
-the creator of the sweeping &ldquo;Last
-Judgment&rdquo; turning his pencil to the
-delicate lines, the imperceptible nuances
-demanded by a book-plate, yet it
-may be repeated, in his work may be
-found a myriad of suggestions for
-these gem-like products.</p>
-
-<div class="figcenter" style="width: 360px;">
-<img src="images/bpt085.png" width="360" height="468"
-alt="Book-plate of Annah M. Fellowes" />
-<p class="caption">By Thomas Tryon</p>
-</div>
-
-<p>Buonarotti was not, however,
-first and last an architect. Painter
-and sculptor also, these sides of his
-artist soul would have been drawn on
-for the book-plate. Therefore the
-statement that not every architect can
-design so fanciful and dainty a work
-as a book-plate becomes a truism
-patent to everybody. The architect&rsquo;s
-profession calls for a two-fold nature,
-the one side tending toward that of
-the engineer with its eminently practical
-and very necessary tables of
-stress and strain, its mathematical
-calculations for loads and disposition
-of carrying walls, while the other side
-leans to a nice discernment of color and proportion. The laying out of
-vistas and the arrangement of surfaces and lines, so that the eye is aided in
-receiving the best impression from all points of view. Of this turn of mind
-is the one who can and does design book-plates. The very practical architect,
-if he wishes the glory, which is doubtful, has one of his draftsmen make
-the design and then signs the drawing and gets the glory. It would be
-amusing if such an one through some luck charm received constant application
-for such work. His draftsmen would change and his drawings be as dissimilar
-as the men who drew them. Possibly the signature would lead the
-long-suffering public to think him very versatile.</p>
-
-<p>It is not of this class of architect that we write. It is of him who is half
-<span class="pagenum"><a name="Page_41" id="Page_41">[<span class="hidden">Pg </span>41]</a></span>
-painter or sculptor, and who loves his pen and pencil and delights in the
-personal expression of his ideals. He finds that his way of seeing things is
-more to his liking than any way of any other man. He sees the infinite
-beauty of nature and loves her shifting pictures in the clouds. Then too, he
-must have the ability to clearly comprehend the half-formed ideas of him
-whose plate he undertakes to draw. This is not always an easy matter.
-There are but few in the world who can formulate their ideas, much less
-invent a picture without first seeing it. Here the architect has, perhaps, an
-advantage over the purely imaginative artist, since the average man does not
-know the difference between the Classic period and the Gothic, the Napoleon
-era and the modern German renaissance.</p>
-
-<p>Of the architects who have obtained unquestioned recognition in this
-exquisite art, Thomas Tryon is among those whose work is especially
-prized. His adaptation of architectural forms to the confined space of the
-book-plate shows the work of a man who has command of his tools and
-knowledge, and despite the narrow confines of the field his work is not at all
-&ldquo;cabined or cribbed.&rdquo; The illustrations accompanying this essay are taken
-rather at random from among Mr. Tryon&rsquo;s designs, but they will convey to
-those unfamiliar with his work, a fair idea of its scope and treatment. His
-first design was a plate for his father, an ornate armorial design, the name
-being set up in type at the base. The plate for Miss Annah M. Fellowes
-is quite elaborate. A long-haired and bewhiskered knight stands before us in
-a suit of rich armor, his right hand bearing his sword and helmet, and his left
-resting upon his shield. His helmet is surmounted by a pair of spreading
-wings. The design is backed by a rambling rose bush on which is hung the
-motto ribbon.</p>
-
-<div class="figcenter" style="width: 320px;">
-<img src="images/bpt086.png" width="320" height="327"
-alt="Book-plate of Loyall Farragut" />
-<p class="caption">By Thomas Tryon</p>
-</div>
-
-<div class="figcenter" style="width: 359px;">
-<img src="images/bpt087.png" width="359" height="358"
-alt="Book-plate of George Elder Marcus" />
-<p class="caption">By Thomas Tryon</p>
-</div>
-
-<p>Mr. Frank Pool is obviously a lover of the drama. In an oval window
-set in masonry, is a Roman gentleman, laurel crowned, reading from a
-<span class="pagenum"><a name="Page_42" id="Page_42">[<span class="hidden">Pg </span>42]</a></span>
-large volume, while at the upper right and left
-sides are comedy and tragedy masks from which
-hang a gracefully festooned wreath. Palms,
-ribbon and name plate finish the design. For
-Mr. Farragut, the son of our old admiral, Mr.
-Tryon has made a very &ldquo;salt water&rdquo; arrangement
-of arms. The shield is surmounted by a
-quaint ship and the bearers are dolphins, which
-on one side encircle a trident and on the other
-a sword. The conventional acanthus leaves
-give body and decoration to the whole. Perhaps
-one of the most distinctively beautiful of
-Mr. Tryon&rsquo;s designs is the fleur-de-lis for Mr.
-Marcus. In this the artist has blended most
-delightfully the natural and the heraldic flower
-and has produced a gem of which one never tires. For his sister and her
-children Mr. Tryon has made a light and airy design, distinctively feminine
-and graceful. The main feature of the design is an ornate cypher of the
-letters S T. On the ribbon below the name is shown. This is changed to
-the names of Mrs. Stone&rsquo;s three daughters for their individual use. The
-plate reproduced here is that of one of Mrs. Stone&rsquo;s daughters. The design
-for &ldquo;The Boys Club&rdquo; is surmounted by the American eagle perched upon
-the globe, and the flag of our country is
-draped over the tablet bearing the lettering.
-This plate has been reproduced
-both by photo-process and copper plate.</p>
-
-<div class="figcenter" style="width: 252px;">
-<img src="images/bpt088.png" width="252" height="287"
-alt="Book-plate of Rachel Norton Tryon Stone" />
-<p class="caption">By Thomas Tryon</p>
-</div>
-
-<div class="figcenter" style="width: 334px;">
-<img src="images/bpt089.png" width="334" height="494"
-alt="Book-plate of Library of the Boys Club" />
-<p class="caption">By Thomas Tryon</p>
-</div>
-
-<p>Of the three color plates reproduced
-the first was made for Mr. A.&nbsp;W.
-Brunner, and has for &ldquo;piece de resistence&rdquo;
-a very ingenious monogram set
-in an oval frame. For bearers there are
-two graceful palms and the keystone is
-surmounted by a pile of books and a
-classic student&rsquo;s lamp. The base of the
-design is relieved by a pleasing arrangement
-of acanthus leaves. The plate for
-Miss Cox is a seal-like design, dignified
-yet dainty, and would be entirely in
-place in all kinds of volumes. The
-plate for Mr. Steell quite speaks for
-itself and makes the sportsman feel
-wildly for the trigger of his gun. The
-buck and doe silhouetted against the
-yellow of evening and the reflection in
-the stream are a delight.</p>
-
-<p><span class="pagenum"><a name="Page_43" id="Page_43">[<span class="hidden">Pg </span>43]</a></span>
-Three of Mr. Tryon&rsquo;s designs have been engraved by Mr. E.&nbsp;D.
-French. The famous Sovereign plates being two, and one for Mr.
-Havemeyer being the third. This plate for Mr. Havemeyer is indicative of
-the owner&rsquo;s collection of Washingtoniana, and is surrounded by several of the
-well-known portraits of the father of his country, while at the top is a small
-view of Mount Vernon. The portraits and view are interwoven with foliage
-and ribbon and form a frame in which Mr. Havemeyer&rsquo;s arms are displayed.
-The &ldquo;Sovereign&rdquo; plates, which were made in 1895 for the library of Mr.
-M.&nbsp;C.&nbsp;D. Borden&rsquo;s yacht, are of great richness, the first or &ldquo;crown&rdquo; design
-being especially so. This one did not please the owner, who had a second
-one made surmounted by an eagle instead of a crown. This is simpler in
-treatment and not so decorative as the earlier design. These plates were
-both cut on the copper by Mr. French who treated them in a very sympathetic
-manner and brought out in clear relief the ideas of the designer.</p>
-
-<p>Mr. Tryon&rsquo;s production has not been great, reckoned by the number of
-plates made, but as his work is never done hurriedly or slightingly it carries
-an air of finished dignity and worth that gives it lasting qualities. As he
-usually has one or two plates in hand to which he adds a few lines and a few
-thoughts from time to time, we may still expect pleasant surprises in this
-miniature art from his workshop.</p>
-
-<div class="figcenternocap" style="width: 577px;">
-<img src="images/bpt090.png" width="577" height="270"
-alt="Book-plate, no name" />
-</div>
-
-<p><span class="pagenum"><a name="Page_44" id="Page_44">[<span class="hidden">Pg </span>44]</a></span></p>
-
-<div class="figcenter" style="width: 368px;">
-<img src="images/bpt091.png" width="368" height="572"
-alt="Book-plate of the Library of the Harvard Union" />
-<p class="caption">By B.&nbsp;G. Goodhue</p>
-</div>
-
-<div class="figcenter" style="width: 263px;">
-<img src="images/bpt092.png" width="263" height="429"
-alt="Book-plate of M. A. de Wolfe Howe" />
-<p class="caption">By B.&nbsp;G. Goodhue</p>
-</div>
-
-<div class="figcenter" style="width: 258px;">
-<img src="images/bpt093.png" width="258" height="390"
-alt="Book-plate of Barrett Wendell" />
-<p class="caption">By E.&nbsp;D. French</p>
-</div>
-
-<div class="figcenter" style="width: 319px;">
-<img src="images/bpt094.png" width="319" height="500"
-alt="Book-plate of Harvard University Library, Lowell Memorial Library of Romance Literature" />
-<p class="caption">By B.&nbsp;G. Goodhue</p>
-</div>
-
-
-
-
-<p class="repeat">BOOK-PLATES OF TO-DAY<br />
-TONNEL&Eacute; &amp; COMPANY<br />
-NEW YORK</p>
-
-
-<div class="figcenternocap" style="width: 287px;">
-<a name="plate08" id="plate08"></a>
-<img src="images/bpt095.jpg" width="287" height="433"
-alt="Book-plate of William A. Boland" />
-</div>
-
-
-
-
-<div class="chapter">
-<p><span class="pagenum"><a name="Page_45" id="Page_45">[<span class="hidden">Pg </span>45]</a></span></p>
-
-<h2><a name="chap07" id="chap07"></a>A CHECK-LIST of the WORK of
-TWENTY-THREE BOOK-PLATE
-DESIGNERS of PROMINENCE</h2>
-
-<p class="chapauthor">Compiled by WILBUR MACEY STONE</p>
-</div>
-
-
-<div>
-  <img class="drop-capi" src="images/dcap02.png" width="189" height="212" alt="" />
-</div>
-<p class="drop-capi2">IT WAS thought that interest and value would be
-added to this book by the inclusion of lists of the
-book-plates made by the more prominent artists whose
-work is reproduced here. These lists are the nearest
-complete of any that have ever been published, and as
-they have been verified in many instances by the
-artists themselves, and in others carefully collated
-from the actual book-plates, they may be relied upon
-as highly accurate. The sundry notes, bibliographical
-and otherwise, by which the individual lists are
-prefaced, are in no way exhaustive, but just a cursory gathering to relieve
-the bareness of the lists and to give some little additional assistance to the
-amateur. The lists are arranged alphabetically under the artists&rsquo; names as
-follows:</p>
-
-<p class="names">William Phillips Barrett<br />
-Robert Anning Bell<br />
-D.&nbsp;Y. Cameron<br />
-Thomas Maitland Cleland<br />
-Gordon Craig<br />
-Julius Diez<br />
-George Wharton Edwards<br />
-Fritz Erler<br />
-William Edgar Fisher<br />
-Edwin Davis French<br />
-Bertram G. Goodhue<br />
-Harry E. Goodhue<br />
-T.&nbsp;B. Hapgood, Jr.<br />
-Harold E. Nelson<br />
-Edmund H. New<br />
-Henry Ospovat<br />
-Armand Rassenfosse<br />
-Louis Rhead<br />
-Byam Shaw<br />
-Joseph W. Simpson<br />
-Hans Thoma<br />
-Thomas Tryon<br />
-Bernhard Wenig</p>
-
-
-<h3>WILLIAM PHILLIPS BARRETT</h3>
-
-<p>In Great Britain every family of rank has its arms suitably emblazoned
-on its harnesses, carriages, table-plate, dining-chairs, and, of course, in its
-library. When a new coach is ordered, or a new set of harnesses, the
-<span class="pagenum"><a name="Page_46" id="Page_46">[<span class="hidden">Pg </span>46]</a></span>
-coach-builder or the harness-maker furnish the proper trimmings. So
-milord&rsquo;s stationer fixes up the family letter-paper <em>and</em> the family book-plate.
-Somebody has to lick into some semblance of artistic unity the records of
-prowess of our medieval ancestors. In the workshops of Messrs. &ldquo;Bumpus
-Limited,&rdquo; Mr. William Phillips Barrett performs this more or less genial
-task. He has signed some ninety to one hundred designs, which were
-cut by the workmen in the Bumpus establishment. Mr. Barrett&rsquo;s designs
-are not wholly without merit, but they so apparently lack the spark of
-vitality and their execution is in many cases so hard and mechanical that one
-is inclined more to pity than to praise. In the pages of the London
-Ex Libris Journal, that industrious encourager of the ordinary and banal in
-book-plate design, Mr. Barrett&rsquo;s work is exploited at length. Vol. II.,
-page 81, et seq.</p>
-
-<p class="names">1896<br />
-Lady Gerard<br />
-Hon. E. Byng<br />
-Mr. Jack Cummings<br />
-Lord Manners<br />
-Lady Sarah Wilson<br />
-Lady Charles Bentinck<br />
-H. Somers Somerset, Esq.<br />
-Lady K. Somerset</p>
-
-
-<p class="names">1897<br />
-J. Watson Armstrong, Esq.<br />
-Lady Angela Forbes<br />
-Mrs. Panmure Gordon<br />
-Hon. Mrs. Charles Harbord<br />
-Miss Beatrice Dudley Smith<br />
-The Marchioness of Headfort<br />
-Miss Audrey Battye<br />
-Lady Beatrix Taylour<br />
-Miss Rachel Duncombe<br />
-J.&nbsp;S. Forbes, Esq.</p>
-
-
-<p class="names">1898<br />
-Lady Maud Warrender<br />
-Lady de Trafford<br />
-Hon. Marie Hay<br />
-The Countess Mar and Kellie<br />
-Mrs. Brocklebank<br />
-The Viscountess Wolseley<br />
-Robertson Lawson, Esq.<br />
-Baron K&ouml;nigswarter<br />
-Baroness K&ouml;nigswarter<br />
-Miss Van Wart<br />
-Reginald Nicholson, Esq.<br />
-Lady Sybil Carden<br />
-The Countess of Lathom</p>
-
-
-<p class="names">1899<br />
-The Duchess of Bedford<br />
-Miss Eadith Walker (Australia)<br />
-The Countess of Wilton<br />
-The Viscountess Chelsea<br />
-Mrs. Duff<br />
-J.&nbsp;E. Ballie, Esq.<br />
-Lord Bolton<br />
-Lady Margaret Levett<br />
-Miss Howell<br />
-Basil Levett, Esq.<br />
-Mrs. Harcourt Powell<br />
-Lady Ampthill<br />
-J. &amp; E. (Mr. and Mrs. Muller)<br />
-Bishop Lefroy of Lahore<br />
-Mrs. McCalmont<br />
-Miss Gabrielle de Montgeon</p>
-
-
-<p class="names">1900<br />
-Her Royal Highness Princess Victoria of Great Britain<br />
-The Earl of Lathom<br />
-<span class="pagenum"><a name="Page_47" id="Page_47">[<span class="hidden">Pg </span>47]</a></span>
-The Duke of Beaufort<br />
-Hon. Mrs. Gervase Beckett<br />
-The Countess of Gosford<br />
-The Marchioness of Bath<br />
-Mrs. Lee Pilkington<br />
-Freda and Winifreda Armstrong<br />
-Mrs. Wernher<br />
-Miss Freda Villiers<br />
-Miss Muriel Dudley Smith<br />
-Lord Kenyon<br />
-Lady Savile Crossley<br />
-Hon. Hilda Chichester<br />
-Lady Dickson-Poynder<br />
-Sir John Dickson-Poynder<br />
-Gervase Beckett, Esq.<br />
-Canon Stanton<br />
-The Duke of Portland<br />
-Mrs. Alfred Harmsworth<br />
-Mrs. Arthur Wilson<br />
-J. Hutchinson, Esq.<br />
-Hon. Mrs. G. Kenyon<br />
-Captain Noble<br />
-Edward Hubbuck, Esq.<br />
-R.&nbsp;L. Foster, Esq.<br />
-Royal Naval and Military<br />
-Will Watson Armstrong<br />
-Masonic Supreme Council, 33&deg; (Large and small)<br />
-The Earl of Shaftesbury<br />
-Miss Barclay (Wood block Armorial)<br />
-H.&nbsp;A. Harben, Esq.</p>
-
-
-<p class="names">1901<br />
-Ivor Fergusson, Esq.<br />
-Harold Harmsworth, Esq.<br />
-Lord Haddo<br />
-Lady Mary Cayley<br />
-Mrs. Sheridan (Frampton Court)<br />
-The Marchioness Anglesey<br />
-Sir Charles Cust<br />
-The Countess of Derby<br />
-Lady Hillingdon<br />
-Lady Alice Stanley<br />
-Lady Clementine Walsh<br />
-R.&nbsp;C. Donaldson-Hudson, Esq.</p>
-
-
-<h3>ROBERT ANNING BELL</h3>
-
-<p>Robert Anning Bell, Director of the Art School of the Liverpool
-University, is the most prolific designer of artistic picture-plates in Great
-Britain. His work has long been the envy of amateurs, and no collection
-can claim to be representative without some examples of his work. His
-book-plates have been reproduced and commented on in almost all published
-articles on the general subject. The book-plate number of the
-&ldquo;Studio,&rdquo; Simpson&rsquo;s &ldquo;Book of Book-plates,&rdquo; Bowdoin&rsquo;s &ldquo;Rise of the Book-plate,&rdquo;
-Zur Westen&rsquo;s &ldquo;Ex Libris&rdquo; (Leipzig, 1901), all show examples.
-His work is characterized by dignity and grace, is in good drawing, and has
-an average of excellence unsurpassed. The list is complete to July 1, 1902.</p>
-
-<p class="names"><span class="indent1">1 Walter George Bell</span><br />
-<span class="indent1">2 Rainald William Knightley Goddard</span><br />
-<span class="indent1">3 G.&nbsp;R. Dennis</span><br />
-<span class="indent1">4 Barry Eric Odell Pain</span><br />
-<span class="indent1">5 Jane Patterson (circular)</span><br />
-<span class="indent1">6 Jane Patterson (rectangular)</span><br />
-<span class="indent1">7 Christabel A. Frampton</span><br />
-<span class="indent1">8 Frederick Brown</span><br />
-<span class="indent1">9 Matt. Gossett</span><br />
-10 Arthur Trevithin Nowell<br />
-11 Edward Priolean Warren<br />
-<span class="pagenum"><a name="Page_48" id="Page_48">[<span class="hidden">Pg </span>48]</a></span>
-12 Frederick Leighton (small)<br />
-13 Frederick Leighton (large)<br />
-14 Arthur Melbourne Sutthery<br />
-15 Juliet Caroline Fox Pym<br />
-16 Yolande Sylvia Mina Noble Pym<br />
-17 Florence and William Parkinson<br />
-18 Nora Beatrice Dicksee<br />
-19 Felsted School<br />
-20 Arthur E. Bartlett<br />
-21 The Hon. Mabel de Grey<br />
-22 Geraldine, Countess of Mayo<br />
-23 Walter E. Lloyd<br />
-24 George Benjamin Bullock-Barker<br />
-25 George Benjamin Bullock-Barker<br />
-26 Thomas Elsley<br />
-27 University College, Liverpool<br />
-28 Rowland Plumbe<br />
-29 Rennell Rodd<br />
-30 Alicia, Lady Glomis<br />
-31 H.&nbsp;E. John Browne<br />
-32 Barham House<br />
-33 Cecil Rhodes<br />
-34 Mander Bros.<br />
-35 Hon. Harriet Borthwick<br />
-36 Beatrice Patterson<br />
-37 Walter Drew<br />
-38 Walter Raleigh<br />
-39 Th&eacute;odule, Comte de Grammont<br />
-40 Joshua Sing<br />
-41 Alice Emma Wilkinson<br />
-42 James Easterbrook<br />
-43 Theodore Mander<br />
-44 W.&nbsp;H. Booth<br />
-45 Hector Munro, 1897<br />
-46 Margaret Wilton<br />
-47 L. and M.&nbsp;S.<br />
-48 Gardner S. Bazley<br />
-49 Ex Libris Sodalium Academicorum Apud Lyrpul<br />
-50 Roberti A.&nbsp;S. Macfie<br />
-51 Richard T. Beckett<br />
-52 Edmund Rathbone, 1898<br />
-53 Croy Grammont, 1898<br />
-54 A.&nbsp;J. Stratton<br />
-55 John Duncan<br />
-56 Helen Woollgar de Gaudrion Verrall<br />
-57 C. Kohn<br />
-58 C.&nbsp;J.&nbsp;R. Armandale<br />
-59 Wm. Renton Prior<br />
-60 H. and O. Lewis<br />
-61 Herbert Lyndon<br />
-62 Johanna Birkenruth<br />
-63 Fanny Dove Harriet Lister<br />
-64 Mary Josephine Stratton<br />
-65 Louise Frances Foster<br />
-66 Caleb Margerison<br />
-67 Ellis Roberts<br />
-68 Marie Clay<br />
-69 Fanny Nicholson<br />
-70 L. and E. Stokes<br />
-71 Alfred Cecil Gathorne Hardy</p>
-
-
-<h3>D.&nbsp;Y. CAMERON</h3>
-
-<p>D.&nbsp;Y. Cameron is one of the most prominent artists in the so-called
-&ldquo;Glasgow School of Designers.&rdquo; His plates are nearly all etchings and are
-decidedly his own in subjects and treatment. They are most excellent
-productions. His work has been most fully exploited in Simpson&rsquo;s
-&ldquo;Book of Book-plates,&rdquo; Vol. I., No. 4. There are eleven designs
-listed in Fincham, and the &ldquo;Studio&rdquo; Book-plate number reproduces
-four.</p>
-
-<p class="names">Donald &amp; Grace Cameron Swan<br />
-Robert M. Mann<br />
-John Roberton<br />
-John Maclaren<br />
-Roberta Elliot S. Paterson<br />
-Joanna Cameron<br />
-<span class="pagenum"><a name="Page_49" id="Page_49">[<span class="hidden">Pg </span>49]</a></span>
-Jeanie Ure MacLaurin<br />
-Katherine Cameron<br />
-J. Craig Annan<br />
-James Arthur<br />
-John Macartney Wilson<br />
-James Henry Todd<br />
-James J. Maclehose<br />
-Robert G. Paterson<br />
-R.&nbsp;Y. Pickering, 1895<br />
-R.&nbsp;Y. Pickering (another design)<br />
-John A. Downie<br />
-Beatrice H. MacLaurin<br />
-Sir James Bell, Bart.</p>
-
-
-<h3>THOMAS MAITLAND CLELAND</h3>
-
-<p>Mr. Cleland is a young man who has an innate appreciation for
-decorative effect and, what is more to the purpose, an ability to apply it.
-For some years past his skill in typographic arrangement has added much
-to the products of several of our more advanced publishers; by more
-advanced I mean those with a knowledge and belief that it is good business
-to offer to the public books that delight the eye as well as the mind. Mr.
-Cleland has done many decorative bits by way of head-&nbsp;and tail-pieces and
-initials. There are also to his credit a baker&rsquo;s dozen of book-plates. These
-last are intensely decorative, and to class them as pictorial really does them
-injustice. They are thoroughly conventional and quite medieval in feeling.</p>
-
-<p class="names">Sara Stockwell Clark<br />
-Herbert Wood Adams<br />
-Laura Gaston Finley<br />
-Elmer Bragg Adams<br />
-Lewis W. Hatch<br />
-Angus Frederick Mackay<br />
-Julian Pearce Smith<br />
-Irving and Sissie Lehman<br />
-Louis and Bertha Stillings<br />
-Alice and Arthur Cahn<br />
-Rubie La Lande de Ferri&egrave;re<br />
-Maurice M. Sternberger<br />
-George Louis Beer</p>
-
-
-<h3>GORDON CRAIG</h3>
-
-<p>&ldquo;The Page&rdquo; has been so much exploited in the public press that it
-seems supererogation to write anything more about it or Gordon Craig, one
-the embodiment of the other. Mr. Craig is very much of an all-round
-young man; brought up in the atmosphere of the theater and of books
-and pictures, he has dabbled in all to some purpose. He has a clear-cut
-individuality that differentiates him and his&mdash;work, I was going say, but
-perhaps play would be better, for Mr. Craig is one of those inconsequential
-chaps that seem to take things as they come and be chipper and happy and
-youthful-hearted with all. His book-plate work is of the meat-ax variety
-and inspired by the rough wood-cuts of the early engravers. His work has
-the air of the poseur that is as balm to the heart of the dilettante.</p>
-
-<p class="names">James Pryde, 1898<br />
-M.&nbsp;P. (Margaret Palgrave)<br />
-Ellen Terry (large), map<br />
-Ellen Terry (small), map<br />
-K.&nbsp;D. (Mrs. Kitty Downing), 1900<br />
-Katie Black<br />
-<span class="pagenum"><a name="Page_50" id="Page_50">[<span class="hidden">Pg </span>50]</a></span>
-E.&nbsp;T., 1899 (Ellen Terry)<br />
-James Corbet<br />
-V.&nbsp;C. (Vincent Corbet)<br />
-R.&nbsp;C. (Robin Craig)<br />
-H.&nbsp;F. (Helen Fox)<br />
-C.&nbsp;M. (Carl Michaelis)<br />
-Nina (Lady Corbet)<br />
-B. (Beatrice Irwin)<br />
-C.&nbsp;D. (Charles Dalmon)<br />
-W.&nbsp;H. Downing<br />
-M.&nbsp;M. (Maud Meredith)<br />
-A.&nbsp;L. (Aim&eacute;e Lowther)<br />
-William Winter<br />
-Roche (Charles E. Roche), 1900<br />
-S.&nbsp;B.&nbsp;B. (S.&nbsp;B. Brereton)<br />
-C. (Christopher St. John)<br />
-G.&nbsp;C. (Gordon Craig)<br />
-Edy (Edith Craig)<br />
-J.&nbsp;D. (John Drew)<br />
-L.&nbsp;W., 1897 (Lucy Wilson)<br />
-Oliver Bath, 1899<br />
-E.&nbsp;D.&nbsp;L. (monogram) (Edie Lane)<br />
-G.&nbsp;C., 1898 (Gordon Craig)<br />
-Martin Shaw<br />
-Miss Norman<br />
-Lucy Wilson<br />
-E.&nbsp;C. (Edith Craig)<br />
-Ellen Terry<br />
-Ellen Terry<br />
-Marion Terry<br />
-Cissie Loftus<br />
-Evelyn Smalley<br />
-Edith Craig<br />
-C.&nbsp;B.&nbsp;P. (Mrs. Brown-Potter)<br />
-Tommy Norman<br />
-Jess Dorynne<br />
-Jess Dorynne<br />
-Rosie Craig<br />
-G.&nbsp;C. (Gordon Craig)<br />
-Gordon Craig<br />
-Gordon Craig<br />
-Gordon Craig<br />
-Mrs. Enthoven<br />
-Audrey Campbell<br />
-M. Tolemache<br />
-G. Tolemache<br />
-J.&nbsp;B.&nbsp;R. (Madam Bell-Rauche)<br />
-M. Fox<br />
-Anna Held<br />
-Pamela Colman Smith<br />
-Katie Dunham<br />
-Haldone McFall<br />
-N.&nbsp;F.&nbsp;D. (Mrs. Dryhurst)</p>
-
-
-<h3>JULIUS DIEZ</h3>
-
-<p>The work of Julius Diez is rich with the flavor of medievalism and
-full decorative effect. The example shown in this book, the plate for Max
-Ostenrieder, is a little masterpiece and an ideal book-plate. Mr. Diez has
-done others much more elaborate, and with well-drawn and well thought-out
-motifs, but none to excel the bit referred to.</p>
-
-<p class="names">Bayerischer Kunstgewerbe-Verein<br />
-Gustav Euprius<br />
-Max Ostenrieder<br />
-Gustav Wolff<br />
-Richard Hildebrandt<br />
-August Drumm<br />
-Luise Riggaur<br />
-Joseph Flokmann<br />
-Dr. Jul. Fekler<br />
-Julie von Boschinger<br />
-Georg Hirth<br />
-Adolf Beermann<br />
-Julius Diez<br />
-Paul Scharff<br />
-Elise Diez<br />
-Georg Buchner<br />
-Franz Langheinrich<br />
-Paul Meyer</p>
-
-<p><span class="pagenum"><a name="Page_51" id="Page_51">[<span class="hidden">Pg </span>51]</a></span></p>
-
-<h3>GEORGE WHARTON EDWARDS</h3>
-
-<p>Mr. Edwards has made a large number of very excellent book-cover
-designs and has decorated several volumes throughout. One of the most
-beautiful of the latter is Spenser&rsquo;s Epithalamion, published by Dodd,
-Mead &amp; Company. Mr. Edwards has done a few other book-plates in
-addition to those listed here, but these are all he wishes to stand sponsor for.</p>
-
-<p class="names">Harvard University, Arnold Arboretum, 1892<br />
-Grolier Club<br />
-Author&rsquo;s Club Library<br />
-George Washington Cram<br />
-Tudor Jenks<br />
-G.&nbsp;W. Drake</p>
-
-
-<h3>FRITZ ERLER</h3>
-
-<p>Fritz Erler has been one of the leading contributors to that prince of
-German art periodicals, &ldquo;Jugend,&rdquo; since its beginning. His book-plates are
-characterized by the same imaginative spirit and weirdness that appear in all
-his work. His work is often reproduced in soft tints with excellent effect.
-In the third volume of &ldquo;Jugend&rdquo; there was a double page given to prints
-of Mr. Erler&rsquo;s book-plates.</p>
-
-<p class="names">Carl Mayr<br />
-Arthur Scott<br />
-T. Neisser<br />
-Hugo Wolf<br />
-C. Schoenfield<br />
-Sigmund Schott<br />
-M. Souchon<br />
-S. Fuld<br />
-Albert Schott<br />
-Ulrich Putze<br />
-Max Mayr<br />
-Toni Neisser<br />
-M. von B.<br />
-M. von B.<br />
-E. Gerh&auml;user<br />
-H. Marx<br />
-Gustav Eberius Liebermann</p>
-
-
-<h3>WILLIAM EDGAR FISHER</h3>
-
-<p>Mr. Fisher&rsquo;s work is fully described in the leading article in this book
-by Mr. Bowdoin. The list of plates is in chronological order and is
-complete to July 1, 1902.</p>
-
-<p class="names"><span class="indent1">1 William Edgar Fisher</span><br />
-<span class="indent1">2 William Edgar Fisher</span><br />
-<span class="indent1">3 William Edgar Fisher</span><br />
-<span class="indent1">4 Winifred Knight</span><br />
-<span class="indent1">5 William Lincoln Ballenger</span><br />
-<span class="indent1">6 Stanley Shepard</span><br />
-<span class="indent1">7 William A. Brodie</span><br />
-<span class="indent1">8 Silvanus Macy</span><br />
-<span class="indent1">9 Edna B. Stockhouse</span><br />
-10 Leila H. Cole<br />
-11 C.&nbsp;A.&nbsp;W. (C.&nbsp;A. Wheelock)<br />
-12 Lula Thomas Wear<br />
-13 Gertrude T. Wheeler<br />
-14 Guild of the Holy Child, Peekskill, N.&nbsp;Y.<br />
-15 Elizabeth Langdon<br />
-<span class="pagenum"><a name="Page_52" id="Page_52">[<span class="hidden">Pg </span>52]</a></span>
-16 John Charles Gage<br />
-17 Sallie A. Richards<br />
-18 Albert Edgar Hodgkinson<br />
-19 Samuel N. Hudson<br />
-20 John Elliot Richards<br />
-21 Ellen E. Langdon<br />
-22 Maria Page Barnes<br />
-23 Maie Bruce Douglas<br />
-24 Sara Grace Bell<br />
-25 Edward A. Wilson<br />
-26 Peyton C. Crenshaw<br />
-27 Marion Maude Lindsey<br />
-28 Chauncey E. Wheeler<br />
-29 Bi Lauda (secret society)<br />
-30 Mary N. Lewis<br />
-31 Elizabeth Allen<br />
-32 The Studio Club<br />
-33 (Dr.) I.&nbsp;N. Wear<br />
-34 William Chauncey Langdon<br />
-35 Charles S. Young<br />
-36 Frederic H. Church<br />
-37 John M. Harrison<br />
-38 Les Chats Noirs<br />
-39 George H. Phelps<br />
-40 Mary Speer<br />
-41 Julia Locke Frame<br />
-42 John D. Farrand<br />
-43 Lucy P. Winton<br />
-44 Winifred Knight<br />
-45 Mary Cheney Elwood<br />
-46 Ernest Orchard<br />
-47 Reta L. Adams<br />
-48 Edward C. Brown<br />
-49 Adeline Cameron<br />
-50 T. Frank Fisher<br />
-51 Edna B. Stockhouse<br />
-52 John Le Droit Langdon<br />
-53 W.&nbsp;J. Awty<br />
-54 Henry McLallen<br />
-55 William Edward Ramsay<br />
-56 David S. Calhoun<br />
-57 Walter W. Wait</p>
-
-
-<h3>EDWIN DAVIS FRENCH</h3>
-
-<p>The book-plates of Edwin Davis French are the most esteemed of
-those of our present American engravers. His work is decidedly the
-vogue among those who can afford the best, and is much prized by collectors.
-There has rarely been an article on book-plates published in the
-past five years or more that has not contained a eulogy of his work, and
-there have been reproductions galore, both from the original coppers and
-by half-tone. There is no American designer whose work is so eagerly
-sought by the collector or for which larger returns are asked in exchanges.
-Mr. French usually designs the work he engraves, but in several instances
-he has cut plates from the designs of others. Such instances are noted in
-the list. Mr. French&rsquo;s work is characterized by daintiness of design and
-great beauty of execution. He is unquestionably a master of the graver
-in decorative work. In the following list those numbered 133 and below
-are from Mr. Lemperly&rsquo;s well-known list, and credit is hereby rendered him
-therefor. The rest of the list is made up from various sources and has
-been very carefully compared and is believed to be accurate and complete,
-with the few exceptions noted, to July 1, 1902.</p>
-
-<p class="names">174 Adams, Ruth<br />
-141 Allen, Charles Dexter, 1899<br />
-<span class="indent3"><i>a</i> with portrait</span><br />
-<span class="indent3"><i>b</i> with book-case</span><br />
-<span class="indent3"><i>c</i> with one club emblem changed</span><br />
-<span class="pagenum"><a name="Page_53" id="Page_53">[<span class="hidden">Pg </span>53]</a></span>
-170 Alexander, Amy B.<br />
-187 Adams, Frances Amelia, 1901<br />
-199 Adams, Edward Dean, 1902<br />
-207 Adams, Ernest Kempton, 1902<br />
-<span class="indent1">44 Alexander, Charles B., 1895</span><br />
-<span class="indent1">11 Andrews, William Loring, 1894</span><br />
-<span class="indent1">76 Andrews, William Loring, Compliments of, 1896</span><br />
-195 Adriance Memorial Library, Poughkeepsie, 1902<br />
-111 Armour, George Allison, 1898<br />
-<span class="indent1">98 Author&rsquo;s Club (designed by Geo. Wharton Edwards), 1897</span><br />
-<span class="indent1">10 Avery, In Memoriam, Ellen Walters, 1894</span><br />
-142 Bakewell, Allan C.<br />
-<span class="indent1">43 Bakewell, A.&nbsp;C., 1895</span><br />
-<span class="indent1">36 Bates, James Hale, 1894</span><br />
-<span class="indent1">53 Barger, Samuel F., 1895</span><br />
-<span class="indent1">17 Baillie, W.&nbsp;E., 1894</span><br />
-<span class="indent1">20 Blackwell, Henry, 1894</span><br />
-<span class="indent1">16 Bierstadt, Edward Hale, 1894</span><br />
-<span class="indent1">42 Bernheim, A.&nbsp;C., 1895</span><br />
-<span class="indent1">60 Biltmoris, Ex Libris (designed by owner, George W. Vanderbilt), 1895</span><br />
-<span class="indent1">67 Bar of the City of New York, Association of the (Chas. H. Woodbury&rsquo;s library, 1895), 1896</span><br />
-118 Bar of the City of New York, Association of the (the John E. Burrill Fund, 1897), 1896<br />
-119 Bar of the City of New York, Association of the (Gift of James C. Carter)<br />
-<span class="indent1">69 Biltmoris, Ex Libris (like 60, but smaller), 1896</span><br />
-<span class="indent1">87 Bliss, Catherine A., 1896</span><br />
-104 Burke, Edward F., 1897<br />
-133 Bradshaw, Sidney Ernest, 1898<br />
-<span class="indent2">1 Brainerd, Helen Elvira, 1892</span><br />
-<span class="indent2">4 Brainerd, Helen Elvira, 1894</span><br />
-124 Brown, Georgette (adapted from Parisian trade-card 18th century)<br />
-<span class="indent3"><i>a</i> with border</span><br />
-<span class="indent3"><i>b</i> without border</span><br />
-176 Borden, M.&nbsp;C.&nbsp;D.<br />
-177 Borden, M.&nbsp;C.&nbsp;D. (small)<br />
-139 Boas, Emil L.<br />
-<span class="indent1">80 Borland, Harriet Blair, 1896</span><br />
-166 Buck, John H. (designed by Miss Marion Buck)<br />
-171 Bullock, James Wilson, 1900<br />
-180 Barnes, John Sanford<br />
-<span class="indent1">65 Bull, William Lanman, 1895</span><br />
-147 Blackwell, Henry (monogram), 1899<br />
-150 Blackwell, Henry, Compliments of, 1900<br />
-<span class="indent1">91 Carnegie, Lucy Coleman, 1897</span><br />
-<span class="indent1">96 Candidati, 1897</span><br />
-<span class="indent2">7 Chew, Beverly, 1894</span><br />
-<span class="indent1">47 Chew, Beverly, 1895</span><br />
-<span class="indent1">41 Church, E.&nbsp;D., 1895</span><br />
-<span class="indent1">59 Champaign Public Library, 1895</span><br />
-<span class="indent2">8 Clark, Charles E., M.&nbsp;D., 1894</span><br />
-<span class="indent2">9 Clark, Charles E., M.&nbsp;D. (smaller), 1894</span><br />
-<span class="indent1">18 Colonial Dames of America</span><br />
-<span class="indent1">28 Coutant (Dr.), Richard B., 1894</span><br />
-<span class="indent1">66 Clough, Micajah Pratt, 1896</span><br />
-<span class="indent1">83 The John Crerar Library, Chicago, 1896</span><br />
-<span class="indent1">97 Connell, William, 1897</span><br />
-100 Child Memorial Library (Harvard), 1897<br />
-125 Cox, Jennings Stockton, 1898<br />
-<span class="indent1">51 Clough, Micajah P.</span><br />
-156 Cheney, Alice S., 1900<br />
-167 Chamberlain, Elizabeth (The Orchards), 1900<br />
-145 Cushing<br />
-<span class="indent1">22 Deats, Hiram Edmund, 1894</span><br />
-131 Dana, Charles A. (designed by A. Kay Womrath), 1898<br />
-<span class="indent1">70 Dows, Tracy, 1896</span><br />
-<span class="pagenum"><a name="Page_54" id="Page_54">[<span class="hidden">Pg </span>54]</a></span>
-<span class="indent1">56 De Vinne, Theo. L. (designed by George Fletcher Babb), 1895</span><br />
-<span class="indent1">84 Denver Club, The (designed by Cora E. Sargent), 1896</span><br />
-143 Duryee, George Van Wagenen and Margaret Van Nest, 1899<br />
-<span class="indent1">46 Ellsworth, James William, 1895</span><br />
-<span class="indent1">88 Emmet, The Collection of Thos. Addis, M.&nbsp;D., New York Public Library, 1896</span><br />
-<span class="indent2">2 French, Mary Brainerd, 1893</span><br />
-<span class="indent2">3 French, Edwin Davis (Volap&uuml;k), 1893</span><br />
-<span class="indent2">5 E.&nbsp;D.&nbsp;F. (French, Edwin Davis), 1893</span><br />
-<span class="indent3"><i>a</i> E.&nbsp;D.&nbsp;F., without enclosing frame</span><br />
-<span class="indent3"><i>b</i> with frame</span><br />
-<span class="indent3"><i>c</i> Edwin Davis French</span><br />
-<span class="indent1">19 Foote, Charles B., 1894</span><br />
-168 Foot, Margaret H., 1900<br />
-198 Furman, Dorothy, 1902<br />
-<span class="indent1">21 Grolier Club, The, 1894</span><br />
-<span class="indent1">29 Goodwin, James J., 1894</span><br />
-<span class="indent1">30 Goodwin, Francis, 1894</span><br />
-<span class="indent1">32 Godfrey, Jonathan, 1894</span><br />
-<span class="indent1">64 Goodrich, J. King, 1895</span><br />
-<span class="indent1">89 Gray, Adelle Webber, 1897</span><br />
-110 Goldsmith, Abraham, 1898<br />
-121 Goldsmith, James A., 1898<br />
-<span class="indent1">49 Goodwin, James J., 1895</span><br />
-136 Gale, Edward Courtland, 1899<br />
-185 Gage, Mabel Carleton (design by owner), 1901<br />
-202 Gray, John Chipman, 1902<br />
-181 Harvard, Society of the Signet (designed by B.&nbsp;G. Goodhue)<br />
-186 Harvard Union (designed by B.&nbsp;G. Goodhue), 1901<br />
-<span class="indent3"><i>a</i> 1901</span><br />
-<span class="indent3"><i>b</i> In Memoriam Henry Baldwin Hyde</span><br />
-184 Harbor Hill (Mrs. Clarence McKay)<br />
-<span class="indent1">38 Haber, Louis I, 1894</span><br />
-106 Hartshorn, Mary Minturn (designed by Miss E. Brown), 1897<br />
-<span class="indent1">55 Havemeyer, William Frederick (designed by Thomas Tryon), 1895</span><br />
-<span class="indent1">73 Herter, Christian Archibald, 1896</span><br />
-149 Horsford, Cornelia<br />
-155 Hopkins (Maj.), Robert Emmet<br />
-<span class="indent1">23 Holden, Edwin B., 1894</span><br />
-<span class="indent1">24 Holden, Edwin B. (smaller)</span><br />
-<span class="indent1">61 H(olden), E(mily), (Miss), 1895</span><br />
-<span class="indent1">25 Holden, Alice C., 1894</span><br />
-<span class="indent1">26 Holden, Edwin R., 1894</span><br />
-164 James, Walter B., M.&nbsp;D.<br />
-<span class="indent1">33 Kalbfleish, Charles Conover, 1894</span><br />
-<span class="indent1">90 O.&nbsp;A. K(ahn), 1897</span><br />
-<span class="indent1">94 Kingsbury, Edith Davies (designed by Lilian C. Westcott), 1897</span><br />
-113 Lambert, Samuel W., 1898<br />
-<span class="indent1">85 Lamson, Edwin Ruthven (designed by E.&nbsp;H. Garrett), 1896</span><br />
-173 Larner, John B.<br />
-<span class="indent1">35 Lawrence, Emily Hoe, 1894</span><br />
-<span class="indent2">6 Leggett, Cora Artemisia, 1894</span><br />
-<span class="indent1">15 Lefferts, Marshall Clifford, 1894</span><br />
-<span class="indent1">39 L.&nbsp;B. L(&ouml;wenstein), 1895</span><br />
-105 Lefferts, Mollie Cozine, 1897<br />
-102 Lemperly, Paul, 1897<br />
-169 Loveland, John W. and Lee Partridge<br />
-159 Livermore, John R.<br />
-172 Little, Arthur West<br />
-192 Long Island Historical Society, 1900<br />
-<span class="indent3"><i>a</i> Storrs Memorial Fund, 1900</span><br />
-<span class="indent3"><i>b</i> Ecclesiastical History</span><br />
-148 K.&nbsp;D.&nbsp;M. (Mackay, Mrs. Clarence) (small monogram with crest)<br />
-<span class="pagenum"><a name="Page_55" id="Page_55">[<span class="hidden">Pg </span>55]</a></span>
-<span class="indent1">58 Marshall, Frank Evans, 1895</span><br />
-<span class="indent1">37 Mausergh, Richard Southcote, 1895</span><br />
-<span class="indent1">95 Marshall, Julian, 1897</span><br />
-188 Merriman, Roger Bigelow<br />
-<span class="indent1">40 Metropolitan Museum of Art, 1895</span><br />
-<span class="indent3"><i>a</i> Cruger mansion</span><br />
-<span class="indent3"><i>b</i> new building</span><br />
-<span class="indent1">54 Messenger, Maria Gerard, 1895</span><br />
-<span class="indent1">85 Messenger, Maria Gerard, 1896</span><br />
-<span class="indent3"><i>a</i> gift-plate with book-pile</span><br />
-<span class="indent3"><i>b</i> with view of Pleasantville library</span><br />
-<span class="indent1">74 Morgan, A.&nbsp;J., 1896</span><br />
-<span class="indent1">92 McCarter, Robert H., 1896</span><br />
-115 Medicis, Ex Libris (Cushing), 1898<br />
-<span class="indent1">45 McKee, Thomas Jefferson</span><br />
-151 Messenger, Maria Gerard and Elizabeth Chamberlain (The Orchards), 1899<br />
-<span class="indent1">68 V.&nbsp;E. M(acy)</span><br />
-<span class="indent3"><i>a</i> V.&nbsp;E.&nbsp;M.</span><br />
-<span class="indent3"><i>b</i> Macy, Valentine Everit and Edith Carpenter, 1896</span><br />
-140 Moore, Louise Taylor Hartshorne<br />
-128 Nimick, Florence Coleman, 1898<br />
-163 New York Yacht Club, The (after sketch by the late Walter B. Owen)<br />
-<span class="indent1">12 Oxford Club, The, Lynn, 1894</span><br />
-<span class="indent1">57 Osborne, Thomas Mott and Agnes Devens, 1895</span><br />
-<span class="indent1">62 Odd Volumes, The Club of, 1895</span><br />
-<span class="indent1">13 Players, The (designed by Howard Pyle), 1894</span><br />
-<span class="indent1">50 Pyne, M. Taylor, 1895</span><br />
-<span class="indent1">63 Pine, Percy Rivington, 1895</span><br />
-<span class="indent1">81 Plummer, Mary Emma, 1896</span><br />
-107 Pyne, M. Taylor, 1897<br />
-204 Pyne, R. Stockton, 1902<br />
-108 Princeton University, Library of, 1897<br />
-132 Prescott, Eva Snow Smith, 1898<br />
-160 Porter, Nathan T., 1900<br />
-189 Phillips, William (design arranged from 16th century armorial by P. de Chaignon la Rose), 1901<br />
-<span class="indent1">14 Reid, Whitelaw, 1894</span><br />
-<span class="indent1">34 Rowe, Henry Sherburne, 1894</span><br />
-103 Ranney, Henry Clay and Helen Burgess, 1897<br />
-191 Richards, Walter Davis, 1825-1877, 1901<br />
-158 Robinson, C.&nbsp;L.&nbsp;F.<br />
-<span class="indent1">99 Sabin, Ruth Mary, 1897</span><br />
-109 Sampson, Florence de Wolfe 1898<br />
-<span class="indent1">52 Sherwin, Henry A., 1895</span><br />
-<span class="indent1">77 Sedgwick, Robert, 1896</span><br />
-<span class="indent1">82 Sherwin, Henry A. (similar to 52, but smaller), 1896</span><br />
-117 Sherwood, Samuel Smith, 1898<br />
-129 Scripps, James Edmund, 1898<br />
-101 Skinner, Mark, Library<br />
-134 Stickney, Edward Swan (Chicago Historical Society), 1898<br />
-112 Stratton, A. Dwight, 1898<br />
-<span class="indent1">93 Stearns, John Lloyd, 1897</span><br />
-<span class="indent1">71 Sovereign (designed by Thomas Tryon) (crown), 1896</span><br />
-<span class="indent1">79 Sovereign (designed by Thomas Tryon) (eagle), 1896</span><br />
-193 Society of Colonial Wars, Connecticut, 1901<br />
-179 Sherman, William Watts (design by B.&nbsp;G. Goodhue), 1901<br />
-<span class="indent1">78 Taylor, Chas. H., Jr. (designed by E.&nbsp;B. Bird), 1896</span><br />
-135 Talmage, John F.<br />
-152 Treadwell Library (Mass. General Hospital) (designed by B.&nbsp;G. Goodhue)<br />
-127 Thorne, Katherine Cecil Sanford, 1898<br />
-<span class="pagenum"><a name="Page_56" id="Page_56">[<span class="hidden">Pg </span>56]</a></span>
-122 Twentieth Century Club (designed by Mrs. Evelyn Rumsey Carey), 1898<br />
-157 Union League Club<br />
-154 University Club, Cleveland<br />
-<span class="indent1">48 Vail, Henry H., 1895</span><br />
-116 Vassar Alumnae Historical Association, 1898<br />
-196 Varnum (Gen.), James M.<br />
-128 Van Wagenen, Frederick W., 1898<br />
-<span class="indent1">31 Warner, Beverly, M.&nbsp;A., 1894</span><br />
-114 Wendell, Barrett, 1898<br />
-126 Williams, E.&nbsp;P., 1898<br />
-130 Wood, Arnold, 1898<br />
-137 Wood, Ethel Hartshorne<br />
-182 Worcester Art Museum, 1901<br />
-144 A.&nbsp;W. (Arnold Wood), 1899<br />
-146 Williams, John Skelton<br />
-161 Wodell, Silas<br />
-175 Woodward, S. Walter, 1900<br />
-178 Whitin, Sarah Elizabeth<br />
-120 Winthrop, Henry Rogers, 1898<br />
-<span class="indent1">75 Willets, Howard, 1896</span><br />
-<span class="indent1">27 Woodbury, John Page, 1894</span><br />
-<span class="indent1">72 (Yale) The Edward Tompkins McLaughlin Memorial Prize in English Composition, 1896</span></p>
-
-
-<h3>BERTRAM G. GOODHUE</h3>
-
-<p>Bertram Grosvenor Goodhue is a Boston architect who has made
-several book-plates of merit. One made for a department of Harvard
-University is particularly rich in decorative effect, and a design of which
-one would not grow weary. Others of Mr. Goodhue&rsquo;s designs are treated
-in broad line and might have been reproduced very effectively by wood
-engraving.</p>
-
-<p class="names">A. Squire<br />
-Udolpho Snead<br />
-Rachel Norton<br />
-Harvard University Library, Lowell Memorial Library of Romance Literature<br />
-H.&nbsp;I.&nbsp;K. (H.&nbsp;I. Kimball)<br />
-Library of the Harvard Union<br />
-Society of the Signet, Harvard<br />
-Treadwell Library, Mass. General Hospital<br />
-M.&nbsp;A. de Wolfe Howe<br />
-William Watts Sherman</p>
-
-
-<h3>HARRY E. GOODHUE</h3>
-
-<p>The few book-plates designed by Harry E. Goodhue are mostly of the
-&ldquo;girl and book&rdquo; type. In the plate for Jessy McClellan the young
-woman appears to be sorry she &ldquo;done it,&rdquo; or else is quite discouraged at the
-idea of lifting her folio romance into her lap. Mr. Goodhue&rsquo;s most pleasing
-design is that for Constance Alexander, shown on page 27.</p>
-
-<p class="names">Amy M. Sacker<br />
-Constance Grosvenor Alexander<br />
-Jessy Trumbull McClellan<br />
-June Eldredge<br />
-Juliet Armstrong Collins</p>
-
-<p><span class="pagenum"><a name="Page_57" id="Page_57">[<span class="hidden">Pg </span>57]</a></span></p>
-
-<h3><span class="smcap">T.&nbsp;B. HAPGOOD, Jr.</span></h3>
-
-<p>Mr. Hapgood is a decorative designer in Boston, and his work on the
-covers of various periodicals and catalogs is well known. Plate No. 5
-was submitted in competition and took second prize. It has never been
-reproduced. No. 1 was reproduced in &ldquo;The Red Letter,&rdquo; No. 2 in the
-book-plate number of &ldquo;The Studio,&rdquo; as was also No. 4. No. 14 has not
-been reproduced. No. 15 was originally made as a printer&rsquo;s mark and was
-so used. It was later altered to serve as a book-plate.</p>
-
-<p class="names"><span class="indent1">1 Rev. George Fred Daniels, 1896</span><br />
-<span class="indent1">2 Norris Hastings Laughton, 1897</span><br />
-<span class="indent1">3 A.&nbsp;F. Skenkelberger, 1897</span><br />
-<span class="indent1">4 Theodore Brown Hapgood, Jr., 1897</span><br />
-<span class="indent1">5 Society of Mayflower Descendants in Mass., 1897</span><br />
-<span class="indent1">6 Rufus William Sprague, Jr., 1898</span><br />
-<span class="indent1">7 Frances Louise Allen, 1898</span><br />
-<span class="indent1">8 Andrew C. Wheelwright, 1898</span><br />
-<span class="indent1">9 Andrew C. Wheelwright, 1898</span><br />
-10 Richard Gorham Badger, 1898<br />
-11 Thursday Club, 1899<br />
-12 North Brookfield Free Public Library, 1900<br />
-13 Edwin Osgood Grover, 1900<br />
-14 Harriet Manning Whitcomb, 1900<br />
-15 Carl Heintzemann</p>
-
-
-<h3>HAROLD E. NELSON</h3>
-
-<p>Many of the figures in the book-plates by Harold Nelson are of the
-attenuated pre-Raphaelite type, but there are others one can believe
-really once lived. The frontispiece to the book-plate number of &ldquo;The
-Studio&rdquo; is a beautiful decorative bit by Mr. Nelson, and makes us quite
-willing to forgive him some of his more eccentric designs. The plate
-referred to is enhanced in beauty by a few lines of gold judiciously used.
-The musical plate on page 18 of this volume is a pleasing one.</p>
-
-<p class="names">Mary L. Oldfield<br />
-Edith A. Kingsford<br />
-Robert H. Smith<br />
-Fanny Nelson<br />
-Ellen Maguire<br />
-Edward Lomax<br />
-Ernest Scott Fardell, M.A.<br />
-Ernest Scott Fardell, M.A.<br />
-Geoffery Parkyn<br />
-A. Ludlow<br />
-James Wilmar<br />
-Bedford College Library<br />
-Horace Shaw<br />
-Harold Edward Hughes Nelson<br />
-Lady Literary Society<br />
-Mark Nelson<br />
-Evelyn Wynne Parton<br />
-A.&nbsp;A. Wood<br />
-Maude Burton<br />
-Marion H. Spielmann<br />
-Alfred Anteshed<br />
-Jane Nelson<br />
-Leopold d&rsquo;Estreville Lenfestey</p>
-
-
-<h3>EDMUND H. NEW</h3>
-
-<p>The book-plate designs by Mr. New are in a class by themselves. No
-one else has worked quite the field occupied by this artist. Mr. New has
-<span class="pagenum"><a name="Page_58" id="Page_58">[<span class="hidden">Pg </span>58]</a></span>
-used architecture for the motifs of a series of unusually pleasing plates. He
-has treated in a most decorative way whole buildings as well as details, doorways,
-and so forth. His plates are particularly adapted to the dignified
-old houses that contain the libraries for which they were made. Mr.
-New has not limited himself to this field, as he has done a number
-of designs with no architectural suggestion. His work in book illustration
-and decoration is of a most delightful quality, and is well known to all
-lovers of black and white. A number of his book-plate designs were
-reproduced and commented upon in Simpson&rsquo;s &ldquo;Book of Book-plates,&rdquo; Vol.
-II., No. I. The book-plate number of &ldquo;The Studio&rdquo; also showed some
-of his designs. The list is in chronological order and complete.</p>
-
-<p class="names">Herbert New<br />
-Rev. Richard R. Philpots<br />
-Rees Price (wood cut)<br />
-Montague Fordham (wood cut)<br />
-C. Elkin Mathews<br />
-Dr. Edmundi Atkinson<br />
-Edward Morton<br />
-Frederic Chapman<br />
-William and Catherine Childs<br />
-Beatrice Alcock<br />
-Arthur Fowler<br />
-No. 1 Highbury Terrace<br />
-Julia Sharpe<br />
-Herbert B. Pollard<br />
-William Malin Roscoe (three sizes), 1897<br />
-Edward Evershed Dendy<br />
-J.&nbsp;G. Gardner-Brown<br />
-Phil. Norman<br />
-Edward Le Breton Martin<br />
-Roberti Saundby, M.&nbsp;D., LL.&nbsp;D. (two sizes), 1900<br />
-George Lewis Burton<br />
-George Cave, 1900<br />
-Alexander Millington Sing (two sizes)<br />
-Peter Jones<br />
-Edward Alfred Cockayne</p>
-
-
-<h3>HENRY OSPOVAT</h3>
-
-<p>Henry Ospovat is a young Russian artist residing in London. He
-has done some superb decorative work for the sonnets and poems of
-Shakespeare published by John Lane. His book-plates are precious bits of
-decoration worthy the adoration of all lovers of the beautiful. There have
-been only a few reproductions of them. The book-plate number of &ldquo;The
-Studio&rdquo; shows several and Fincham&rsquo;s &ldquo;Artists and Engravers&rdquo; lists two.</p>
-
-<p class="names">Arthur and Jessie Guthrie, 1898<br />
-James and Maud Robertson, 1898<br />
-John and Jessie Hoy, 1898<br />
-Arthur Guthrie, 1898<br />
-Walter Crane<br />
-Charles Rowley<br />
-James Hoy<br />
-James Hoy<br />
-Frank Iliffe Hoy<br />
-John and Jessie Hoy (second design)<br />
-George Moore<br />
-A. Emrys Jones<br />
-Fred Beech<br />
-J.&nbsp;H. Reynolds<br />
-T.&nbsp;C. Abbott<br />
-Frank and Marie Hoy</p>
-
-<p><span class="pagenum"><a name="Page_59" id="Page_59">[<span class="hidden">Pg </span>59]</a></span></p>
-
-<h3>ARMAND RASSENFOSSE</h3>
-
-<p>Armand Rassenfosse is a resident of Liege, therefore, presumably, a
-Belgian and a subject of the German Empire. But as stone walls do not
-always a prison make, so frontiers do not always mark the nationality of art
-and letters. Mr. Rassenfosse is distinctly French in his feeling and artistic
-point of view. Perhaps I should rather say Parisian, for it is of the Latin
-Quartier and the Beaux Arts that his work breathes. His designs are almost
-entirely of nude femininity and his method of expression the etching. He
-has made some eight or ten charming bits, full of life and chic&mdash;I was
-going to say, frou-frou, but that would be a misnomer, for his models are
-innocent of gowns or lingerie. Their spirit and beauty of execution is high,
-but as book-plate designs&mdash;well, it&rsquo;s a bit like champagne for breakfast.</p>
-
-<p class="names">Alex. von Winiwarter<br />
-Alfred Lavachery, 1890<br />
-M.&nbsp;R. (Marie Rassenfosse)<br />
-A.&nbsp;R. (Armand Rassenfosse)<br />
-Alb. Mockel<br />
-H. v. W. (Hans von Winiwarter)<br />
-Three designs without names<br />
-D&rsquo;Alb. Neuville</p>
-
-
-<h3>LOUIS RHEAD</h3>
-
-<p>The illustrator of &ldquo;Pilgrim&rsquo;s Progress&rdquo; and the &ldquo;Idylls of the King&rdquo;
-needs no introduction to the average book-lover, and the hearts of the
-poster-collectors throb at his name. Mr. Rhead is an American of English
-birth and a resident of one of the suburbs of greater Gotham. His
-decorative work has been long and favorably known, and his book-plates
-can but add to his reputation. He has done but fifteen, and two of these
-are yet to be reproduced, but some examples of his work are in most
-collections.</p>
-
-<p class="names">Gertrude Tozier Chisholm<br />
-James Henry Darlington<br />
-Samuel Moody Haskins<br />
-Le Roy W. Kingman<br />
-Frank J. Pool<br />
-Louis Rhead (symbolic)<br />
-Louis Rhead (fishing)<br />
-Katharine Rhead<br />
-W.&nbsp;H. Shir-Cliff, 1897<br />
-Jean Irvine Struthers<br />
-Stephen S. Yates<br />
-David Turnure<br />
-Ivy Club (Princeton University)<br />
-Rector Kerr Fox<br />
-George Weed Barhydt</p>
-
-
-<h3>BYAM SHAW</h3>
-
-<p>The one or two book-plate designs by Mr. Shaw that have been
-published show a magnificent imaginative conception and makes the lover
-of the beautiful ardently wish for &ldquo;more.&rdquo; The one for Isabella Hunter,
-<span class="pagenum"><a name="Page_60" id="Page_60">[<span class="hidden">Pg </span>60]</a></span>
-on page 216 of Vol. I. of the &ldquo;International Studio,&rdquo; is at the head of its
-class. Mr. Shaw&rsquo;s other line-drawings and his paintings have a richness
-and weirdness of design that is very attractive.</p>
-
-<p class="names">C.&nbsp;E. Pyke-Nott<br />
-Frank Lynn Jenkins<br />
-Isabella R. Hunter<br />
-Laurence Koe<br />
-Mr. Claye</p>
-
-
-<h3>JOSEPH W. SIMPSON</h3>
-
-<p>Mr. Simpson, of Edinburgh, is a young Scotchman of infinite ambition
-and generous talent. He is not only a clever designer of book-plates, but
-he has a magazine to exploit his schemes and theories of art. This is
-reputed to be a quarterly, but it is erratic, like its sponsor, and issues &ldquo;once
-in a while.&rdquo; Mr. Simpson&rsquo;s designs are full of feeling and rich in
-treatment. About twenty-five of these have seen the light and are prized
-by the lovers of modernity.</p>
-
-<p class="names">Robert Bateman, 1897<br />
-Kris Allsopp, 1897<br />
-Kris Allsopp, 1897<br />
-J.&nbsp;A. Whish, 1898<br />
-James Dick, 1898<br />
-F.&nbsp;N. and A.&nbsp;W. Hepworth, 1898<br />
-Cissie Allsopp, 1898<br />
-J.&nbsp;W. Simpson<br />
-Charles Holme<br />
-Julio Guardia<br />
-K.&nbsp;E., Graf zu Leiningen-Westerburg, 1898<br />
-Maud H. Scott, 1898<br />
-A. Gaston Masson<br />
-Geo. May Elwood<br />
-T.&nbsp;F.&nbsp;M. Williamson, 1899<br />
-(Gordon) Craig<br />
-Mabel Waterson<br />
-Fiffi Kuhn<br />
-Maisie Phillips<br />
-Samuel Linsley<br />
-Pauline Stone<br />
-T.&nbsp;N. Foulis<br />
-Joseph W. Simpson<br />
-W.&nbsp;M. Stone</p>
-
-
-<h3>HANS THOMA</h3>
-
-<p>Hans Thoma is a painter of national reputation in Germany who has
-thought it not beneath his dignity to do book-plate designs. This by
-way of recreation or to strengthen his line for more pretentious efforts.
-His designs are along classic and dignified lines. His own personal plate
-is a weird one; on it is a nude youth bearing the torch of knowledge and
-riding a gruesome dragon.</p>
-
-<p class="names">Dr. S. Herxheimer, 1898<br />
-Hans Thoma<br />
-Adolph von Gross, 1896<br />
-Dr. Henry Thode<br />
-August Rasor<br />
-Martin Elersheim<br />
-S. Herrheimer<br />
-Sofie K&uuml;chler<br />
-<span class="pagenum"><a name="Page_61" id="Page_61">[<span class="hidden">Pg </span>61]</a></span>
-Hermann Levi<br />
-Dr. Otto Fiser<br />
-Luisa Countess Erd&ouml;dy<br />
-R. Spier<br />
-J.&nbsp;A. Beringer<br />
-Karl and Maria Grunelius</p>
-
-
-<h3>THOMAS TRYON</h3>
-
-<p>Mr. Tryon&rsquo;s work has been described at length in another part of this
-book and a large part of his designs reproduced.</p>
-
-<p class="names">William Frederick Havemeyer (engraved by E.&nbsp;D. French), 1892<br />
-James Seymour Tryon, 1892<br />
-Arnold William Brunner, 1893<br />
-Frank Jean Pool, 1893<br />
-&ldquo;Sovereign,&rdquo; Crown design (engraved by E.&nbsp;D. French), 1896<br />
-&ldquo;Sovereign,&rdquo; Eagle design (engraved by E.&nbsp;D. French), 1896<br />
-Annah M. Fellowes, 1896<br />
-George Elder Marcus, 1897<br />
-Loyall Farragut, 1898<br />
-Mary Tryon Stone, 1900 <span class="space1"> } </span>   same<br />
-Janet Tryon Stone, 1900 <span class="space2"> } </span> design in<br />
-Rachel Norton Tryon Stone, 1900 <span class="space3"> } </span> different<br />
-Mary Tryon Stone (2d), 1900 <span class="space4"> } </span>  sizes<br />
-J.&nbsp;C.&nbsp;M. (Miss J.&nbsp;M. Cox), 1901<br />
-Library of the Boys&rsquo; Club, 1902<br />
-Willis Steell, 1902</p>
-
-
-<h3>BERNHARD WENIG</h3>
-
-<p>Bernhard Wenig is a comparatively newcomer in the field of book-plate
-design, but he has already established for himself an enviable reputation
-in Germany, and his work is meeting with a growing appreciation by
-collectors in this country. Mr. Wenig&rsquo;s general manner is that of the old
-engraved wood block, bold and more or less crude of line, but full of virility.
-Most of his work is reproduced in black on white, but in a few instances he
-has used a color or two with good effect. His choice of subjects is varied,
-but the studious bookman of the middle ages seems to be uppermost in his
-heart and mind. Mr. Wenig has made one plate for a child, a small boy,
-that is among the best half-dozen of designs for children.</p>
-
-<p class="names">Baroness May v. Feilitzsch<br />
-Bernhard Wenig, 1897<br />
-Anton Wenig, 1897<br />
-Joh. Nep. Eser, 1899<br />
-E.&nbsp;W.&nbsp;J. G&auml;rtner, 1900<br />
-Richard Schulz, 1900<br />
-Mathilde Schulz<br />
-Heinrich St&uuml;mcke<br />
-Karl Emich, Graf zu Leiningen-Westerburg, 1901<br />
-G&uuml;nter Otto Schulz<br />
-Gertrud Schulz<br />
-Dr. Adolph Brenk<br />
-Carl Selzer<br />
-Lorenz Wenig<br />
-Countess Sofie du Moulin<br />
-Max H. Meyer<br />
-Dr. Fr. Weinitz<br />
-H. von Sicherer<br />
-Hugo Schmid<br />
-<span class="pagenum"><a name="Page_62" id="Page_62">[<span class="hidden">Pg </span>62]</a></span>
-Julie Speyer<br />
-Louis King<br />
-Claire von Frerichs<br />
-Franz Menter<br />
-L. Frankenstein<br />
-Dr. Hans Lichtenfelt<br />
-Heinrich and Hedwig Brelauer<br />
-Fr. Schade<br />
-F. Schaffener<br />
-G. Drobner<br />
-H.&nbsp;R.&nbsp;C. Hirzee<br />
-Wolfgang Quincke<br />
-Alfred Misterck<br />
-Ludwig Stivner<br />
-Max Landmann<br />
-Hans Jaeger<br />
-Dr. Louis Merck<br />
-Richard Jaeger<br />
-Rosalie Eeginbrodt<br />
-Georg Ortner<br />
-Melaine Dorny<br />
-Anna Furstin<br />
-Ludwig Klug<br />
-Doris von Heyl<br />
-Frieherr Max Heyl<br />
-Carl R. Peiner<br />
-David von Flansemann<br />
-Paulus Museum, Worms<br />
-(Mrs.) Hedwig Smidt<br />
-Wilhelm Karl Herams<br />
-(Mrs.) Julie Wassermann<br />
-Dr. C. Schonborn<br />
-Maria von Ernst<br />
-Wolfgang Quincke<br />
-Walther Frieherr von Seckendorff<br />
-Wilhelm von Schon</p>
-
-<div class="figcenternocap" style="width: 290px;">
-<img src="images/bpt096.png" width="290" height="204"
-alt="Book-plate of W. S." />
-</div>
-
-
-
-
-<div class="bbox">
-<p><b>Transcriber&rsquo;s Note</b></p>
-
-<p>Minor punctuation errors have been repaired.</p>
-
-<p>Printer errors and inconsistencies have been amended as follows:</p>
-
-<div class="amends">
-<p>Page <a href="#Page_28">28</a>&mdash;Bernard amended to Bernhard&mdash;By Bernhard Wenig</p>
-
-<p>Page <a href="#Page_36">36</a>&mdash;Gerhaeuser amended to Gerh&auml;user&mdash;The design for Emil Gerh&auml;user is inoffensive ...</p>
-
-<p>Page <a href="#Page_43">43</a>&mdash;portaits amended to portraits&mdash;The portraits and view are interwoven ...</p>
-</div>
-
-<p>The final chapter, the check-list of works, contained a number of errors and inconsistencies
-in the names. Where there were other mentions of the name in the book, the transcriber
-has made amendments for consistency, as follows:</p>
-
-<div class="amends">
-<p>Page <a href="#Page_45">45</a>&mdash;Bernard amended to Bernhard&mdash;Bernhard Wenig</p>
-
-<p>Page <a href="#Page_49">49</a>&mdash;Pierce amended to Pearce&mdash;Julian Pearce Smith</p>
-
-<p>Page <a href="#Page_51">51</a>&mdash;F. amended to E.&mdash;E. Gerh&auml;user</p>
-
-<p>Page <a href="#Page_51">51</a>&mdash;Lulu amended to Lula&mdash;12 Lula Thomas Wear</p>
-
-<p>Page <a href="#Page_58">58</a>&mdash;Jomes amended to James (second instance)&mdash;James Hoy</p>
-
-<p>Page <a href="#Page_61">61</a>&mdash;Havermeyer amended to Havemeyer&mdash;William Frederick Havemeyer (engraved by E. D. French), 1892</p>
-
-<p>Page <a href="#Page_61">61</a>&mdash;Fellows amended to Fellowes&mdash;Annah M. Fellowes, 1896</p>
-</div>
-
-<p>The following are likely to be errors, but as they appear only once in this book, they
-are preserved as printed. This list may not be exhaustive.</p>
-
-<div class="amends">
-<p>Page <a href="#Page_58">58</a>&mdash;Dr. Edmundi Atkinson should probably be Dr. Edmund Atkinson</p>
-
-<p>Page <a href="#Page_62">62</a>&mdash;Rosalie Eeginbrodt should probably be Rosalie Eigenbrodt</p>
-
-<p>Page <a href="#Page_62">62</a>&mdash;Melaine Dorny should probably be Melanie Dorny</p>
-
-<p>Page <a href="#Page_62">62</a>&mdash;Frieherr Max Heyl should probably be Freiherr Max Heyl</p>
-
-<p>Page <a href="#Page_62">62</a>&mdash;Carl R. Peiner should probably be Carl R. Reiner</p>
-
-<p>Page <a href="#Page_62">62</a>&mdash;Dr. C. Schonborn should probably be Dr. C. Sch&ouml;nborn</p>
-
-<p>Page <a href="#Page_62">62</a>&mdash;Walther Frieherr von Seckendorff should probably be Walther Freiherr von Seckendorff</p>
-
-<p>Page <a href="#Page_62">62</a>&mdash;Wilhelm von Schon should probably be Wilhelm von Sch&ouml;n</p>
-</div>
-
-<p>The frontispiece illustration has been moved to follow the title page.
-Illustrations have been moved where necessary so that they are not in the middle
-of a paragraph.</p>
-</div>
-
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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