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diff --git a/old/51643-8.txt b/old/51643-8.txt deleted file mode 100644 index da89bc6..0000000 --- a/old/51643-8.txt +++ /dev/null @@ -1,2584 +0,0 @@ -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. - - - - - -End of the Project Gutenberg EBook of Book-plates of To-day, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK BOOK-PLATES OF TO-DAY *** - -***** This file should be named 51643-8.txt or 51643-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/6/4/51643/ - -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) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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