THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MODCQH BGDKPLATE5 & TMEIQ DESIOnCQS A LIMITED EDITION OF THIS NUMBER WITH THE TEXT AND SUPPLEMENTS PRINTED ON FINE PAPER, ON ONE SIDE ONLY, IS NOW READY PRICE FIVE; SHILLINGS NET winxco nuMBCD or in C STUDIO PQICC J S/ fiETT 1898-9 1 LOr^DOrt-StlCriOlCTTA-STCOVENTGAQDCn A.SANDERSON MANUFACrUREfti OP HIGHEST CLA53 WALL. PAPER-5 Designs should be subtaitted at ch 15 wick ^RKS (hISWICK NEARISTTOr.STATION.TUKKPAM GREEN THE HOB BASKET GRATE, CONSTRUCTED ON SCIENTIFIC PRINCIPLES, QUAINT AND ARTISTIC IN APPEARANCE . ILLUSTRATED CATALOGUE ON APPLICATION. R. H. & J. PEARSON, Ltd. 141, 143 HioH Street, Notting Hii.l Gate, LONDON, W. GEORGE ALLEN'S ANNOUNGEMENTS. RUSKIN, ROSSETTI, and PRE-RAPHAELIT ISM. Letters and Documents of Ruskin, Rossetti, Millais, Ford Madox Brown, Holman Hunt, and many others concerned in the Pre-Raphaelite Movement in England: 1854-1862. Edited by W. M. Rossetti. 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In Five Volumes and Index, crown Svo, cloth, gilt top, £2 2s. net. With the 225 Woodcuts, the i Lithograph, and the 89 Full-page Illustrations reproduced in Photogravure and Half-tone. The Text is complete and includes the EPILOGUE wTitten by Mr. RUSKIN in 1888. Volumes L and II. (not sold separately), lis. net; Volume III., 8s. net; Volume IV., 9s. net; Volume V., 9s. net ; Index, 5s. net. LECTURES ON LANDSCAPE. Given at Oxford in January and February 1871. With 20 Plates in Photogravure and 2 in Colour, including 8 hitherto unpublished Turners : Reproductions of the Pictures chosen from the Author's Private Collection, the University Galleries, &c., by which these Lectures were originally Illustrated. Uniform with "Studies in Both Arts," 16 by 11 inches. Cloth, £2 2s. net. LONDON: RUSKIN HOUSE, 156 CHARING CROSS ROAD, W.C J Mr. Heinemann's New Art Publications. ^'^^- GAINSBOROUGH AND HIS PLACE IN ENGLISH ART. By Waltkr Armstkong, Director of the National Gallery, Ireland. With 62 Photogravures and 10 Lithographs in Colours. In One Volume, imperial 410, price £^ 55. net. Also 50 Copies with Duplicates of the Photogravures on India Paper in Portfolio, ^^lo los. net, which are all subscribed for. LEONARDO DA VINCI, the Artist, the Philo- sopher, the Scholar. Authorised Translation from the French of EfCi^NE Mi'NTZ, Member of the Institute of France, &c. In Two Volumes, uniform in size with Michel's "Rembrandt." With 20 Photogravures, 24 Coloured Plates, 3 Plates in Two Blacks, and about 200 Text Illus- trations. Price £'z 2s. net. IN THE FORBIDDEN LAND. An Account of a Journey into Tibet ; Capture by the Tibetan Authorities ; Imprisonment, Torture, and ultimate Release. By .\. Henry Savage L.\»DOR. Profusely Illustrated. InTwo Volumes, 32s. net. Times. — " He tells a plain and manly tale without affectation or bravado. ... A book, certainly, that will be read with interest and excitement." Athen(£itm. — " The account he has written of his travels and adventures is vivid and often fascinating," FASHION IN PARIS. The various Phases of Feminine Taste from 1597 to 1897. By OcT.WE UzANNE. Translated by Lady Mary Loyd. With 100 Hand- coloured Plates and 250 Text Illustrations by Francois Courboin. I vol., imp. 8vo, 36s. Punch. — " As a book of reference for the Illustrator, for the author and dramatist, this book is a most valuable authority on feminine costumes." Nicholson. in Colours, on LONDON TYPES. By William Quatorzains by W. E. Henley. The Popular Edition. Lithographed Stout Cartridge Paper. Price 5s. The Lihr.\ry Edition (Limited to 275 Copies for sale in Great Britain). Lithographed in Colours, on Japanese Vellum. Price 12s. 6d. net. Also 40 Sets (for Great Britain and the United States) in Portfolio. Printed from the Original Woodblocks direct. Hand-coloured, and signed by the Artist. Price _^2i net. In the remarkable series of designs presented in this volume, Mr. W. Nicholson has preserved for coming generations some of the more striking London types as they appeared about the Jubilee days of Queen Victoria. AN ALMANACK OF TWELVE SPORTS FOR 1899. By WiLLiA.M Nicholson. Twelve Coloured Plates, each Illustrating a Sport for the Month. With accom- panying Rhymes by RcDYARD Kipling. In Three Editions. The Libr.^ry Edition all sold. The Popular Edition. Lithographed in Colours on stout Cartridge Paper. Price 2s. 6d. Also a limited number of sets, printed from the Original Woodblocks direct. Hand-coloured, and signed by the Artist. In Vellum Portfoho. Price j^i2 12s. net. AN ALPHABET. By William Nicholson. 410. The Popular Eijitiox, 5s. The Lihr.\ry Edition (Limited). Lithographed in Colours on Dutch Hand-made Paper, mounted on brown paper and bound in cloth, gilt edges, price 12s. 6d. net. Also a limited number of sets, printed from the Original Woodblocks direct. Hand-coloured and signed by the Artist. In Vellum Portfolio, price j^2i net. Illustrated Prospectuses will be forwarded on Application. London: WILLIAM HEINEMANN, 21 Bedford Street, .Strand, W.C. THE ROYAL COPENHAGEN PORCELAIN Danish Ceramic Art Vases -V Figures -v Plaques BY EMINENT ARTISTS SUITABLE rroR PRESENTATION PURPOSES SS Hppolntmcnt to t>.m. tbc ■Rlna of ffienmarl! *? Sppolntment to V.'R.t). tbe piincee9o(1iIIIaIct Danish House. 294 Regent Street London, W. AD. I CONTENTS OF WINTER NUMBER 1898-9 Edited by Charles Holme. BRITISH BOOK-PLATES. By Qleeson White i;,gi 3 GERMAN BOOK-PLATES. By H. W. Singer Page 63 FRENCH „ By Octave Uzanne . 47 AUSTRIAN „ By W. Scholermann . 68 AMERICAN „ By Jean Carre . 5s BELGIAN „ By Fernand Khnopff. 73 SUPPLEMENTS by H. Nelson. W. P. Nicholson, Charles Robinson, R. Anning Bell, Otto Greiner, H. Uranville Fell, H. Ospovat, and Paul Voigt. INDEX OF ILLUSTRATORS. Andr^, Henry . Batten, J. D. . Beardsley, Aubrey Bell, R. Anning Bllllnjchurst, P. J. Bouvenne, A^laiis Bracquemond . Bra^den, C. F. Brickdale, E. F. Cadcnhead, James Cameron, D. Y. Crai^, Gordon Doepler Donnay Emanuel, VV. L. Essie, Walter . Fell, H. Granville Gavarni Goldie, Cyril . Goodhue. H. E. GradI Greiner, Otto . Guthrie, J. J. . Hadaway, W. S. Halls, Robert . Hallward, Ella E. G Page 55 • 3° • 49 30. 31 iS, 19 51. 55 49. 5°. 56 57 43 20 26, 27 24 61 76,78 29 5 44 53 3 56, 59. 60 61 64 17 58.59 29 Hapgood, T. B. Hlldebrandt Housman, Laurance Hug;hes, E. R. Khnopff . Khrahl, E. Klinger, Max . Lebeque, Leon Legros, Alphonse . Macdonald, Frances Macdonald, Margaret McNair, Herbert Margetson, W. H. . Marolle, Lcon . Muyden, Evert Van Nelson, H. New, E. H. . Niebuhr, F. . Orlik, Emil Ospovat, H. Pankok Pellens, E. Prendiville, Mary . Rassenfosse, A. Reroff Rhead, Q. VV. . • P<^' 57 . 61 . T9 4 . . 76 • 73 . 66 • 54 • 54 . 48 • 47 • 47 4 53 50. 51 . 36 . 16 • 72 74. 75 ■ 38. 39. 40 . . 67 • 77 56, 59 76. 77 Rhead, Louis J. Ricketts, E. Bengough Robinson, T. H. Rohida, A. Rops, Fellclen Sattler Shaw, Byam . Simpson, J. W. Stephens, W. Reynolds Svensson, Julius Thoma, Hans . Thompson, M. E. . Verhaegen, A. Voigt, Paul Voysey, C. F. A. Waud, R. Waugh, J. J. . Wenig, Bernhard . West, J. Walter . Weyer, W. R. Williams, J. . Wilson, D. E. . Wilson, H. Wolbrand, Carl Womrath, A. K. . Woodroffe, Paul Page 43 32. 33. 36 . 6 • 52 • 52 O4. 65, 68 • 44 12, 13 • 37 . 68 62, 63 • 14 ■ 78 • 71 • 25 . 18 • 23 ■ 72 ■ 15 • 9 . 10 II • 38 63, 72 . 28 • 5 A SELECTION FROM Frederick Warne & Co.'s New Publications, T\\ii CHAKMIXC. C.ll T-l;(>()KS. STORIES FROM SHAKSPEARE. Jiy M. S. 'l'owNEsENi>. With Upwards of 120 Original Illustrations by the Author. Small medium 8vo, cloth gilt, gilt top, 6s. The plan of the work is something after the nature of Lamb's Talcs from Shakespeare, but is of a much more extended scope than thai cek-bratccl hook. THE NURSERY RHYME BOOK. With upwards of 100 Drawings by L. Leslie Hrooke, and an iroduction and Notes by A.NDREw Lang. Medium 8vo, cloth gilt, gilt edges, 6s. THE FAIRY TALE BOOK FOR 1898 9 SEASON, Mrs. F. H. Burnett's Children's Book for Christmas. THE CAPTAINS YOUNGEST ; PICCINO ; and other Stones. Illustrated by Reginald B. Birch. In square 8vo, cloth gill. Price 3s. 6d. "Made up of four tales. . . . The first is an exceedingly touching story . . . while How Fauntleroy occurred, and a ver>' real little boy became an ideal one is a very pretty set of chapters on the oricinal of the now famous Little Lord Fauntleroy.' "—Athiiurum. *' The work is charming throughouL"— .y«/f»f««. In huge erov.it Svo, eloth gilt, bevelled bcutids, or in art linen, gilt top, 3s. 6d. THE OWL KING AND OTHER FAIRY TALES. By H. E. in man. With 30 Illustrations by E. A. Mason. This volume of Fairy Tales will delight the youtliful reader. The stories are excellent, containing a mixture of imagination and common sense which is remarkable, with a good and not too prominent underlying moral. THE BOYS OF FAIRMEAD, By M. C. Row- SELL. With numerous Illustiations by Chris Ham.mond. Large crown F.vo, cloth piU, bc\ellcii boards, 3s. 6d. MY LADIES THREE. By Annie E. Armstrong. With .six Unginal Illustrations by G. D. Hammond, R.L Large crown Svo, cloth gilt, bevelled boards, 3s. 6d. A pretty and romantic story efthe days of George L, in which, like the interest of the tale, the manner and style of language of the period is well kept up. Ncii' Volume by the Author oj "Quiet Stories from an Old IVoman's Garden/' Crown Svo, cloth gilt, gilt top, p. 6d. IN THE SHADOW OF THE HILLS. By Alison Mc L^,.^^. With Pliotogravurc Frontispiece by C. Toi-llAM Davidson. ** * In the Shadow of the Hills ' is simply fascinating. Its pictures of rural life, of sylvan sccncrj', and of individual character, arc not often equalled for truth and beauty. . , , We heartily recommend this volume." — Record. A COMPLETE CATALOGUE OF PEESEiXTATION BOOKS MAY BE OBTAINED ON APPLICATION TO FREDERICK WARNE & CO., Chandos House, Bedford Street, Strand. AD. II Blackie's New Illustrated Story Books. BY G. A. HENTY. Under Wellington's Command : A Tale of the Peninsular War. With twelve page Illustrations by Wai. Paget. Crown .Svo, cloth elegant, olivine edges, 6s. Both Sides the Border : A Tale of Hotspur and Glendower. With twelve page Illustrations by K.M.pu Peacock. Crown Svo, cloth elegant, olivine edges, 6i. At Aboukir and Acre : A Story of Napoleon's Invasion of Egypt. With eight page Illustrations by Wii.i.iA.M Rainey, R.I., and three Plans. Crown Svo, cloth elegant, ohvine edges, 5s. BY KATHERINE TYNAN. The Handsome Brandons : A Storj' for Girls. With twelve page Illustra- tions by Gertrude Demain Hammond, R.I. Crown Svo, cloth elegant, olivine edges, 6s. BY OLIPHANT SMEATON. A Mystery of the Pacific. With ei.:ht page Illustrations by Wa l Paget. Crown Svo, cloth elegant, olivine edges, 5s. 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CHILDREN'S BOOKS. An Alphabet of Animals. With Twenty-hve full-page Plates, a large number of Vignette^, and Cover Design by Carton Moore Park. Demy 410 (13 inches by 10 inches), 5s. The Troubles of Tatters, and Other Stories. By Alice Talwin MoRhis. With sixty-two charming Illustrations in Black-and-White by Alice B. Woodward. Square Svo, decorated cloth boards, 3s. 6d, Roundabout Rhymes. By Mrs. Pkrcv Dearmer. With twenty full-page Illustrations in Colour, Decorative Title- page, and Cover Design in two colours. Imperial Svo, 2s. 6d. The Reign of Princess Naska. By Amelia Hltchison Stirling. M.A. With overfifty Illustrations by Paul Hardv. Crown Svo, cloth elegant, 2s. 6d. Gd. to fid. sent post free on application. London: BLACKIE & SON, LixMited, 50 Old Bailev. THE EX-LIBRIS SERIES. Edited by Gleeson White. " There is no collection of books about books in any language so practical, so useful, and so generally instructive to the book-lover as this. It may be considered presumptuous (or me to say so, since I have writteij one of the volumes, but when one remembers that 'Alphabets,' ' Printers' Marks,' the designs of Diirer and Holbein, ' Bookbindings,' ' Modern Illustra- tion,' .ind now 'Decorative Illustration ' are found in it, one must agree with Mr. Walter Crane that but a study oi end- papers is needed to make the series virtually complete." — Mr. Pennell in the Daily Chronicle. Printed in imperial l6mo i>y the Ckiswick Press, ENGLISH BOOK-PLATES. ANCIENT AND THE BAYEUX TAPESTRY. Reproduced in 79 Half-tone Plates from Photographs of the Work originally taken for the Department of Science and Art. With a Histoncal Descrip- tion and Commentary by Frank Kede Fowke, of that Depart- ment, los. 6t!. net. MODERN. By Egkrton Castle, M.A., F.S.A. Third Edition, with 203 Illustrations. los. 6d. net. "All who concern themselves with books, their right custody and their appropriate adornment, will find much to interest and instruct them in the pleasant little monographs on book-plates entitled respectively 'English Hook-Plates". . . and * French Book-Plates.' . . . The study and collection of Ex-Llbris is a very fascinating hobby, and these two little hanabooks, which are very fully illustrated with striking examples, will go far to furnish it with adequate guidance." — Times. FRENCH BOOK-PLATES. By W.vlter H.^mil- TON, Vice-President of the Ex-Libris Society. New and enlarged Edition, with iSo Illustrations. 8s. 6d. net, LADIES' BOOK-PLATES. By Norn.\ Labou- chekk. Witk 204 Illustrations. Ss. 6d. net. "The book is an admirable instance of exhaustive treatment, and skows that a subject which appeals directly to a small number can be treated as to become quite a popular picture book." — Studio. AMERICAN BOOK-PLATES. By Charles Dexter Ailex. With 177 Illustrations. 12s. 6d. net. " Will delight all who are already taken in the meshes of this pRrti- cular study, and no doubt will bring many new fish into the net." ^Jgrning Post. THE DECORATIVE ILLUSTRATION OF BOOKS, OLD AND NEW. By Walter Crane. With 150 Illustrations, ids. 6d. net. " Mr. Crane has had a delightful task, and he has acquitted himseli S'lrprisingly well. . . . The book is a storehouse of good drawing." A coiiany. DECORATIVE HERALDRY. By G. W. Eve. With 203 Illustrations. los. 6d. net. " Is one worthy of a place in the Hbrarj' of all artists who devote some attention to applied arts. . . . The author has so treated his subject as to make it of especial value to the designer. The book abounds in good illustrations selected with much judgment and discri- mination." — Studio. MODERN ILLUSTRATION. By Joseph Pennell. Illustrated with 172 Dr.iwings by Modern .Artists. IDS. 6d. net. " The excellently printed and profusely illustrated book reflects credit on author and publisher alike, and should mark an epoch in the popular appreciation of the artist as illustrator." — Sketch. ^^ BOOKBINDINGS, OLD AND NEW. Notes of a I'.ook-Lover. lly Ur.\nder Matthews. With 9S Illustrations. 7s. 6d. net. " A brightly written handbook on this fascinating subject." — Titties, Illustrated Prospectus Post Free on Application, London: GEORGE BELL & SONS, York Street, Covent Garden. David Nutt, 270=271 Strand A NEW ILLUSTRATED WORK BY ARCHIE MACGREGOR. The World Wonderful, telling of Four Knights who adventured to the North, the South, the East and the West, seeking the World's End. Told by Charles Souire, and illustrated by A. Maccrrgor. Small 4to. uniform in size and typography with Jacobs' and Batten's " Wonder Voyages." Cloth, 6s. Mr. Macgregor's illustrations to Judge Parry's children's books have been warmly praised alike by artists and the i^eneral public. Katawampus, its Treatment and Cure. Third edition. Square demy 8vo, cloth, 3S. 6d. Butter Scotia, or a Clieap Trip to Fairyland. Square demy 8vo, cloth, 6s. The First Book of Krab. demy Svo, cloth, 3s. 6d. The above three works are written by Judge Parry, and fully illustrated by Archie Macgregor. Square The Publisher begs to draw fresh attention to the following illustrated gift books which he has issued. Fairy Tales from the Far North. By F. C. AsiijuRNSEN. Translated by H. L. Braekstad. With ninety-four illustrations by E. Werenskiold and T. Kittelse.s. The only English edition authorised by Asbjornsen's representatives. A beautifully printed volume of upwards of 330 pages, on paper of the finest quality, in specially designed cloth cover, small I 4to (*■ Wonder \'oyage^ " size). 6s. I For spirit, humour, and racy vigour tliese tales 1 compare with tlic best of Grimm's, whilst the illustra- tions are remarkable for their fancy and genuine ' national feeling. Fairy Tales of the British Empire. The well-known series edited by Mr. JosErH Jacobs, and illustrated by Mr. J. D. Batten. English Fairy Tales. 3s. 6d. More English Fairy Tales. 3s. 6d. Celtic Fairy Tales. 3s. 6d. More Celtic Fairy Tales. 3s. 6d. Indian Fairy Tales. 6s. No series of illustrated books issued of late years has appealed so much alike to lovers of tlie most graceful and humorous art, and to the public at large, as " Fairy Tciles of the British Empire." ' English Singing Games. Words and Music collected and edited bv Alice B. ' GoMME. Pictured in Black and White by Wini- \ FRED Smith. Two charming Albums, each 3s. 6d. These illustrations won for Miss Winifred Smith the silver and gold South Kensington medals, and were cordially admired by William Morris. AD. IV For Early Pulylication. In the Republic of Letters. By W. M.\csEiLE Dixon, Professor of English Litera- ture at Mason College, Birmingham. Small crown Svo. printed at the Constable Press on laid paper, cloth, gilt top, edges uncut, 3s. 6d. Contests : The Poetry of Matthew Arnold ; the Poetry of George Meredith ; the Poetry of the De Veres ; the Novels of George Meredith ; the Romantic Revival. &c. The Mirror of Perfection. Being an English version of the '■ Speculum Perfec- tionis " of Brother Leo, the favourite disciple of St. Francis of Assisi, by Sebastian Evans. l6mo. elegantly printed at the Ballantyne Press, and bound in specially designed cloth cover ; probable price 2s. 6d. The " Speculum Perfectionis " of Brother Leo, recovered last year and printed for the first time by M. Paul Sabaticr, the biograplier of St. Francis, is the oldest, the most authentic, the most genuinely faith- ful record of tlie Saint's life and work, and represents the view held of him by his most devoted followers before liis legend was edited in accordance with the requirements of ecclesiastical authority. Dr. Evans'' version will be found to preserve the medieval flavour of the original, and to exhibit the same qualities which have won such commendation for his translation of the "High History of the Holy Graal." The Rubaiyat of Omar Khayyam ; an English Prose Version by JrsTiN Huntly McCarthy. i6mo, cloth ; probable price 3s. 6d. Mr. McCarthy's version of Omar Khayyam, printed in Bodoni uncials ana published in 1888, speedily went out of print, and to-day ranks with the first edition of FitzGerald as a book-lover's rarity. The present edition, printed in ordinary type, has been thoroughly revised. Just Issued. SirQawain and the Green Knight. .•Abridged in Prose from the Middle-English Alliterative Poem by Jessie L. Weston, Trans- lator of Wolfram von Eschenbach's " Parzival " (2 vols. 15s.) Author of "The Legends of the Wagner Drama " (6s.) '• The Legend of Sir Gawain, &c." (4s. net). With Designed Title Page and Chapter Headings by M. M. Crawford. Minuscule 4to, printed on Hand-made Paper, cloth, gilt top. 2s. The poem here translated for the first time, faithfully, save for a certain amount of abridgment, has long been recognised as the masterpiece of English pre-Chaucerian narrative poetry , and as one of the finest Arthurian romances extant. In this story Sir Gawain, the pattern of knight- . hood and courtesy, has to undergo trials alike of his courage and of his loyalty in the face of amorous temptation, and comes out of both unscathed. The interesting relations bettieen the English romance and some of the oldest Irish heroic legends are briefly glanced at in the Editor's Introduc- tion. "Sir Gauiain and the Green Knight " is intended to be the first of a series of Arthurian romances unrepresented in Malory's Morte D' Arthur, and derived for the most part from an earlier and more mythic stage of the legend than that found in Malory. Archibald Constable & Co. Two Notable Art Gift-Books. ENGLISH ILLUSTRATION; •THE SIXTIES" : 185570. By GLEESON WHITE. £2 2s* raet* With numerous Illustrations by Sir E. BurneJoues, Ford Madox Brown, Birket Poster, A. Boyd Houghton, Arthur Hughes, Charles Keens, Lord Leighton, P.R.A., G. Du Maurier, Sir J. E. Millais, P.R. A., D. G. Kossetti, Frederick Sandys, J. McNeill Whistler, Frederick Walker, A.B.A , and others. THE NATURE POEMS OF GEORGE MEREOITH. With 20 full=page Pictures in Photogravure by WILLIAM HYDE. Of which there have only been printed 350 Copies for sale at Two and a Half Guineas (^2 12s. 6d.) net per copy. Also a Large-paper Edition, limited to 150 Copies, numbered and signed by the Artist and with an additional Etched Frontispiece. Five Guineas {£1 5s. net per copy. " We find in the book now under review no fewer than twent>' com- positions from Mr. Hyde's brush, each one of which testifies to the high quality of his work, and fully justifies all we have had to say con- cerning his abilities. These delightful drawings, excellently reproduced in photogravure, are a worthy accompaniment to Mr. Meredith's beau- tiful poems." — Studio. " His pictures accompany and relieve Mr. Meredith's poetr>' like instrument and voice. ... It is clear that he has looked and watched long, and impassioned hirrseif with the visible world. No less marvel- lous than his landscapes are his city pidures ; St. Paul's in a driving fog at noon viewed from the housetops seems to me to be in its own way a masterpiece. Every detail is charged with import. Like the vast city itself, the picture beckons and threatens." Mr. John Davidson, in the Daily Chronicle. May he seen at ail tke leading Booksellers'. 2 WHITEHALL GARDENS, WESTNHXSTER. S.W. THE PORTFOLIO Monographs on Artistic Subjects 3a. 6d 189 Rubens. By R. A". M. Steven- son. Greek Bronzes. By A. S, Murray. 1897. The Paintings and Drawings of Albert Diirer. By Lionel Cust. Crome and Cotman. By Lau- rence Binyon. Armour in England. By J- Staxkie Gardner. The Earlier Work of Titian. By Claude Phillips. as. 6d 1894. Rembrandt's Etchings. P.y P. G. Hamerton. Malta. By W. K. R. Bedford, Josiah Wedgwood. By A. H. Church. Jules Bastien-Lepage. By Julia Cart Wright. D. G, Rossetti. By F. G. Stephens. Frederick Walker. By Claude Phillips. FairWomen. By William Sharp. The New Forest. By C. J. Cornish. Thomas Gainsborough. By Walter Armstrong. Bookbinding in France, By W. V. Fletcher. The Engravings of Albert Diirer. By Lionel Cust. Italian Book Illustrations. By Alfred W. Pollard. SEELEV & CO., Ltd. 8 The Later Work of Titian. By Claude Phillips. Foreign Armour in England. By J. Starkie Gardner. 1896. The Picture Gal lery of Charles I. By Claude Phillips. JohnlaFarge. ByCeciliaWaem. Richmond-on-the-Thames. By Dr. Garnett. The Life of Velazquez. By Walter Armstrong. The Art of Velazquez. By Walter Armstrong. Royal English Bookbindings. By Cyril Davenport. 1895. The Early Work of Raphael. !iy Julia Cartwright. W. Q. Orchardson. By Walter Armstrong. Claude Lorrain. By George Grahame. Whitehall. By W. J. Loftie. Japanese Wood Engravings By W. Anderson. Antoine Watteau. By Claude Phillips. The Isle of Wight By C. J. Cornish. Raphael in Rome. r, in addition to a selection of the artist's best published work. Fourteen Drawings Illustrating Edward P^itz- Gerald s Translation of the " Rubaiyat of Omar Kha>'yam," by Gilbert James. Demy quarto, bound in scarlet cloth, extra. Limited edition, printed on art paper, 7s. 6d. net. iRetjJy in November 1898. S OLD BOND STREET, "W. GEORGE REDWAY Publisher Fine Prints . Illustrated The Coin Collector Illustrated Frederick Wedmore W. Carew Hazlitt The Stamp Collector Illustrated The Connoisseur , Illustrated Old Violins . Illustrated The above 7s. 6d. each net W. J. Hardy and E. D. Bacon F. S. Robinson Rev. H. R. Haweis Rare Books and their Prices With Chapters on Pictures and Porcelain, Pottery and Postage Stamps Tuscan Artists . . Hope Rea Introduction by Sir W. B. Richsiond, R.A. Illustrated The Symbolisms of Heraldry W. Cecil Wade Illustrated The above 3s. 6d. and Ss. each net ILLUSTRATED CATALOGUE GRATIS GEORGE REDWAY, Hart St., Bloomsbury AD. V \\\\\llllllllfl##//// V 11^1*11 *ii II II II II u U U U U U U U — Ifl — U^J SPHINX STVDIO l\ 20 Fitzroy St., London, W. VISITORS CLASSES . G. F. COdK. Mr. A. J. ELSLEY . . Afternoon I.Mc ( l:.»s . CHAS. HOIKDVl) .... . CH.AS. RdlllNSON . T. H. ROr.lNSOX .... . SOLOMON 1. SOLO.MON, A.R.A. , Ladies' I>.iy Life Class , lUack and \\'hite CLt&s . Saturday Afternoon Life Class . Composition Class & Sketch Club /\ All interested in Applied Art should order OVER 700 ILLUSTRATIONS YEARLY. IN 12 MONTHLY PARTS. 22 MARKS. Also in2 HALF-YEARLYV0LS.,eachl2MARKS The Largest Circulation of any Modern German Magazine of the Kind. Tlie October Number, first part of the Second Year, containing the Exhibition of Miniatures at the Munich Glaspalast. 95 Illustrations and Coloured Supplements. Price 2s. 2id. (2.20 marks), post free. November Number : Society of Artists at Karlsruhe. December Number; Modern Art Industrial Exhibition at Darmstadt. Detailed Prospectus can be obtained through any Boohsetler, or direct from ALEXANDER KOCH, Publishing Offices, HE AL^ SON'S Plain Oak Bedroom Furniture A PAMPHLET BY GLEESON WHITE with Sketches of the Furniture can be had free of charge on application to ^ ^^ -^ HEAL & SON, TOTTENHAM COURT ROAD, LONDON, W. AD. VII ^ Telephone s 5158 Gerard i^ ^H^ i^^^M^,^fi,oge^;G,RMf^:Qj ILfiJ«iBON.WC- The Leading House of Engravers ASSOCIATED WITH -^-^-<;i. The Art Photogravure Co., Ltd. The Art Photogravure Co., Ltd., have laid down a special plant, and combined with their unrivalled Photogravure process, is now able to compete with all the leading Continental Houses for quality and delivery. * * * Large Plates a Specialty. It * * n M * * Extensive Branch W^orks at Strode Road, Willesden Green, and 40 Rue de Paradis, Paris, and Miksa Utza, 8, Budapest. SEND FOR SAMPLES. PRICE MODERATE. QUALITY UNEXCELLED. PROMPT DELIVERY. WMbPAPLRS ORICINAl. MAKtB.S AATIST1C 'nu iKou MvstNic w WlOOUAMSkCa ■ sou 110-11101/ 5TRLLT LONDON -W- Qf ALW PtCORATORS Ef^Xibris Societi? (ESTABLISHED FEBRUARY 1891). President : Sir ARTHUR VICARS, F S.A., Ulster King of Arms, Dublin. Chairman of Council: HENRY B. WHEATLEY, F.S.A, 2 Oppidans Road, Primrose Hill, London, N.W. Hon. Treasurer : J. T. ARMSTRONG, io3 North Side, Clapham Common, Surrey. Hon. Corresponding Secretary, U.S.A. : CHARLES DEXTER ALLEN, P.O. Box 1147, Hartford, Conn., U.S A. ) The Entrance Fee to the Ex-Libris Society is 10s. 6d. Annual Subscription, One Cluinea. Members are entitled to receive the Monthly Journal free. Price to non-members, 2S. each number. All the back volumes of the Journal (I. to VIL, 1S91-97) are still to be obtained. For Prospectuses, Forms of Nomination, Rules, &c., and all information, apply to the Hon. Secretary and General Editor: W. H. K. WRIGHT, F.R.Hist. Soc, F.L.A., Public Library, Plymouth. AD. VI II High-class Bookbinding JOHN FAZAKERLEY, 40 Paradise Street, Liverpool. Books of every description carefully bound in Morocco, Calf, Vellum, Embossed Leather, Velvet, Embroidered Silk, &c. Plates cleaned and inlaid for grangerising, books with thick plates bound in a special manner, to open well. Manuscripts and Private Letters carefully bound. Newspaper Cuttings (In Memoriam, &c.) mounted and bound. Old Bodks carefully repaired. Manuscripts and Valuable Books kept in Milner's Safe when not in workmen's hands. Embossed Leather made up. Established 7S33, Telephone 1913. ^|Willii"iiDown,ng I^YeCti-iVc'ci'sHead 5 TciTiplc Row BlR-MIN GHam % William Downing, Bookseller &f Ljiterary Agent^ ^^e C^aucer'g Igeai fetfirarg, '^ Birmingham, *^ t^ «^ J~\EALER in Book-Plates and Books relating to the Fine Arts. 20,000 Book-PJates in Stock, comprising Eariy and Dated examples, designs by Famous Artists from Diirer to Sherborn and French ; German, French, and American Specimens ; Rare Old Pictorial Plates, including Book- piles, Library Interiors, Landscapes, &c. Special Catalogues Post Free on Application. To Collectors of Modern Book=Plates. Just Published. COMPOSITE BOOK=PLATES. A Book containing 60 Plates, all specially designed for those whose names they bear, dated 1S97-S. Reproduced in facsimile. Eight designed and drawn by T. S. Si.MSON, five by Frank Bramley, and the rest by E. B. Ricketts, Member Ex-Libris Society. Price 6s. net; by post, 6s. 4d. EDWARD ARNOLD, 37 Bedford St., Strand, London. Now ready, post free, 7d. BOOK-PLATES No. I., Part I., of a Beneral Catalogue or Book=piates« a Descriptive Reference List of Ex'Libris, Compiled and Annotated byJaillCS Dorman, Bookseller, 48 Southampton Row, London, W.C. <^ ^ TLbc Stubio HImanac for 1899 IN COURSE OF PREPARATION Ready in December Price 6d., post free, gd. 5 HENRIETTA STREET, COVENT GARDEN. To Artists, ROBERT W. ROUTLEDGE, /^OLONEL late Managing Director of George Rout- ledge & Sons, Ltd., has opened a Register of Artists' Names and Addresses and of the kind of work they undertake, and will be pleased to receive Specimen Drawings with a view to bringing them to the notice of Editors and Publishers. Terms on application. II Henrietta Street, Covent Garden, W.C. AD. IX THE STUDIO "THE STUDIO" HAS THE LARGEST CIRCULA- TION IN THE WORLD OF ANY MAGAZINE DE- VOTED TO THE ARTS Some Press Opinions " The best of all magazines of art." Daily Mail. "The most successful art magazine in Europe." Daily Chronicle. " The excellence of The Studio is persistent. Month after month the pages of this magazine, so creditable to all concerned, and an irrefutable argument that art in England is not a mere name, offer a new surprise." — T/ie Academy. "No other magazine gives such a variety of lithographs, colour-prints, and various forms of original work as The Studio." — TTie Star. "For profusion of illustrations there is no Art Magazine that can compare with The Studio." Yorkshire Post. " A marvel of cheapness.'' — Hearth and Home. " Indispensable to every one who wishes to keep in touch with modern art movements." — Globe. " It is not only in the front rank, but consider- ably in advance of its competitors." Liverpool Review. " The Studio has proved epoch-making in its way in pure art-journalism, waking up the old monthlies from their dreary lethargy." — Sketch. '■ The Studio is invariably good, full of good reading, honest and cultured criticism, and excellent illustrations ... a model of elegance and taste." Birmingham Daily Gazette. "The most successful art magazine in the world." — National Observer. " From the moment The Studio came amongst us we found ourselves in possession of a magazine which had had no forerunner and which has had no rival. There is nothing to compare to it — it is far and away beyond everything else. . . . The Studio has done more for the right diffusion of the right art in England than all the other maga- zines put together, and more than most of the schools. ... I believe that The Studio has done more for the beautifying of the home than any other part of the great machinery which found its motive power in the vast art movement of our times ; and it has done it because it has been guided by the best taste and motives. . . . Were I cut off from all illustrated magazines but one, I would choose, feverishly choose. The Studio." Mr. Hal Dane in St. Pai/l's. "The place which The .Studio has supplied in our art periodical literature would now seem sadly blank without it. It began well, and it has gone on improving, widening the range of its observa- tion, broad and catholic in its sympathies, and increasing in the number, beauty, and variety of its illustrations. It is a highly sensitive mirror, reflecting endless phases of art, and commenting on them, not in that tone of offensive self-conscious superiority into which art critics, more than others, are liable to fall, but with an endeavour to under- stand and interpret the aim of the various artists." Birmingham Post. "Le premier magazine artistique du monde." Le Figaro. LONDON : 5 HENRIETTA STREET, COVENT GARDEN. PARIS: 28ij/5 RUE DE RICHELIEU. NEW YORK: 140 FIFTH AVENUE. AD. X OETZMANN & CO. 62, 64, 67, 69, 71, 73, 75, 77, & 79 HAMPSTEAD ROAD, W. (Continuation North of Tottenham Court Road. 61 GRAFTON ST., DUBLIN; 75 UNION ST., RYDE; 202 RUE ROYALE and 12 RUE DE LA POMPE, BRUSSELS. USEFUL AND ORNAMENTAL NOVELTIES, SUITABLE FOR PRESENTS. SPECIAL ILLUSTRATED PRICE LIST POST FREE. HANDSOME POLISHED BRASS FLOOR LAMP, fitted with best quality duplex extinguisher burner Cut Glass Flower and globe or shade holder, complete. Holder on richly 37/6. Extra for i8 in. Lace Shade, as shown. 7/6. Elegant real "Dog Toby ' Doulton Ware Ster- ling Silver-mounted Tea Pot, .Sugar Basin and Cream Ewer, in four sizes. Capacity of Tea Pot. 4 pint ... 8/11 the set of 3 pieces, t „ ... 10/6 li pints ... 13/11 ,, 2 „ ... 17/6 chased solid sdver HotWater Jugsand CoffeePotstomatchabove; foot, 6 in. high, 4/9. i pint, 8 '6; 1 5 pints. 10,6; 2 pints, 12 Beach. SHERATOX INLAID HALF- CIRCLE OCCASIONAL TABLE, fitted with drawer, £2 15 0. Do. do., with top to open and form Card Table. £3 15 O. ^ocictijfor|lroinotiiigCl|ristiint}iiioli]ltbiitij SIDE-LIGHTS ON CHURCH HISTORY: His- lory of Karlv English Art. V.y the Kcv. K. 1,. Ci TTS. D-D. Demy Svo, cK'lh boards, 6s. "This compendium is, allowing for its brevity, the best work of the kind which has been pubHshcd in English. Mr. Cutis's book, in short, I*; at once fresh, readable, and deserving to be read. "— .-J//i«r«ffK»w. VERSES. By Christina G. RossETTi. Reprinted (rem " Called to be Saints," "Time Flies," and "The Face of the Ueep." Small post Svo, printed in red and black on hand-made paper, buckram, top edge gilt, 3s. 6d. ; limp roan, 5s. ; limp morocco, 7s. 6d, THE FACE OF THE DEEP. A Devotional Cotnnientiiry on the -Apocalypse. By Christina G.Rossktii. Amli'T I'f " Time Flies," i^c. Demy ovo, cloth boards, 7s. 6d. TIME FLIES : A Reading Diary. By Christina Ci. RosSKTTi. New Edition. Crown Svo. reprinted on hand-made paper, top edge gilt, buckram boards, 3s. 6d. ART PICTURES FROM THE OLD TESTA- MEN'!". Sunday Keadiii:;s for llic \oun^. -\ Series of Ninety Illustrations from Original Drawings by the late Lord Leighton, the late Sir E. Hurne-Joncs, Sir E- J. Poyntcr. G. F. Watts, K. Armytage, F. Madox Browne, S. Solomon, Holman Hunt, I'ic. With Letterpress Desrriptinns by ALtv Fox. 4to, cloth boards, 5s. JOAN THE MAID : Deliverer of England and France. By the Late Mrs. Rundi.f. Chari.es, Author of " The Chronicles of the Schonbcrg-Coita Family." Demy Svo, cloth board--, 3s. Od. THE MESSAGE OF PEACE, and other Christ- mas Sermons. By the late R. W. Chukch, Dean of St. Paul's. Crown Svo, on hand-made paper, top edges gilt, buckram boards, 2s. 6d. ; imitation crushed morocco, 7s. 6d. THE HOLY GOSPELS, wllh Illustrations from the Old NListers of the Fnurteenlb, Fifteenth, and Sixteenth Centuries. More than 3cx:i wnrks dealing exclusively with the events of our Lord's Life have been chosen from among the greatest examples of the Italian, German, Flemish, and French Schools, for the subject of these Illustrations. The Work will be issued in Twenty- Four Parts, price is. 8d. per part. Part I. will be ready January 2, 1899. The Parts will not be sold separately, but only to subscribers to the whole. A form of subscription m.iy be had on application. HISTORICAL CHURCH ATLAS. Illustrating the Histor>' of Eastern and Western Christendom until the Refor- mation, and that of the Anglican Communion until the present day. By Edmund McClurh, M.A. Containing Eighteen Coloured \iaps, besides some Fifty Sketch Maps in the Text. 4to, cloth boards, leather back, i6s. '* The 130 pages of letterpress into which the fifty sketch maps are incorporated, form an extremely careful piece of compressed work designed to explain the large maps. They arc, in fact, an epitome of Church history, and every effort appears to have been made to make the account precise and accurate." — Guardian. *' A great deal of labour and sound scholarship has gone to the making of this atlas.'' — Academy . ANCIENT HISTORY FROM THE MONU- MENTS: ASSYRIA, KROM THE EARLIEST TIMES TO THE FALL OK NINEVEH. By the late Gkokce Smitk, of the British Museum, New and Revised Edition by the Rev. Prof. ■ A, H. Savce. Fcap, Svo, cloth boards, as. LIBRARY EDITION OF MRS. EWING'S W<)KKS. Complete in eigliteen uniform volumes. Crown tivo, half cloth, 23. 6d. each. The complete Series, Volumes I.-XVIII., in a cloth case, 48s. This is the only Complete Edition of Mrs, Ewing's Works. The last Two V"olumcs contain much new matter. London : Northumbrrland Avf.nue, W.C. ; 43 Queen Victoria Street, K.C. Brighton : 129 North Street, UCCRS. LTD. ^"WILSONS' S ^59 -^^^■^ ^ond Street^ IF. DEALERS IN ARTISTIC DAMASKS from Designs by WALTER CRANE, LEWIS F. DAY, and other Eminent Artists. Quality irreproachable. Prices within the reach o£ all. Catalogue with Sixty Designs free. OF CURTAINStheNEWEST &> MOST RECHERCHE DESIGNS Manufactured for us in Applique, Lace, Soutache, Renaissance, Cluny, &c Prices very moderate. Beautifully Illustrated Catalogue Free. CAMBRIC HANDKERCHIEFS In Irish and French Cambric from 4 6 dozen. Exquisite Hand-Embroidered and Lace-Trimmed from 6 6 to £5 5s. Inspection Invited. DAMASK CLOTH as Illustration (being "The Studio" Competition Prize) in Fine Quality, 22/-. IS9 NEW BOND STREET AD. XII THE STl DIO SPECIAL WINTER ., MODERN BOOK-PL AND iNERS B RM I. Gl FI'soN rbi'. ,i,r,nw; LVRIL ■~,i')l.lilF. YH aTAJ'iOIOOa -xtant, and anoth. «—«-»« €^ BOOK-PLATE BY HAROLD NELSON i b* THE STUDIO SPECIAL WINTER-NUMBER 1898-9 MODERN BOOK-PLATES AND THEIR DESIGNERS RITISH BOOK-PLATES. BY GLP:ES0N WHITE. D I ■ What is a book-plate ? The designer JL—-^ of one of the most important modern e.\amples, which he cut on wood him- self, incised around the edges of the engraved block the legend: "A book-plate is a foolish BV CYRIL GOLllIE thing." Yet this definition is not exhaustive. It would fail to supply sufficient suggestion for the most abstruse philosopher, ignorant of all that relates to book-plates, to evolve an example straight away from his inner consciousness. One man's wisdom is often another man's foolishness, and so we must search farther. The matter-of- fact reply to such a query would be that a book- plate is neither more nor less than a label intended to be affixed in a book to denote its ownership. The accident that the label is sometimes decorated, or employs armorial evidences of identity, instead of the legibly inscribed name, affects it not at all. Book-plates undoubtedly grew from the coat-of-arms, which, illuminated on a manuscript, or inserted within a bound volume, performed exactly the same purpose that the signature of the owner does to-day. Indeed, the use of heraldry in this way lingers on plate and on note paper, on coaches, and in stained- glass windows. At the time the book-plate was evolved, heraldic indications of a man's name, rank, and pedigree were more easily interpreted by the mass of the people than if they had been written. Nowadays the reverse holds ; any- body can read, while very few- can interpret the signifi- cance of blazoned arms. At this place it would be interesting to look back historically and trace the evolution of the book-plate through the centuries. A plate of Jean Knaupens- berg, dated about 1450, is extant, and another dating from 1480 or thereabouts 3 524137 BritisJi Book-plates ^^%:.,.,^ ^Sni : GLQ]fe^^ER|! ^^ — a " gift-plate," as it is called — is known to have been inserted in books given by Hildebrand Brandenburg, of Biberach, to the monastery of Buxheim. But such an historical sur\ey would be covering ground already exhausted. The late Lord de Tabley, published his admirable Guide to the Study of Book-plates in 1880. In 1887, Sir Augustus Franks circulated privately a pamphlet on English Dated Book-plates, 1574-1800. This was followed with other pamphlets by Messrs. J. Paul Rylands, H. W. Fincham, and James Roberts Brown. In 1892 the first edition of Mr. Egerton Castle's English Bonk-plates was issued, followed quickly by Mr. Walter Hamilton's French Book- plates. In 1893 Mr. W. J. Hardy contributed his admirable monograph, Book-plates, to the " Books about Books " scries, and Mr. Egerton Castle revised and greatly enlarged his work in a second edition ; and in 1895 ^"^'^s Noma Labouchere produced a notable treatise on Ladies' Book-plates, with a list that seemed exhaustive, until Mr. J. Carlton Stitt supplemented it by his List of English Ladies' Armo- rial Book-plates. 1895 saw also the issue of a fourth volume devoted to the subject in Messrs. Bell's " Ex Libris " series — American Book-plates, by Charles Dexter Allen ; and the same year witnessed the completion of Mr. Walter Hamilton's big quarto volume, Dated Book-plates, followed in 1896 by a greatly enlarged edition of his French Book- plates ("Ex Libris" series). In 1897 came Mr. H. W. 4, Fincham's Monumental Artists and Engrai>ers of British Book-plates, and in 1898 appeared a volume devoted to The Market I 'alue of Btmk-plales. Besides this formidable array of authorities, of whom most have devoted no small space to the his- tory and anecdote of their subject, there have been a large numlier of foreign works. So far we have not mentioned the official publications of the English " Ex Libris " Society, which has issued a monthly magazine since 1891, nor of American and Conti- nental societies devoted to the cult of E.v Libris, nor the many articles in various periodicals, from the " Remarks on the Invention of Book-plates " in the Gintlenian's Magazine, 1822, to the current numbers of our illustrated magazines and weeklies, which frequently contain reproductions of book-plates, with short articles upon the subject. Therefore, in face of such a mass of information, accessible to all who wish to consult it, it is un- necessary to do more than indicate where it may be found, and we may pass at once to our present theme, the modern book-plate, which might be still further limited to the modern " pictorial " BY W. 11. .MARGETSO.N British Book-plates BY WALTER ESSIE plate, as it is called. The revived fashion for the use of specially designed labels for books usually eschews heraldry, and prefers a deco- rative name-plate, except in a few cases, where " canting heraldry," as it is called, is able to pic- ture a man's names by hieroglyphics — e.g., Walter Crane (a jar of water and a bird) and similar cogno- mens that can be represented by pictured analogy. The decoration usually employed is purely an addi- tion and the book-plate justifies its existence only because the owner's name is (or should be) clearly in evidence. As a rule, the legend, E.x Libris, or E. Libris, also appears on it. Without raising the dispute whether Ex or E. is more correct, a conflict which is akin to that of the Big-enders and Little- enders in Gullii'ei-'s Travels, the legend finally establishes the fact that the label is intended for books, and books only, and is not an ornate luggage label, or florid visiting-card. The term «.v libris, so often found on a book-plate, is in com- mon use outside England, and is frequently em- ployed at home also to denote the label itself. It is freely used as a noun, an adjective, and a verb, and rises superior to syntax, and occasionally to common sense also. To define this protean word is not our purpose. " He exlibrises " may, or may not, be a graceful phrase to describe the pur- suit of a collector of book-plates ; yet, although it would be shocking to meet it in print, it would hardly be surprising. Considering how quickly the bicycle introduced the elegant verb " to bike," anything of the kind is possible. The term «.v libris, like many another refugee, has taken root in our language. The " Ex Libris " Society, devoted to the study (and amassing) of book-plates, and the " Ex Libris " series, concerned in part with the history of the book-plate, are but two of the many familiar instances of its employment. Another and still more reprehensible intruder, stiper-libros, applied to a coat-of-arms stamped upon a leather binding, and usually applied to the outside of the cover, must be named only by way of protest. No right-minded person uses the hateful term, nor can any logical reason be found to excuse it. Nobody wants to call a coat-of-arms on a carriage a '' super-vehiculos," or a crest on a sheet of note- paper a " super-chartos." Even if such charm- ing terms were more gracefully Latinised would they be defensible ? Ex libris must needs be accepted, if only as a convenient synonym, to avoid undue tautology when talking or writing of book -labels. All the same, we can but regret that " book-label " had not been generally adopted in the place both of " book-plate " and ex libris. In discussing a subject so limited to one definite purpose, as a book-plate needs must be, it is im- possible to avoid repeating much that has already appeared in The Studio. Yet in an extra number, which is supposed, by the accepted theory of such publications, to address an audience out- side the regular subscribers to the periodical which issues it, it may be pertinent to reiterate certain advice often given before. If the advice be good, BY I'AIU. WOOIIKOI-KE British Booh-platcs riaucLriackinlau.w BY EI.I.A E. O. IIAI.I.WARIJ and is still disregarded by a vast number of people it concerns, its repetition becomes a duty, although, like many monitors who preach duty, the danger of becoming a bore in so doing is fatally close to the writer. Book-plates appeal, broadly speaking, to two, and only two, classes of people. First, to the collector pure and simple, who does not permit his greed for quantity to be hampered by any regard for quality ; that is to say, for artistic quality. He has his own standards of value, among which it is to be feared the beauty of the design plays a very minor part, even if it be not totally ignored. The book-plate lovers, who form the other class, regard it exactly as they regard any other printed device. If its design is pleasing, they are pleased with it; should it chance to be by a well- known artist, they value it as a specimen of his work. If it shows ingenuity, good technique, and well-managed decoration, they are glad to possess an impression, and even to mount it formally in a collection ; but if it be a mere commercial pro- duct, or a feeble scrawl by an amateur devoid of taste and skill, the fact that it is a book-plate does not prevent its consignment to the rubbish-heap. A certain class of folk would have you believe that an " etching " or a " lithograph " becomes interest- ing because of the process used ; as another class look upon anything serving the purpose of a book- plate as a covetable specimen. Wiser folk know- that many " etchings " are as valueless as the 6 average engraving in a patent medicine jwrnphlet, and these care no more for a Ixid book-plate than they do for the " chromo prints " enclosed in ])ackets of cheap ciL,'arettes. 'I'here are those who < oHect all these things ; but the " chiffonnier," useful as he may be in the scheme of practical existence, has (or should have) no place in the field of art. Rubbish, be it in the form of book- plates or cigar-ends, is merely rubbish, and charms you no more after it has been sorted, classified, collected, and indexed, than when it reposed in a waste-paper basket, or lay unheeiletl in the gutter. It is true that against such a sweeping con- demnation of poorly designed hook-|)lates, those of the past should be excepted. As documents (of infinitely minor importance, it is true), they may be relegated to the not very honourable position of mere curios; these fulfil a certain purpose just as SKETCH roR BOOK-IM.ATE BV T. II. ROBINSON .i»':'f;^,-^:^«:iH* ;? 3s*;,>k».> ^..•!,-5~ ,■ r k. i^re4 li- BOOK-PLATE BY CHARLES ROBINSON ii />// iM aud M a cl< i nl ai/ 0^ ■U in il liiU'il ;i lAi-taiii purjiubc jUbl ^^ ic writer. will) liocb tiut permit bis hampered by any regani ' say, for artistic quality. H I ■ I It exai p: _ - .ico. If v.. . .., pleased with it: should it ch;i known artist, they value it .'i work. If it shows int'eniiitv. lion ; but if it be a m- il'ji I, or a feeble scrawl by a; tastt and skill, the fact tliat ii .■' , or a ■ i: , ■ of the I lool: npon anyl', ^ the pu; plate as a covi •— - ' that many " ei 1 Brifis/i Book-plates HY W. K. WEVKR special pleaders find some defence for the collec- tion of postage-stamps. But, except in the case of a very raljid collector, a single example of a worthless type should be amply sufficient. As a hobby for the middle-aged, who do not happen to care for art, and yet need something to give them a zeal for hunting in old book-shops, and rearranging their collection, the common bookplate is popular and innocuous ; but we must here distinguish very carefully between the "book-plate" as it is understood by these simple-minded enthusiasts, and the book-plate as it appeals to lovers of art. For the collector who is omnivorous — and chiefly for him, it is to be feared — many societies exist; and their periodical transactions are but rarely con- cerned with its art, except so far as heraldry enters into its composition. So the many monographs devoted to the subject — some admirable as litera- ture, and betraying the writer's distinct apprecia- tion for such art as the book-plate offers — are com- pelled to devote endless pages to the dreary differ- ences between Tweedle-dum and Tweedle-dee to separate their subject into classes — Jacobean, Chippendale, festoon, and wreath, and the like, of which a large number are guileless of art. The sub- UV W. R. WEYBR BY W. R. WliVER ject has, moreover, been subdivided, and volumes devoted to ladies' book-plates, to musical dv/ZA/vs, or to the "plates" of a particular locality, are not infre- quent. But although several works on the technical aspects of the plate, with special attention to its engraver, are extant, very few, if any, of the many pamphlets and treatises have been devoted entirely to its design. Therefore, perhaps, it would be best here to regard the tx libris solely as a speci- men of design ; at the same time (according to the creed of the modern craftsman), insisting that to be a good design it must also fulfil loj-ally the purpose for which it is called into being. But if it were considered only in this aspect, it would not be seemly to declare which examples deserve to be called works of art, and which must take the lesser 9 British Book-plates but not dishonourable rank of excellent de- signs. It would be invidious to speak dog- matically of the works of contemporaries, and finality of verdict is seldom within the power of any single judge. The fashion of the hour aflects our vision more than we care to acknowledge, so that no doubt much of the chaff that to-day looks like honest wheat will be quickly dispersed to the four winds when other seasons have arrived. If a pattern be " the mode," specious traves- ties are often able to pass muster, less be- cause they deceive us than because they seem so nearly meritorious, and so nearly as good as their betters that it would be unjust to condemn them entirely. Certainly no attempt must be made to rank all modern book- plates above their true level. A few, but only a few, are entirely admirable as works of art ; a larger number are acceptable designs fulfilling certain conditions admirably ; but others, even those which find some favour for the moment, are no whit better essentially than many of past dates, which now stand revealed in all their poverty of idea and slovenly or tamely mechanical execu- tion. Again, it is hard to apportion the merit of " the second best " in a BY J. WILLIAMS BY J. WILLIAMS BY \. WILLIAMS given hundred ; some two or three (perhaps a half-dozen) would at once be placed first by the unani- mous opinion of critics of different views, but from the next batch, representing the current average, each critic would sort out those he chanced to dislike least, and pro- bably no two of such assortments would be the same. Therefore, even among those illustrated here, carefully as they have been selected, there are probably examples which will fail to please some readers. But, all the same, they may be taken as representing the best average of the best efforts of modern designers in this connection. What a book-plate should be is a large matter to define. But among its essentials are, first, that it bears legibly the name or, at least, the monogram of its owner (that is, of course, assuming it is a non-heraldic plate). It is con- venient in many cases that it should also include his address. But this apparently simple addi- tion is likely to bring sorrow upon the owner of the plate. Not because he may change his abode, and so make all the plates incorrect, requiring new ones substituted ; that is an obvious but minor trouble ; the real danger is that, having divulged his address, the whole tribe of the collectors from the next street to the farthest ends of the earth write to him for copies. Sometimes they enclose specimens of their own plate, very rarely they are even courteous British Book-plates and tactful to the extent of enclosing postage- stamps of a sort the receiver can use in replying. As a rule, they either omit stamps or send speci- mens of local issues not current here. But the time and trouble involved in replying to these unsolicited demands are likely to bring the whole cult into disrepute, especially as it is darkly BY D. E. WILSON hinted that not a few of these pestilent corre- spondents beg only to sell the plates they have amassed — whether in a collection or separately hardly affects the question. To ask for a gift with a view to future pecuniary profit at once places the demand on the level of commercial advertising circulars, and such applications can be dropped straight into the waste-paper basket with a clear conscience. Only those who have suffered can realise the real nuisance of daily applications for copies of one's book-plate or plates, as the case may be. Any owner of a noteworthy example (espe- cially if his position in life, from whatever cause, makes his address easy to discover) would tell of dozens, possibly of hundreds, of such applications persistently recurring in undiminished numbers. Therefore, unless the plate be for a permanent library, private or public, the owner's address thereupon cannot be deemed essential. In these days of photographic reproduction, a label need not be limited to one size. As a rule, plates are larger than need be, and too often lose the idea of a decorated label, and become a picture, with the owner's name below. Upon a perfectly satisfac- tory plate the due prominence of the owner's name as an integral part of the design is essential. It must not be forgotten that a book-plate need not be (but too often is), a sort of pictorial summary of its owner's pursuits and fads. In essence it is merely a printed version of the ordinary autograph that most people inscribe in their books. They do not follow their names with a running com- mentary, such as : " Bicycles a bit, is fond of roses, sketches a Httle, keeps bees, admires Egyptian art, is fond of reading, plays golf, keeps a pet kangaroo." Yet some such absurd medley of unrelated facts appears in hieroglyphics on many a plate, mi.xed up, it may be, with a few great verities — Love, Death, The Triumph of the Obvious, and the Consequences of Eating Apples in Eden — thrown in to knit the whole design together. As well cover a house with pictorial posters announcing its inmates' tastes, or add to a luggage label the political, social, and theological views of its owner, with a few playful allusions to BY II. E. WILSOS Brifis/i Booh-plafcs CnAGLES MOLne which is as ajil as it would be to embroider on one's purse, " He who steals my purse steals trash." Such things are like a pun on a man's name ; if it \yt new to the pun- sters it is sure to Ix; fatally old to the punned-upon, and merely cxi)oses the would- be " funny " person to contemptuous silence, if not to a still more unpleasant experience. In short, it seems that the one personal taste which is not incongruous when expressed on a book-plate is its owner's laste in books. If, like the majority of people, his reading be fairly eclectic — ranging from a shilling shocker to Herliert Spencer, a minor poet to a new humorist — so healthy a taste needs no sign- board announcing the fact. As well say, " I am moderately honest, I pay as litde income- tax as my conscience allows, I am as patriotic as I can be economically, and I am a deuced fine fellow at heart, although you might not think it ! " Such a confession would hold true for hundreds of thousands out of every million of IJritish citizens. But it is needless to give such a statement publicity : nobody doubts it : Did the whole object of a book-plate de- pend upon its appearance in the albums of fellow-collector.s, such absurdities might be less unpardonable. Advertisement is a great factor in modern life ; and those who thus utilise 1 a hobby to advance their own im- BV .1. W. SIMPSON his domestic habits. That some bookish fantasy may be not merely tolerable but pertinent is admitted. That, if the owner of the plate is a collector of any given species of books, something appropriate should adorn his ex libris, is also granted. Hut while a collector of books on fishing may ask for a rod and the rest of his sporting outfit to be symbolised ; if he be only an angler, why state it on the plate ? If he is fond of reading, why explain it in the most obviously unneces- sary place — his books ? That a man should lalx.-l his bicycle with a reference to his books is not more foolish than that he should label his books with a reference to his bicycle. But to proclaim on his cycle that he cycled, or on his books that he is bookish, seems the most foolish of all. Nor is even a reading maiden or a youth an ideal motive. It is excellent, but it is also very hackneyed — as time-worn, indeed, as the would be " funny " quotation {i.e., would be " funny " in this context), " The wicked borroweth and payeth not again," JWSIMPSON HIS BOOK BY J. W. SIMPSON British Book-plates BY J. W. SIMPSON which your genuine collec- tor regards much as " the proud scion of a noble race," with many quarter- ings on his shield, looks down on one who has but a doubtful right to a crest, and conscious of the extreme uncertainty of his claim to armorials, con- tents himself with a mono- gram. Yet the most rabid collectors instinctively ac- cept without protest the meanest, poorest devices a tradesman offers them, and so far seem to have made no consistent effort to restore the once noble science of heraldry to its true dignity. This is the more regrettable since among the earliest armorial portance would show some reason for " playing it for all it was worth." But to stick in one's books these pretty, self-selected autobiographies, ex- pressed through the medium of picture language adapted for infant minds, is folly. In the ordinary course of events a man's books do not pass from his possession during his life, and why therefore need he make note of his current taste in each one ? Or if he is preparing for posthumous advertisement, why put in his books that which good taste has long banished from tombstones ? An Englishman usually prides himself upon his reticence concerning his personal tastes and affairs, a habit jealously guarded for centuries and not to be set aside by the allurements of a "pictorial plate." Even the most foolish person is apt to find his tastes ripen (or decay) with years, and the heroes of his youth rarely survive; consequently, if he elects to have certain authors permanently immortalised as his household gods, he is driven either to the banal choice of "Shakespeare and the Bible" (as one current design has it), or else he sees with regret a proclamation of his loyal devotion to the names of authors whose allurements he has outlived. It is strange to find that collectors, as a rule — even cultured people — are unconcerned with the artistic reticence of the book-plate ; indeed, not a few instinctively distrust and dislike those speci- mens which betray even a slight value as designs. Mi.xed symbolism, jumbled hieroglyphics, faltering technique, and hackneyed imagery find favour in their eyes. But if collectors of this class were enthusiastic about heraldic design to the exclusion of all else, we might pardon their chary recognition of these specimens of so-called " pictorial plates," BY J. W. SIMI'SOX Byitisli Boolc-platcs needful to protest openly against its neglect of a patent duty. This is urged against the attitude of the e.\liii;itions as a whole, not in favour of one artist above another, or of one style of design. There are dozens of good styles — from the beautiful engravings of Mr. C. W. Sherborn (which the Society appears to appreciate fully), the etchings of Mr. G. W. Eve, the pen-draw- ings of Mr. Erat Harrison and Mr. W. R. Weyer — among heraldic designers, to the legion of draughtsmen who turn out so-called " pictorial plates." Whether you choose mediaeval styles, old German, Rococo, French, or the latest mannerism in black-and-white, there are always men who do admirable work in their chosen style, and others who are merely feeble imitators, copying all the weaknesses of their models and omitting the redeeming merits. It is surely not asking too much of a book- plate that it should betray both idea and adecjuate execution. Possibly, if either the idea or its rendering is superlatively good, one may forgive the absence of the other (juality ; but when both idea and execution are tame and foolish, when neither symbolism nor deco- ration are more than trite and hackneyed, when the whole design has but one dominant note, and that is " arrant vulgarity," both in idea and BY M. F.. TIIOMrsON plates are some designs by Albert Dlirer, and in the first centuries of their use, many armorial devices of real beauty, considered solely as decoration. That the English " Ex Libris " Society has not been specially anxious to im- prove the designs for book-plates is the worst truth to be urged against it. For if a repre- sentative society does not display, by advice and practice, a real desire to raise the artistic merit of the objects whose collecting it deems worthy, it has missed a peculiarly timely opportunity. No personal respect for its individual members can be allowed to stand in the way of plain- speaking. Judging from the criticism of new and old plates published in its official publica- tions, the personal plates of some (not all) of its officers, and the rubbish prominently dis- played at its annual exhibitions, it would be scarcely an exaggeration to declare that its influence has been positively harmful, or — taking the most lenient view — absolutely nil, on modern design. That contemptible designs should be passed over in silence is bad enough ; but when, as has been often the case, quite inferior designs have been awarded places of honour, and first- class work has been stuck in odd corners, it is 14 BY M. E. THOMPSON British Book-plates BY J. WALTER WEST sideration for the ordinary principles of good design that would be applied to any other species of composition. It has too frequently been the custom to regard heraldry as something of so profoundly a mysterious nature that it was thought to excuse poverty of invention, ignorant drawing, and incoherent composition. . . . Every form of art has peculiarities which more or less control its technique, and heraldry no less than others ; but that is all. Artistic weakness is no less weak because it is heraldic." While heraldic forms must needs be not pictorial and realistic but conven- tionalised to a great extent, yet there is all the difference between a lifeless copy of a dead con- vention and a new type evolved by the worker. Nor, as drawings alone, do the heraldic plates of to-day fail to satisfy one ; they are usually vignetted groups of arms — i.e. enclosed in no panel, or if enclosed, in no way conforming to the proper decoration ; yet few subjects are more suitable for filling a rectangular, a circular, or almost any normal shape, than those of heraldry, where with mantling, ribbons and other devices, there is pre- cedent for every form of treatment, except the pitiful idea which obtains in most illustrated Peerages and works of the same sort, or on the engravings of modern silver ware, the type that has been accepted as fitting on the commercial book-plate for years past. execution, strong words are needful, and unless the book-plate is to become contemptible, some of its admirers should come forward to purge their collec- tions of unworthy specimens. Especially is this true of heraldic plates to-day. A bare half-dozen designers could be found whose work is above the level ; the rest are mere commercial engravers, with a deadly dull ideal of neatness as their one aim. Their designs possess no "colour," as an artist understands the work in their black-and-white ; no " decorative " feeling, as the old heraldic artists possessed in remarkable degree ; no attempt at vigour or splendour of design, both characteristic of the best plates ; but in place of these sturdy qualities we find prim little motives mechanically drawn with a thin scratchy line, absurd deference paid to "tinctures" (a late innovation), and not an inch of real " drawing," real invention, in a hundred examples. Compare, for instance, a lion as the old men drew him, with the jejeune beast rampant (in name only) on most modern plates, or even a con- ventional form, such as the jleur-de-lys, as we find it on shields at Westminster Abbey and elsewhere, with life and strength in its lines, contrasted with the geometrical figure, dull and formal, that re- presents it to-day. There are certain liberties which must not be taken ; but, as Mr. G. W. Eye, one of the most accomplished heraldic designers, has said : — " Heraldry must be treated with the same con- BV J. WALTER WEST »s Rritisli Book-plates Mr. E. Hence modern heraldic tx libris of worthy design, ahvajs excepting the finely engraved copper-plates of Mr. C. W. Sher- born, the etched plates of Mr. G. \V. Eve, a few by D. Y. Cameron, and possibly one or two occasional examples by men of lesser note, are non-existent. In pen-drawn designs we find Mr. Erat Harrison and Mr. \V. R. W'eyer almost alone in even an attempt to use heraldic forms witii any feeling for modern decoration, although those by Mr. Harry Soane, if not very novel in treatment or varied in idea, are distinctly removed from the average level, and deserve their rightful meed of praise. There- fore the heraldic plate is but sparsely represented here. Among modern designers for pictorial cv libris, A. Abbey, R.A., has composed a trio of characteristic and de- lightful drawings for Austin Dobsoii, Edmund Gosse, and J. Brander Mat/tews, three authors of note wlio (I believe) have each decided to refuse a copy of his plate to all and sundry collectors who write desiring ex- changes. It is not fair to make public many of the designs herein reproduced or referred to without stating the attitude of the owners of the first designs noticed, which is being adopted by many other owners of plates ; an attitude fully justified by circumstances, and one likely to become still more general as the army of persis- EX LIBRIS ED^X^ARD MORTON IIV K. H. NHW mcreases its EH HERBERT'S- POLL^RDl UV E. II. NEW tent collectors demands. Reproductions of Mr. G. W. Eve's etched plates give so poor an idea of their quality, as proved by several attempts made elsewhere, that here it has been thought best not to attempt it. Hut had it been possible to give good impres- sions of the Rouge Dragon plate or of those for George Edward Cokayne, and half-a- do/-en others, his full right to the very highest praise for heraldic ex libris would be unquestioned. Employing Kv K. II. NEW etching usually, he gains a certain force which copper- plate engraving rarely, if ever, achieves. His drawing is crisp, his floral forms recall the best examples of Gothic carvings, his sense of composition and spacing leaves nothing to be desired. In short, within the limits of the armorial plate he is in the very front rank ; to say more would be needless, to say less would be ungracious in face of the plain f;xcts evident to any observer. The fol- lowing is a fiiirly complete list of his finished designs, to which should be added two, if not three plates, executed for her Majesty's library at Windsor Castle : IV. Flory, 1891 ; Frederick B. Senior, 1892; H. Astley Phillips, 1892; W. H. Weldon, 1892; Evarard IV. Barton, 1892; A. R. M., 1892; Sir David Evans, K.C.M.G., 1893; IV. H. Weldon, 1893; R. E. H. D., 1894; //».%■<•// /. J. Price, 1894; The Duke of Argyll, K.G., K.T., 1893; Dragon 16 British Book-plafcs Crest Plate, 1893: Algernon Sidney Bicknell, 1894; Philip Wm. Poole Brittoii, F.S.A., 1894; Slen'cirt Bemichainp Givatkin, 1894 ; IV. H. IVeldon, 1895 : R. S. Manscrgli, 1895 ; Sidney Bicknell, 1895; R. S. Mansergh, 1895; ^- ^■ Cokayne, 1895; E. Touts, iS()^ ; James Frederick Chance, 1895 j Elisabeth Anne Bostock, 1895 ; Evcrard Greene, F.S.A. (Rouge Dragon Pur- suivant), 1895; IV. Swaine Chishenhale-Marsh, 1895 ; Thomas Green, 1895 ; H. Farnham Burke, F.S.A. (Somerset Herald) ; John If. Walker, 1896 ; Georgii Ale.xandri Lockett, 1896; C. V. S. Downes, 1 896 ; Sir John Barran, 1 896 ; William Farrer, 1897. All the above are etched except Flory and Senior, the former having been engraved from his original pen-drawing; the latter was processed. To find Mr. Walter Crane early in the field with ex libris is far less surprising than to discover that he has not designed half-a-dozen all told. Those for _ o oJis- i-rv- ru n- rLin^SrrooA&- BY J. J. r.UTHRIE his own use, for the \a.te Frederick Locker^-Lampson], for May Morris, for Alexander Tiirnbiill, and for Clement Shorter, have been so often reproduced, that it would be superfluous to illustrate them anew. The happy hieroglyphics expressing the owners' names, in "Turn-bull," or his own plate, have already been referred to. Mr. \V. H. Foster, of Plymouth, has executed a number of plates which find considerable favour with members of the Ex Libris Society. If some, considered solely as designs, appear to be over full of details, yet others reveal capable craft, and pleasant invention, notably those for William Bethell, 1894. Mr. Fincham gives the names also of William Bethell, 1895, George Collett, Reginald Kelly, John Grainger Leonard, F. Mitchell, Henry W. Xiirce, ) EX LIBBI3 BY J. J. OITHRIE Col. W. F. Prideaii.x (two designs), Plymouth Free Library, Sellers, G. A. Touch, Rev. B. W. J. Trevaldwyn, and W. H. K. Wright. The powerful and striking design of e.\- libris for T. Edmund Har-jey, by Cyril Goldie, is at once a fine piece of work, and peculiarly exemplifies the grim M COLD BUT ?fl BY J. J. OITHKIE British Book-plates m^ ^^^m 1— II O) r? f-vii E R. BV R. WAUD fancies which this young artist affects. It is rarely that themes are exiircsscd with the virility and command of line that distinguish this. Mr. J. J. ("lUthrie, a young artist whose career for some years past has not been overlooked by those interested in new developments, has just come to the front with a number of clever draw- ings, executed in a manner founded but slightly on his predecessors. A really beautiful ex libris for Joshua Buchanan Guthrie, very well composed, and one for Edivard John Sachs, have been illustrated several times elsewhere ; here he is represented by two pure labels which, if they fail to show his full power, are pleasant by reason of their simplicity ; and by a very graceful unnamed design of a girl in a cowl holding a book. He has done other noteworthy designs for William A. Rowrie, Arthur Lyman Churchill, and John Jackson Guthrie. The charm of Mr. (iuthrie's work rests no little in the mastery of his own convention of white on black, which is more fully expressed in his illustrations. Mrs. Arthur (iaskin (Georgie Cave France) seems to have done only a few e.v libris, one for Andrew W. Tucr, another for William Neish, and an anonymous, plate (illustrated in Miss Labou- chere's Ladies' Book-plates), being all that come to mind. Mr. W. H. Margetson's plate for Edivard J. Margctson (page 4), with a singularly charming figure of " Music " thereupon, has set a standard which it is to be hoped he will often follow. Another, for Bessie Lyle Hatton, was illustrated 18 in luidies' Book-plates, but a very elegant circular plate of this design appears not to have been re- produced so far. The one plate Mr. Talwin Morris has designed is also a "joint-plate," according to ex librist termiology ; that is, it is a plate for wife and husband. The original is in two colours, green and black. It is a delightful example of a true label-device ; as one would have expected from a designer of such originality and refine- ment. Mr. Paul Woodrofie, one of the most felicitous designers of pure ornament, has done but a few plates, a very dainty pictorial scheme for Lilian Mooral, an armorial for F. N. Carr IVallace, and one for Richard Trappes-Lomax (page 5), here re- produced for the first time. Mr. Charles Robinson, the artist of Stevenson's "Child's Garden of N'erse,'' and many another book treasured by collectors, appears here for the first «Y I-. J. BILIJ.NGIIURST BritisJi Book-plates BY P. J. BILLINGHTRST time as a designer of book-plates, with a very typical and elaborate composition for Fred. IV. Brown. Mr. T. H. Robinson is represented by a sketch design for his brother's plate ; a suggestive decorative scheme, which will doubtless be worked up into a very distinguished e.x libris. Mr. G. W. Rhead, joint artist of a great illustrated edition of Bunyan's " Pilgrim's Progress," just about to appear, is represented by a single plate, with his own monogram. \Miether he has done others or not, Mr. Fmcham and the rest of the authori- ties have no note of them. The pretty little design for Maud Mackinlay by Miss Ella Hallward, reproduced on page 6, is an excellent example of the technique she has made her own, and a distinctly pleasant, unpretentious book-plate. Mr. W. R. Weyer is one of the few heraldic designers specially excepted from the adverse criticism which the majority deserve. His pen- drawings at times approach the delicacy and strength of copper-plate engravings. His source of " colour " in black and white is good, and as heraldry experts approve his manner, so artists approve his compositions. Plates for Anthony Atthill (four), Major Philip E. Back ("two), Ernest Felice, IV. F. Green, Mark Knights, H.T. S. Patie- son, Thomas J. Scott, William Weyer, and W. R. Weyer, show him in purely decorative, and in armorial examples, and the later plates witness a great advance in technique and mastery of his material. Mr. P. J. Billinghurst, with a design for Kate Pembury, here reproduced, shows his fondness for animal forms, which but recently was more fully appreciated in The Studio. It is a pleasant composition, if hardly sufficiently "a label" to be quite admirable as a book-plate. Mr. John Williams is a very prolific designer, and one, moreover, whose work improves on acquaintance. For if not singularly novel, it obeys the convention of a decorated label, supplies clearly legible inscriptions, and leaves nothing to be desired in straightforward technique. His designs, according to Mr. Fincham's list, include Ex Libris Hubert! Bland. BY I..\URENCE IIOLSMAN 19 British Book-plate. fx libris for Edii'ard Ayres, II. B. Ayrrs, II. li. and R. L. Ay/rs, A. N. //'. S. C/tirk Kfiittiily, Edivani Crahh, E. Crai\.latcs, which his art would at once raise to something worth possessing, worth treasuring. Mr. J. W. Simpson, a new comer in the field, has already won his spurs ; at the recent exhibi- tion of the E.X Libris Society, a group of his work was the most satisfactory novelty in the collection. Here we rei)roduce ])lates for James Dick, Cissie Allsopp, and the artist's own e.x libris. Another for Charles Holme, with a cleverly drawn figure of a poet reciting his verses, was also shown at the Westminster Exhibition. The accomplishment shown in all these is too evident to need any further comment. Whether Mr. James Cadenhead has designed many ])lates is not clear, but the admirably simple device for the Scjttisli Arts Club, here reproduced, augurs well for them if he has. The space is well filled, and although the lettering " Ex Libris " is needlessly large, and not satisfactory in itself, the whole plate is a happy and pleasant composi- tion. The second plate, for Charles Martin llardie, suffers a little from the to|) lettering. Mr. J. Walter West, some short time ago, with two or three harmonious compositions of figures and foliage, set a new style which others have not been slow to practice. Nearly all his designs have already appeared in The Studio, so that it would be superfluous to describe any more fully. They include plates for E. G. Bells, S. Reynolds Hole, BY J.\MES CADKMlKAl) cham (three), /('. A. Fiiichani, Mary Cunslancc Hall, Sophie Elizabeth Hall, Arthur Hmmard, I'al Longman, T. O. MacDoivell, Hugh Giffin McKinncy, Nathaniel Micklein, 11 '. T. Mitchiil, George M. Mills (two), AUw. Neale, IV. Nctiinegen (two), F. IV. Oliver, Mary King Roberts, Charles IV. Roe, John IV. Sherwell, H. C. Shuttleworth (two), and G. W. Pl-^ilson. Mr. Laurence Housman has done a most ingenious plate for A. W. P[ollard], which the owner consistently refuses to allow to be repro- duced ; and much as one regrets his decision, one can but admire his consistency in keeping for his own enjoyment a thing that by its very nature is intended for private personal use. Other de- signs for Hannah Brace and Robert and Evelyn Benson have been reproduced elsewhere ; a com- paratively recent design for Hubert Bland (page 19) has not been reproduced before. Why more people do not endeavour to secure designs by Mr. Housman (cut on w-ood, if possible, by his sister) is a mystery. Perhaps he declines com- missions, for there seems no other logical reason for that most ingenious and accomplished draughtsman being represented by such a small 20 CDH^ieS'^KMe^BM^^ BY JAMES CADENHEAD M^r-ff'ttfr TWO BOOK-PLATES BY VV. P. NICHOLSON' r>, .:/:■/ A. It . L. /. iJKiii 1 1,,},-, I r. .",,;,„■, THE*SCOTT!SH*ARTS*CLVB liir tliarles li p. pi)L-! rt.-< ^i'" lie field, L-xhibi- ...rk '■•■n. ot Libris " fs MarltH Hardie, rhnt» n'lr, , 1 IV, A. Fincham, Mary ( i '• ■ lisabrth Hall, Arthur Mr. .:an has doiv .11 U.^f-. Robert ■ ! [ Ix-en reproduced M..! .i^i^cavour to . . >.„. . • ^ -. -i" ■ on wood, if poss ble, by his ^.HXAJL'I-XOOa'pV/T' i,/iO2JlOH01'/ -T -'/^.^.i '!;.':.iL'nk.n!.ii. . :St.-nted 1 JO ExLibris Phil May 'W.No is BV J. 1>, a selection of the best modern plates made by a prominent authority. A fact like this tempts one to censure the average collector even more for his sins of omission and lack of appreciation than for his fondness for the trivial second and third best. Mr. A. Kay Womrath, although born in the United States, is so well known on this side that we may claim him as we claim Mr. Sargent and Mr. Abbey. He has had the unique honour of a one man show of book-plates in New York, where he exhibited twelve e.xamples. It is true that other drawings are also in the catalogue ; but here they take second place. Several of his designs have already appeared in The Studio, and others are now reproduced for the first time. Among his plates are those for Lady Ckmentine l\'cils,h, the Hon. Arthur Walsh, the Hou. Claude Hay, Martha Thompson, E. Therese Beyer, Marie Clausen, Edith Brown, Marion Lawrence, Miss Dickinson, Dr. Leonard N. Robinson, A. K. Womrath, Fred G. Yuengling, Helen and Georgina Wollsen. A fine plate for the Chief Rabbi, Dr. Adler, already reproduced in The Studio (June 1S96), and another here illustrated by Mr. Frank 30 I'^nianuel, are among the few ex libris a well-known painter and illustrator has executed. His brother, Mr. Walter Emanuel, has also designed several plates, one of which (his own) is here reproduced, a design that seems especially adapted for photo- gravure. The Jester's figure is not out of place for the cv libris of a writer whose witty and hu- morous articles are continually delighting people in the best of our current journals. Mr. Charles Ricketts' cv libris, Gleeson White, cut on wood by the designer, is possibly his only contribution to the subject in hand, unless a de- sign prepared for the late Lord de Tabley was ever carried out. Here one may not even repeat the many appreciations the first-named engraving of the Yggdrasil has called forth on Ijoth sides of the Atlantic, nor even echo an often-expressed opinion that it is the finest " symliolical " design of modern c.v libris. EX LIBR.1S EDMVND RATHBONE BY K. .V.N.NIM; Blil.L I» ' >..J.l k. X "^ -xy\\- NT l/l- ^^ VI ..EX L1BR_1S CI^OY- GRAMMQNT, ^ ^^ 1:7 L,^y^^ BY R. ANNING BELL British Book-plates liY K. nKNi;Ol'('.II RIc-KKITS Mr. Robert Halls, so far, has only been known by one — a design for Herbert Drew — a grotesquely weird nude baby peeping over a pile of books ; but a study for another, here reproduced, may be evidence that he intends to enter the field in earnest. Mr. T. R. \\'ay, whose lithographs of Old London and the Thames are well known, has drawn a few plates on the stone which betray not only his mastery of the craft, but also a pretty and ingenious fancy. The\ include designs for T. II., A. Lasnnis, Louisa Adelaide Way, Henry Edn'ard Morgan, Mary Helen Way, Eleanor Gertrude Cross, Frederick Palmer, Arthur Thomas iVay, Olive Cox, and T. R. Way. Mr. J. I). Batten was one of the earliest of our younger illustrators to take an interest in the ex libris. Several of his designs have been repro- duced in Castle's " English Book-plates." One of the first, ex libris Thornhurst, bears a facsimile of its owner's autograph below. Joseph Tanner is dated 1887, and a circular device dated 1889 bears a blank place presumably intended for the owner's signature [Money Coutts]. He has also designed 32 a beautiful photogravure plate for //. B. Tail (1892); another by the same process; and an admiral)le heraldic composition with the legend " Ex libris Michaelis J'otnkinson, Franclic Halt, Worcestershire." Plates for H. Morley Fleliher, Crege Johannis Piatt, R. H. Porter, Percii'al Smith, H. B. Tail {iS8-j), Jambi B. Winterbotham (1886), are also recorded in Mr. H. W. l^'incham's catalogue. All the above show, as might be expected, no little of the artistic charm which marks Mr. Batten's work, while the " 'J'ait " (1892) design is ([uite one of the most beautiful of modern plates. Mr. Alan Wright seems to have been devoting his attention to other illustrations of late. Yet his early designs are well known and prized by collectors of modern plates, for their fancy as well as for their art. The plates known to collectors include examples for himself, a tiny monogram he uses as his signature on drawings, for Ranken Ellis, Emily Coldwell, H. A. Wright, Marion L. Leigh, James Ransome Corder, Fred. E. Wright, A. G. Wright (two), Florence Campbell, Ethel M. Boyce, Richard UV li. liE.NGOL'OH klCKEITS Bi'itisJi Book-plates in the front rank, interna- tionally as well as locally. When the first speci- mens of his book-plates were published in an early number of The Studio, he had executed but a few for personal friends ; his first commission being the characteristic design for George Ravenscroft Deimis, therein repro- duced. In place of de- scribing each — or even the best — of his fifty-two executed designs, it may be well to give a brief list of their owners' names : I, Walter George Bell; 2, Rainald William Knight- ley Goddard ; 3, G. R. Dennis ; 4, Barry Eric Odell Pain ; 5, Jane Pat- terson (circular) ; 6, Jane Patterson (rect.) ; 7, C/tris- tabel A. Franipton ; 8, Frederick Brown ; 9, Matt. Gossett (reproduced in the "Yellow Book," vol. i.); BY E. BENGOUGH RICKETTS Le Gallienne, John Lane, C. P. Kains -Jackson, Arthur Silver, Gleeson White (four), A. Gertrude Orchard, and L. T. Meade. Mr. R. Anning Bell, who so nearly takes the first place in alphabetical order, might be granted it here, in view not merely of the quality, but also of the quantity, of his designs, the latest to hand bearing LIII. as its opus number. Con- sidered as a whole, their high merit entitles them to their deserved popu- larity with artists and the best class of collectors. Without saying that no design by any other artist is better than certain of Mr. Anning Bell's, which would be both a foolish and ungracious com- parison, it is certain that his work stands absolutely BY E. BENGOUGH RlCKETrS 33 British Book-plates 10, Arthur Trevithiii Nowell ; ii, Edivard Priolean Warren; 12, Frederic Leighloii (small); 13, Frederic Leighton (large); 14, Arthur Melbourne Sutlhery; 15, Juliet Caroline Fox Pym ; 16, Yolande Sylvia Nina Xoble Pym / 1 7, Florence and IVilliani Parkinson ; 18, Nora Beatrice Dicksee ; 19, Felsled School; 20, Arthur E. Bartlctl ; 21, The Hon. Mabel de Grey ; 22, Geraldine, Countess 0/ Mayo; 23, Waller E. Lloyd ; 24 and 25, William George Benjamin Bullock-Barker ; 26, Thomas Elsley; 2-j , University College, Liverpool ; 28, Noivland Plunibe ; 29, Rennell Rodd ; 30, Alicia, Lady Clamis ; 31, H. E.John Broivne ; 32, Barham House ; 3^, Cecil Rhodes; 34, Marnier Bros. ; 35, Hon. Harriet Bortlmnck ; 36, Beatrice Patterson; 37, H'alter Drezv ; ^8, Walter Raleigh ; 39, Thc'odule, Comte de Granimont ; 40, Joshua Sing; 41, Alice Emma Wilkinson; .^2,JamesEasterbrook; Hector Monroe ; 43, Theodore Mandcr ; 44, Jl'. H. Booth ; 45, Philip Rathbone ; 46, Margaret Wilton; 47, " L. and M. S." ; 48, Gardner S. Basley ; 49, ^.v Libris Sodalium Academicorum APl'D LYRPl'L; 50, Roberti A. S. Macjie ; 51, Richard T. Beckett; 52, Edmund Rathbone ; 53, Croy-Grammont. It would be superfluous to analyse the real beauty of Mr. R. Anning Bell's book-plates to a present-day audience; every one interested in 36 UY E. UENGOUGH RICKETTS BY H. NELSON decorative art knows at least some of them. Not long since a great French artist, looking over a collection of modern English designs, passed all without comment until he came to those by Mr. Anning Bell; but then his appre- ciation ^vas boundless: he declared that they were little masterpieces inspired veritably by the marbles of the Parthenon, and ag.iin and again turned back to them to discover new beauties, i'his spontaneous appreciation from an artist whose fame is world-wide may be offered in [ilace of an attempt to describe anew their real beauty. Major E. Bengough Ricketts is, one fancies, the only officer in her Majesty's services who can be claimed as a book-plate designer, or if that claim prove baseless, it is safe to assert that he is by far the most prolific. The amazing luxuriance of detail he employs with a very defi- nite expression is in itself notable ; and that some of the designs take a very honourable place British Book-plates considered solely on their other merits is patent enough to those who have the good fortune to know the whole number, which includes elaborate and finely finished ex libris for H. H. House, Sir Maurice IVilliams, Constance Jelf-Sliarp, \Mrs.^ Pegon, [^Iiss'\ Graham, \^Iiss'\ Stiirge, \Miss\ Harris, H. W. Fincham, Col. Hill, K. Bengoiigh Ricketls (two), Ernest Hale, [Aliss"] Johnston, [M/ss] M. Johnston, August, Alvers, E. Heller, ^Miss\ Cook, Jean de Bonnefoii de Puyvardier, Canon Ella- combe, Julian Marshall, R. G. de Uphaugh, Rev. F. Watkins, Rose Jelf-Sharp, Charles Homer " Cul- pepper" the Graf von Leiningen-Westerburg, Charles Hoskins, and plates specially designed for musical works, for H. M. Sturge, K. Bengough Ricketls, and [yWssl Johnston. Miss Marian Reid, a prize-winner in an early ETX-LiBRIS' L ANNIE REYNOIPS£"Ie:PHE!MS SKETCH FOR A BOOK-1'LATE BY W. REYNOLDS STEPHENS Studio competition, with a design for a plate, since reproduced by photogravure for Herbert Denison, has designed several other plates for Marian Reid, Julian Cameron Reid, Alison John- stone, and Alexandra Grace White (the last four being illustrated in Miss Labouchere's " Ladies' Book-plates "). Mr. Gordon Browne, with all his thousands of delightful pictures for children's books, so far as authorities report, has done but one book-plate, that for Henry Folkard, illustrated in Egerton Castle's "English Book-plates." It is a device of a goblet supported by caryatides, with a book, a pair of spectacles, and a rose behind it. Mr. Oliver Brackett, in a charming woodcut for Walter H. Brackett, and a few other unpublished designs, shows admirable grasp of decorative principles, so that it is a matter of surprise not to find more examples of his design. Mr. L. Leslie Brooke, chiefly known as an illustrator of children's books (although a fine portrait of Mr. J. yi. Barrie, published in The Studio some time since, shows that he works in other ways), has done a few verj' graceful and delicate ex libris. Those for Stop ford August i Brook, Henry Fisher Cox, and Arthur Somervell figure in Castle's " English Book-plates." One for Godfrey Allan Solly, a view — mountain peak against the sky — has not been reproduced, owing possibly to the delicacy of its detail ; like the others, it is dis- tinguished by beautiful and consis- tent inscriptions, and the use of clean-cut alphabets rightly placed. Mr. G. R. Halkett, whose political cartoons brighten the sparkling " Oc- casional Notes" of the Pall Mall Gazette, did many book-plates a few years ago, some being extremely happy both in invention and e.xecu- tion. Among them are ex libris for Thomas Brayshaw, Jacobus Bromley, Francisci C. Bcddard, W. R. Mac- donald, Johannis M. Gray, and William A. Cotton. The fashion of Latinising British names, which Mr. Halkett follows, has precedent to support it, but it is too suggestive of botanical specimens to commend itself to all tastes, despite the mass of ancient usage in its favour. Mr. Harold Nelson, owing to his special knowledge of heraldic engrav- ing on metal, is by force of circum- stances peculiarly well equipped for the task of designing book-plates. Vet on many of his plates armorial 37 ! A British Book-plates bearings take but a secondary place. 'J'o a very keen sense of the value of reticence in decor- ation, and a pure line, not unemotional though clean cut and virile, he adds fancy and a sense of beauty, especially in his later work. Among his plates the best is, perhaps, the design in gold and black here reproduced in its full size. Early and not fully matured ex libris for Mary' L. Uldficid, Ellen Magiiirc, and Harold E. Nelson do not reveal his full power, but with those for Edivard Lnmax, Ernest ScotI Fardell, M.A. (two designs), Geoffery Parkyn, we have good examples of heraldry as a subordinate feature of the composition. Others HRTMVR I ^JESSIE 38 IIV H. WILSON I)V H. OSI'OVAT are for R. II. Sniii/i, A. Ludloiv (a beautiful armorial \)\a.\.e), James Wiliiiar, and Bedford College Library. Of Mr. C. W. Sherborn's engraved plates, Mr. Fincham records no fewer than two hundred and sixteen. Even a precis of such a huge list is impossible here. As examples of a dying craft, tlie art of engraving on copper, they are not only as fine as anything done in its prime, but in their way are very admirable works of art. They are all more or less based on precedent, and show no trace of the newer movement in decoration. Hence, while awarding them a full measure of British Book-plates praise, and owning freely their right to the [)lace universally accorded, it must be owned that, had it been possible to reproduce several, they would have appeared somewhat out of touch with the rest. Perhaps that may be claimed as their highest virtue ; in any case, most generous and unstinted admiration is their due. The " Little Master " of Chelsea is too good an artist to refuse to allow many ideals of beauty and many different forms of expressing it. From the tiny corner he has made his own, his fame has spread over two hemispheres, and those who know him couple the man with the work in awarding him their respect. A study for a book-plate by W. Reynolds Stephens, here reproduced, is probably the first attempt of a notable craftsman to express its idea. The novel arrangement of figures, the allusion to the essentially feminine arts of music and cm- broidery, are in keeping, and if we choose to regard the figures as typifying song or poetry, and ap- plied art or prose, we shall probably not go very far wrong. How many ex libris Mr. Byam Shaw has designed is not easy to determine ; one for C. E. Pyke-Notl may not be alone in representing his earlier efforts. Others, for Isa- bella R. Hunter, F. Lynn Jenkins (here reproduced), and Laurence Koc, and a late one for Mr. Claye, can be safely attributed to him. Like many younger men, he has possibly given designs to friends which he is not anxious to have brought into publicity. Yet his ingenuity and power are too widely recognised at their right- ful value for his reputa- tion to suffer even if scores of boyish works were un- earthed and set up for all the world to see. In the composition illustrated, we find the same fresh- ness of arrangement and delightful technique that mark all he does. Mr. H. Granville Fell, whose illustrations and paintings are familiar to all interested in modern design, has done a few very charming plates; one, unnamed, appears in the " Ladies' Book-plates," and others here reproduced for the first time, in- clude the artist's own plate and one for Samuel Poole. But most important is the fanciful and elegantly disposed design for the e.x libris of May Laurence, which is here produced from the original drawing. In face of the examples given, it is need- less to enlarge on their merits, which are neither few nor difficult to discover. The name of Mr. H. Ospovat, a young artist of Russian birth, is likely to be still better known amongst collectors of e.x libris in the near future, for his designs are increasing in number and in quality at the same ratio. At first, as in the plates for Walter Crane and Charles Rowley, he was more or less inspired by contemporary influences, but in each succeeding design he is finding his own personality more and more. The following EXLIBRF ^ J/iME/ginAVD ROBERT/ON /<-a/T)ovat BY II. osrov.vr 39 British Book-plates is a list in order of execution of his liest plates : — James Hoy (two designs), John and Jessie Hoy, Frank Iliffe Hoy, John and Jessie Hoy, George Moore, A. Efnrys Jones, Fred Beech, J. H. Reynolds, T. C. Abbott, James and Maud Robertson, and the design for Arthur Guthrie, reproduced here- with. Knowing the artistic sympathies of the artist, and the painstaking attention he bestows upon every subject, it is impossible not to believe that he will soon be reckoned among the best of the few designers who lay themselves out to design fx liliris. His work in other departments of illustration show that the delicacy and fantasy of BY H. OSI'OVAT his book-plates are deliberate, and that he can be robust and realistic when the subject demands it. Miss E. F. Brickdale, a young illustrator of conspicuous promise, shows in the designs for Charles Fortesaie Brickdale, Grace Elisabeth Glad- stone, and Ada Maiy Dcvenish IValrond, not merely ]ileasant fancy, but distinct effort to break away from the formal rectangular shape, so long deemed essential. The rather gruesome device on the last named, with its mysterious motto, seems unduly sombre, although bookplates are the happy hunting-ground of grisly skeletons. Hut tlie merits of these designs far outweigh their shortcomings, and it is evident that Miss Brickdale is likely to become as popular in this field of design as in others where already she has scored notable successes. Aubrey Beardsley designed a few book plates ; how many is not quite clear, for certain so-called ex libris, surreptitiously offered for sale, look like " fakes,'' that is, like drawings made into book- plates by the addition of a printed name, and not really designed for that purpose. One taken from a Mortc d'Arthur border, and another from a Savoy prospectus, may be authorised, but they are not true ex libris. The first authentic example, one for Dr. J. Lumsden Proper! (whose famous collec- tion of miniatures was lately dispersed), appeared in No. I of the "Yellow Book." A rejiroduction (jf a plate for Miss Olive distance was gi\en in a recent number of The Sketch. Those for Ataister Cnra'ley and Gerald Kelly have not, so far, been reproduced. The so-called " Beardsley's own book-plate," reproduced in the " Fifty Drawings," completes the list. That the latter could ever be used, except in "top-shelf" volumes, is doubtful ; it is an unhappy instance of the perverted fancy which the greatest admirers of the genius of the wonderful black-and-white artist can but regret. It would be tempting to call the ex libris for John Turnbull Knox by Miss Macdonald unique, were it not that certain of Mr. Herbert McNair's designs, conceived in not dissimilar mood, come to mind. Those for George Staiisen McJVair, Herbert McNair, and John Turnbull Knox have already been illustrated in The Studio, and others are reproduced here. Mr. H. Napper's design for Cicelv Rose Glecson White, a very original composition, and for a lady's ])late, unnamed, are reproduced in Miss Labou- chere's book. Other designs include a conven- tionally headed landscape for Alan Wright and an original motive for Victor Burnand. A distinct class of plates, of which singularly few examples seem to have been produced so far, are those intended for use in bound or sheet music. On such there is a good opjiortunity for the introduction of symbolism of a sort other than that appropriate to ordinary books. That it is always needful to include a stave of manuscript (or printed) music, is a matter of taste. Cer- 40 k BOOK-PLATE BY H. OSPOVAT /-,';../.•,,/, /,v,./ f>Intcs ,i V .1..1, the li' vvith. Knowing t! "i heru- les of the : /I ■d- ily ^<:. Hi '1Pfe*J.H \ fr?' 'jd^^ '■ ind it is evicl iHrcome .1 cithers w sucilssl-s. |M ( few hook -plates ; for certain so-called ■ d for sale, look like n^'s made into book- Arlhur \ ', may I. ■ -, ■ • 'V/jj. The first authentic < IMI /.v. _/ tion of I ■.s!u> 1. !! ■ It would be tempting to call thi J.,hv. f:- '• "■ " Ah-. 1 : Whit,- ,i cl. are r nii...r ' ■_■( , on lor lie, l^bou- ' iigularly I so far, ■ If sheet d opportunity for 1. .>l a sort other than v books. That it is 40 ^ 0>*po^'*.t ^j British Book-plates tainly such an extract may parallel exactly the choice of a pertinent motto quoted from some favourite author, which is a very constant, and on the whole, admirable feature of a book label. The fragment of music should always represent some actual phrase, and be written with due attention to the various items — the clef sign, the time marks, and so on — which musical composers employ. The main phrase of Bach's CliaconnCi a motive from Dey Ring Des Nibeliingeii, a phrase from a folk song, or the refrain of a favourite ballad, according to the owner's taste, may well be used. On one plate for a composer's sheet music, his crest being a cannon, his favourite motto, consisting of a paraphrase in dog-Latin of the hackneyed " I sought rest but found it not save in nooks with books," was set to a " Canon " of his own composing, and so made an apt motif for the designer to embody. The vernacular of this motto seems to suggest that the victim of insomnia could only coax slumber with the assistance of the pages of some volume, a reading that, if pertinent, is also impertinent, and out of place when " musical " book-plates are in question. An adaptation (by permission) of a design by the late Sir Edward ^^^ mmmmmmi^^mm^'^ ^^^^S Wfj^i'M I^^^^MJ )^^m ^v^^^' mkt^^ Vu^^^mS- l^ IP^^^ •EX'LIBR[3- \ WM '^^m^^.i^^^ BY G. \V. RHEAD CHAELES FORTESCUt ■BRICKDAF BY MISS E. F. BRICKDAI.E Burne-Jones, forms the music book- plate of the Cambridge Musical Society. Another adaptation of a charming design by P. V. Galland is in use for a private collection of music. A very graceful design by Mr. Alan Wright, for Madame Campbell Perugini, is figured in Mr. Egerton Castle's English book-plates, and several of Mr. Anning Bell's designs bear figures symbolising " Music." The subject affords full opportunity for graceful invention. If intended for songs and sheet music, it is well to choose a shape and size that can be used — on the first page of the actual wrapper — without being too assertive. The dimensions of a label of this kind should be about the size of three postage stamps arranged \ertically. This, without being unduly prominent, emphasises the ownership of the music, and so diminishes the risk of involuntary theft, which all singers and soloists know is apt to become general in the rush to catch trains and cabs after a soiree or a con- cert. In fact, the music label has a claim for sheer utility, approaching that of a luggage tag. An orthodox 43 British Book-plates ex lihris does not proclaim the ownership without special reference to the inside of its cover; hut a music hook-plate, like the familiar " Mudie '" lahcl, warns off those who have no right to it, and con- victs, at a glance, any one who has " sweated it " (to use an expressive bit of slang). On such plates the portrait of a great master is in keeping. For few lovers of literature own such absolute sovereigns as do music lovers. The danger in portraiture, however, is that there are even fewer accepted giants ; and although this makes the presence of the one chosen more appropriate, since he is likely to represent the taste of a lifetime, the result would probably be that most people chose Bach, Beethoven, or Wagner — a few would jier- haps decide for Mozart or Chopin — but other composers would scarce find a single champion. To be eclectic, and to set forth upon the label a detailed list of one's heroes, would be worse than foolish, because such a list would be sure to grow more or less out of date. Mottoes also QR^IiSYni^ FKIL^ HV II. (IKANVll.l.K rKl.l. BY BVAM SHAW would be fairly certain to be drawn from a few obvious sources. In- deed, the first half-dozen, which would become as common as the too familiar tags in book-plates proper, will occur to any one. Yet although comparatively little first-rate poetry has been written " in praise of Music," a search in Mr. Charles Sayle's ad- mirable anthology so entitled (which is not limited to verse), would discover many phrases at once felicitous and pregnant. But the whole ques- tion of appropriate mottoes cannot be discussed. Indeed, at this stage, when space has been exceeded, the true essentials of a book-plate appear to have been scarcely mentioned, much less exhausted. Its size (it is nearly always far too large) should be considered, its mottoes (if any) duly weighed, the question of "colour" versus " black and white " presented /udicially, the necessity for the very existence of a book-plate (by no means a proved case) argued without bias in its favour. But the inflexible " space at our command " rises as a grim spectre. As in old age we feel, not that we have derived some pleasure and experience from life, but that what might have been far surpasses what has been, so at the end of a short article, or of a life-work, the omissions 44 '^yO; French Book-plates rise up in armies and_ will not be dispersed. Any attempt to seek out and chronicle the existence of every worthy book-plate would be as difficult and as useless as to attempt to recognise every worthy person in her Majesty's census. Exhaustive efforts exhaust not only the one who engages in them, but his audience also. As a rule the audience suffers first. So if the would-be encyclopaedic monograph stands confessed a mere fragment, the conse- quences to the mass of mankind are not disastrous. To exhaust a hobby is to kill it ; once a collection is complete, its charm (to the .To THL«>l"?THOV(iH ToTHo5E-of= VN -BORN UAYS 1^ 10Tn«DAY3-S& eyoNDJHtVElLfij BY .M.\R«.\RET .MACl)ON.\LI) collector) has vanished. It is always the next prize which inspires the competitor, in small things as in great, and following a respectful precedent, if he gains all he weeps because there are no more to conquer. Therefore, as no man, not even if he approaches the hundred thousand (as report has it) of Sir Wollaston Franks' collection, is near finality. The quest of the book-plate possesses at least the charm of the incomplete, for no man can say, " I have all " ; anybody may design for himself a "plate" limited to a single impression and so frustrate the collector's efforts. Gleeson White. ->RE.N'CH BOOK-PLATES. OCTAVE UZAXXE. J5V RV HKRBF.RT MC.XAIR I The history of the marks of ownership JL in books has been written often enough in Germany and in England as in France. The study of vignetted ex libris is full of interest. Some of the first productions of the kind are 47 THAT Fi*'* nn PEg-aMI -^ %. . »* {See British Book-plates) ]5V FRANCES MACDOXALD French Book-plates attributed, on what is believed to be good authority, to the genius of Albert Diirer, and others to Behan) and Virgile Solis. In France the earliest makers of book-plates were Thomas de Leu, Leonard Gaultier, Firens and Jean Picard. In those days they took the form of heraldic designs, shields en accolade, and so on, fantastically adorned with extraordinary scallops, and flanked by figure portraits or by cnpids. Nearly all the great artists of the seventeenth and eighteenth centuries con- descended to execute some of these modest little works, which seem more rightly to be within the province of the armorial engraver. Among the names that suggest themselves as most repre- sentative during the reigns of Louis XV. and Louis XVL, I may mention those of Sebastien Le Clerc, Lepautre, Berain, Bernard-Picard, Saint- Aubin, Frangois Boucher, Eisen, Gravelot, Moreau- Le-Jeune, Marillier and Choffard. These artists introduced into the book-plate all the art motifs of the day — blazon, monogram, allegory, emblem and inscribed scroll, the whole work being en- graved in relief, or en creiix, and printed either from the copper-plate or by typography, ready to be pasted into the fly-leaf of the volume. In the last century all book-plates were of the Rebus order, and invariably needed more or less inter- pretation. It was, as Poulet-Malassis remarked, " a sort of armorial carnival," a jumble in which everything seemed out of place, and wore an ambiguous air. One finds blazons placed on balconies, with armorial bearings forming a ceiling below the clouds, cartouches supported by theatrical draperies, griffons guarding a field gules, and lions guarding a field asur. A light and graceful art, lending itself to all sorts of whimsicalities, and resulting in numberless curious works, for which the collector is ever on the look-out. The early part of the present century and the EX LIBRIS OLIVE CV3TANCE BY AUBREY BEARDSI.EY {See British Book-plales) BOOK-PLATE FOR M. POULET-MALASSIS BY BRACQUEMOXD " Romantic period" produced, so far as France is concerned, but few book-plates signed by artists of the first rank. The 1830 generation left nothing of any importance in this direction ; and it is interesting to remark that none of the great illustrators of that excited period has bequeathed any souvenir in the form of an ex libris. One can discover no trace of aTony Johannot, nothing of Deveria, or Celestin Nanteuil, or Gigoux, or indeed of any of the other artists who would seem to have been so well qualified for this kind of work. This is due to the fact that the French bibliophile from 1S25 to 1875 ^^'^s a retrospective personage, understanding nothing of the age in which he lived, or of his artistic and literar)' environment, but imbued with a strongly antiquarian spirit which found exclusive delight in the purely heraldic 49 FrciicJi Hook-plate. BY HRACgUICMOND hook-plate, calling for no interpretation save that furnished by the skilful but unimaginative engraver. Amateurs of this sort, hunters of first editions BY VAN Ml'YDEN \'ictor Hugo and his school, and regarded as madmen the artists who illustrated the works of such ijublishers as Renduel or Levasseur, the champions of that Renaissance which was destined to take so deep a root. The old-fashioned col- lector would have considered his precious bouquin desecrated by the pencil of one of these bearded draughtsmen, who were introducing here, there, and everywhere the note of grim and mystic fatalism. It is for this reason that the genuine " Romantic " book-plate is so scarce. Some few there are to be found which express the feeling of the moment — such as those depict- ing a mausoleum with the owner's name carved on tlie stone, or a tomb beneath the wet ping- willows, or a feudal ruin, or a rock on which with his arrow-tip ("u()iil inscribes a name. 'I'hese and Aldin despised 50 es and other rarities, Gothic and Latin, the "Romantic" movement, belittled ANONYMOUS things were produced in a flabby style of heavy lithography, with neither art nor taste to redeem it. None of them deserves special mention ; in- deed, many seem to belong to the category of " fancy " book-plates, which almost demands a chapter to itself. The modern Renaissance of the artistic book- plate was neither inspired nor sup[)orted by the old-fashioned bibliophile, nor yet by the wailthy collector, who is rarely seen at the head of any revolutionary movement, but comes up when the victory is won. The position gained, and the new territory being worth e.xploiting for the benefit of his vanity, he takes his stand among the con- querors. The real moral and material support came from the artists' friends — the writers and critics, the bibliographers and savants — who in- duced the painters and ornanienters and illustrators French Book-plates of their acquaintance to execute " marks of owner- ship " in harmony with their tastes and pursuits and fancies. Thus it was that M. Aglaiis Bou- venne, one of the most fertile composers of book- plates at the present time, an artist endowed with the keenest and most subtle of temperaments, conceived the delightful vignettes which adorn the works of Victor Hugo, Theophile Gautier, Fran- (;ois Coppee, Champfleury, and Bracquemond, and those of the writer of these pages. Discarding all BY EVERT VAN MrVDEN BY EVERT VAN ML'YUEX armorial combinations, Aglaiis Bouvenne started a new style by devoting himself exclusively to original monograms. Thus, for Victor Hugo's plate, he bethought him of a memorable line by Auguste Vacquerie — Les Tours de Notre Dame etaient IH. de son nom. In silhouette we see Notre-Dame de Paris against a dark background, while on the whiteness of the lightning flash rending the blackness of the sky is inscribed the great poet's " mark of owner- ship." This book-plate, belonging to the sove- reign pontiff of Romantic Literature, was but sparingly used, for it is well to note that Victor Hugo's library was ever of the smallest. M. Paul Meurice, the friend of the Master, and his surviving testamentary e.\ecutor, assured me quite recently that Hugo possessed a very small number of books, certainly not more than a hundred, all contained in a simple bookcase. One book alone monopolised his attention ; that book was the Bible. For Theophile Gautier, iM. Bouvenne invented a plate in the form of an Egyptian symbol, with which the great aristarch must have been delighted. It represents a sort of temple dedicated to Isis, the pediment bearing the monogram of the author of the Roman de la Momie. It is of hieroglyphic simplicity and harmoniously conceived. P"or Frangois Coppee the artist has chosen the massive Greek lyre, shining like the sun ; in the centre one sees the black lettering forming the name of BY AGLAUS BOUVENNE 51 French Book-plates the Parnassian rhymer. On behalf of Chanip- fleury, one of the leading lights of realistic litera- ture, Kouvenne designed a species of landscape scene, with a high hedge in the foreground, screen- ing a mirror— the Mirror of Truth. Bouvenne is eminently successful in his arrangement of the monogram ; he was the real restorer of the art of grouping letters into an agreeable whole, and the manner in which he contrives to express all the graphic character of a name within the compass of a simple auioiulie is wonderful in its sense of synthesis and its incomparable gracefulness of detail. Among the artists who have devoted themselves to the production of book-plates, the celebrated etchir, Bracciueniond is certainly entitled to a foremost place ; some of his bibliographic vignettes, delightfully composed and superbly engraved in the dry-point manner, are well known, notably the plate belonging to the publisher, Poultt-Malassis, showing a book wide open, with this device around it — Je Fai. " I have it " is the book-hunter's cry of triumph when he has contrived to place a new rarity on his shelves, the joyous exclamation that suggests the " Eureka ! " of Archimedes. Many BOOK-ri.yVrE I'OK IIIE " I.IVRE modkkne' HV KKI.ICIE.N ROrs BY A. ROB I DA Other plates there are by Bracque- mond deserving of mention as curious e.xamples of fanciful work ; that of ICdouard Manet, for in- stance, with this charming and prophetic device, Manet el Maiicbil ; or that of Philippe Burty, an irradi- ated [jhrygian cap illuminating the world, with the legend, Libre el fidilf, depending from the Ijeak of a stork with outspread wings ; or again tho.se done for Georges Pouchet, for Christophe the sculp- tor, and for Mario Proth. For Aglaiis Bouvenne, Bracquemond did some superb vignettes, very free in design and most originally conceived, the technique being quite impeccable in its bold vigour. Before Bracquemond's day there were masters, such as Alexandre Bida, who did not disdain to dis- play their talents in this direction. A charming thing by Bida was en- graved on wood by Pollet for Pelix Solar, the celebrated financier- litterateur. It depicts an oriental reading on a Turkish divan with the simple signature of the mil- lionaire owner on the white wall of the background. It is a gem, with all the finish of a Meissonier, and French Book-plates the rare proofs of this beautiful engraving are for the most part printed on China paper in a very delicate tone of bistre-red. Gavarni himself did a book-plate — one of the most exijuisite in existence — for his biographers, Edmond and Jules de Goncourt. It is simply a hand, with two of the fingers, the index and the middle, resting on a sheet of paper which bears the initials of the brothers' christian-names. And, indeed, the two great writers were as indissolubly united as two fingers on the same hand. This drawing by Gavarni was admirably etched liy Jules de Goncourt, whose abilities as an cau-forliste were proved by the publication of his engravings. £XLi8R/s J.CARTAULT BY LEON MAROLLE Leopold Flameng, another clever etcher and engraver, designed two ex libris, one for Doctor Gerard Piogey, and the other for Pierre Deschamps, the bibliophile. This latter is quite original ; in an oval frame, devoid of all lettering, is represetited an ass philosophically squatting at the foot of a hedge, in mute significance, doubtless, of the owner's rest — the repos dcs champs. Felicien Rops, the famous Belgian artist, whose recent death we all lament, was interested in this as in every branch of art, and designed and engraved several book-plates. He executed a beautiful cartouche as an ex libris for the magazine, Le Livre Modenie, in the form of Daphne trans- formed into a tree, with the device, Semper Libri virescit amor ; and, apart from this, did numerous vignettes, including one for Madame X , a cat BY REROFF lying purring on a cushion, with the words Arnica lion serva ; one for myself, a young girl leaning liOOKPLATE OF THE nROTHERS DE C.ON'COURT BY GAVARNI against the statue of a faun, with without device, upon the pediment. two mitials. Then for his S3 French Book-plate. own personal use he did several curious things, including his well-known mark — a pencil crowned witli roses, and terminating in a lighted torch, leaning against a skull wearing a fool's cap, the whole encircled by a scroll with his motto — Aullre ne veulx cslre. In going through the pro- ductions of Ftlicien Rops one might discover some twenty or thirty or even forty book-plate vignettes, not to mention numerous publishers' marks designed by him for bibliophiles in Brussels antl in Paris. Rops had a special genius for these little works, which demand so much compression, and balance and style. He revelled in these rebus-like compositions, wherein his ironic spirit had free play. In heart he was always a vignettist, for he loved to show the ((uintessence of things. It may with truth be declared that all his book- plates are real masterpieces, and will serve as models even when some of his other work, often super-erotic, is forgotten. The painter Legros, who had his day of fame some twenty years ago, took pride in composing a book-mark for the fierce tribune, Leon Gambetta. nnR.«aa«maii«'*.^aaHA^^^i!?Uflptation of the suggestions which have been derived from tliis side of the Atlantic. But there is, nevertheless, a good deal of promise in what the American designers are doing. A few men have already shown that the possibilities of real develojjment are greater than might at first sight have been imagined; and their labours, though not very extensive, have been productive of results of riuite ai>preciai)le moment. It is note- worthy that hitherto the interest in book-plates is with them a matter of local feeling. Most of the best work comes from Boston, where presumably the (juieter resthctic atmosphere and the greater educational advantages tend to foster a class of art which appeals to the intelligent and cultured few rather than to the sensation- loving masses. Nearly all the plates which accompany this paper have been produced by a few New Eng- land men, some of whom are not un- favourably known iieyond the limits of their own district, and even outside the confines of their native land. One of the best ol this small group is Bertram Grosvenor nv II. E. GOODHIE BY U. E. GOODHl'E American Book-plates Goodhue, a black-and-white draughtsman, who has estabhshed a considerable reputation l)y his decorative drawings. He has already attracted attention in London by his borders and initials for " The Altar Book," which was shown in the last Arts and Crafts Exhibition ; and a book-plate by him was reproduced in a recent number of The Studio. A certain freedom of fancy distinguishes his work, and he has a pleasant command of vigorous and expressive line which justifies the position he holds among his contemporaries. Harry E. Goodhue, who is well known as a worker in glass, is represented by some specimens of his book-plates, which show 1!V CKADL [See German Book-plates) pleasant refinement of teeling and agreeable variety in design. As a " name-label," the plate he has drawn for Miss Alexander is by no means unsuc- cessful : it is unambitious, but has a certain elegance. There is more intention in another of his designs — that for June Eldredge, with its happy combina- tion of figure and landscape. Another, for Juliet Armstrong Collins, shows similar feeling, but is less skilful in arrangement and drawing ; and the fourth is better in idea than realisation. Among the black-and-white draughtsmen in America the place occupied by T. B. Hapgood, jun., is deservedly prominent; and it may be questioned whether those who are well acquainted STT BlBLIOTHEK DES KaNICLICHEN KUNSTCEWERBE-MUSEUMS • BERLIN CESCHENK BY DOEPLER {See Geniiaii Book-plates) HV IIll.DEBKAMVr (See German Book-plates) 6i A nicricmi Book-plates with his work would accept these examples of his book-plates as doing him justice. He has chosen for them a curious formality of style, which in one case — that of the label for Mr. Heintzemann — ' certainly seems a little ponderous. This particular one is, however, intended for use in the reference library of an important commercial house, and so may be justified as appropriate to its surroundings. I-'orAIr. L.iughton's plat, the same claim of absolute .suitability may be advanced. In the designs of W. S. Hada- way, another Boston artist, formality and the conventionalising of details are carried even farther than they are by Mr. Hapgood. Of all the plates here reproduced his show most plainly the type of decorative feeling that influences certain of the American workers. He has a peculiar tendency towards abso- lutely symmetrical compositions, and avoids entirely the suggestion of pictorial effect. By this method of treatment he loses some of the freedom and richness which make attractive the pro- ductions of many of the other designers, and gains a quaint mediaeval flavour that seems in a measure IIV MANS TIIOMA (See Ceiiiian Book-plates) 62 1!V HANS THOMA {See German Book-plates) out ot place among the essentially modern surround- ings which the country provides. The sources of his inspiration are apparently the illuminated missals and manuscripts of the Middle Ages, the engraved brasses which mark the tombs of knights and bishops who lived many centuries ago, and the tapestries which hung in the castles of the feudal chieftains : all these he seems to lay under contri- bution, and from the material which he collects from such sources he compiles things which are attractive, even if not altogether appropriate. In his management of technical devices he is dis- tinctly able, and his use of solid blacks in contrast with solid whites is consistently judicious and soundly decorative. In a sense it is to be regretted that he should not apply his obvious skill with more freedom, and should not transfer some of the attention which he gives to ancient examples to motives of a more modern and living type. Some other American artists whose work deserves particular mention are W. H. Bradley, G. W. Edwards, Frank Hazenplug, and C. Y. Bragdon. A single plate by the last named is reproduced ; it is curiously simple in treatment, but belongs in its manner rather to the domain of furniture-designing than to that of decorative black-and-white. The two drawings by Miss Mary Prendiville are, per- haps, the most original of the whole set. They are less skilful in handling than some of the others which are given, but they show a plain intention to depart from the beaten track, and a deliberate effort after freedom in arrangement. They are German Book-plates hopeful as signs of the growth of greater pictorial feeling, and suggest possibilities which are not so apparent in the work of those artists whose study of early authorities has imposed plain limitations upon their range of invention. As time goes on results more obviously indi- vidual may be expected from America. The worship of unsuitable archaisms will be aban- doned, and for the purely artificial respect for the traditions of European communities will be substi- tuted a fresher and more intelligent sense of the obligations which are involved in this class of design. The inventiveness of the nation will assert BY H.^NS THOMA itself, and a style probably quite unlike that which is characteristic of European work will be de- veloped. At present American book-plates are nothing more than hints of what is ultimately to be expected ; they show the manner in which the native designers are feeling their way towards de- cisive expression of an unfettered independence, and they mark in the progress of the art a stage which is nearly complete ; we shall see their ten- tative qualities before long giving place to really genuine originality. What will be evolved it is scarcely possible at present even to suggest, so many directions are open to the designers, and such chances of breaking new ground are within their reach; but, at all events, reasoning by the analogy of other art movements in America, we may antici- pate the creation of a school which will treat in its own way the problems that present themselves. Je.\x C.\rr^. GERMAN BOOK-PLATES, BY HANS W. SINGER. In his book on German book- plates, F. Warnecke, after reviewing the history of the art from the fifteenth to the eighteenth century, says : " The worst book-plates that have ever been produced . . . are those of the first half of our century." This criticism might be applied on a broader basis, for it holds good for other art products besides book-plates. It seems, however, rather too early to date a revival of ex libris art from the fifties, and Count Leiningen-Westerburg, in submitting a chronolo- gical system for the arrangement of a collection of German book-plates, cuts our century into two un- equal halves, maintaining that the designs produced after 1870 differ widely from those done before. Yet even this seems an early date to assign to the b'rth of the modern book-plate. No doubt there was a sort of revival, a decided improvement upon previous work perceptible at both these periods, especially the latter. People had at least discovered what a book-plate was meant for, and fell back upon the oldest specimens, the kind that some to this day — perhaps with justice — deem the only correct form of the book-plate, the armorial *-5CAFt'^* BY CARL WOLBRAND 63 German Book-plates one. The early work of Hupp of Munich, of I)ocpler and Hildel)randt of I'lL-rHn, appeared then, and armorial book-plates were correctly drawn from an heraldic ])oint of view by these artists for nearly the first time during the present century. At that time these men belonged to the class of " decorators," a class of designers distinct from the artist fraternity. They had their own schools of training, usually con- nected with some museum of applied art. They were not educated to the free use of the brush or the pencil, and they were not brought up to the vocation of painting a picture. Their instruction was limited to the copying of certain antique ex- amj)les, and to accjuiring a know- ledge of certain principles whicli might enable them to produce works of applied art. These " Kunstgewerbler," or art- workers, were at that period considered to be of a lower caste than the artists. Artists looked down upon them, and they were not very wrong in doing so, for the aforementioned knowledge pos- BY SATTI.ER F X-S BY OTTO GREINKR 64 sessed by these art-workers consisted for the most part of a rather hazy acquaintance with a subject not any too good in itself. They were supposed to have the forms of German Renais- sance decoration at their fingers' ends, and their imagination was crammed with those restive designs of interlacing bands, flying banners, fluted columns, heavy volutes, and all that many-cornered, intricate " little " ornamentation which we see in the furniture, on the title- pages, on the " Cartouche " prints, and even on facades, towards the end of the sixteenth century. This system of decoration, trans- planted from its natural surroundings into the middle of our century, had not much to recom- mend it. Yet for these art-workers there existed only this one style : " Alt-Deutsch " — antique ( "icrman — was the thing ; houses and rooms and furniture and book-plates must needs be deco- rated in this fashion. This continued far beyond 1870, beyond 1880, indeed I think even beyond 1890, and to my mind the appearance in Germany of the modern book-plate is even more recent than this. In May 189 1 the German Ex Libris Society was founded. In October of the same year they began the publication of an excellent quarterly which is still thriving, and no doubt the society, especially the members whom I THREE BOOK-PLA1 BY P. VOIGT n CfCnnan i^oos:-p: and armorial boo: and they the VOCatiui! 11 |.a:iMiiijj ,i I'll, ir instruction was lini! tor the atorement. rr.nsistcd for th- 'e3TAJ4-:>iooa asifHT TOIOV -1 YE nianycornered, intricate " litde " ornamentation which we see in *' '' '■ ' '~ the title paL't'.. on the " wA evei; into th' Libris ?0' ■ of the s , : of an , still thri^ng, and- no doubt lilt; bOLiciy, especially the members whom I 64 EX • LTBRTS PA V L ■ V O I G T h\^. German Book-plates have already mentioned — Warnecke, Leiningen- AVesterburg, Doepler, and Hildebrandt — have done much for the furthering of the book-plate. The modern ex libris dates here as in other countries from the moment that the modern art- worker appeared, the art-worker of to-day, who is no longer a man of professedly inferior training, but no less a person than the artist himself, step- ping aside for the time being from other pursuits in order to design artistic forms for articles of daily use. As for the book-plate itself, two things had to be done as a commencement. It was necessary to show that other than heraldic designs could be used : Sattler did that. A new style of design must replace the clumsy Renaissance decoration : O. Eckmann perhaps did that, if it be attributable to any single man. The increasing acquaintance with the work of Anning Bell and other English draughtsmen also helped a good deal. Probably most readers of The Studio who are interested in «.v libris to any great e.xtent are acquainted with the forty-two designs by Joseph Sattler, published in 1895 at Berlin. None of them are purely heraldic in the old fashion. Some of BY S.\TrLER BY S.VITLER them are very grotesque ; a good many show no connection whatever between the design and its use as a book-plate. They are very varied in character, some reminding one of Dutch etchings of the seventeenth centur)-, while the majority were made in a sort of emula- tion of Diirer. Sattler himself was anxious lest one should say " imita- tion " of Diirer. He does not wish to be considered a coppst. Upon one plate, that of Gabriel von Terey, he was asked to reproduce a sketch by Baldung (Terey published the Baldung drawings), and he is particularly anxious that attention should be called to the fact that he has added Baldung's monogram. Unfortunately many of the designs are rather heavy, and most of them appear to suggest a hidden, significant meaning. A plain design is less pretentious and more pleasing in the end. It seems to me that of the forty-two the simple black-and-white specimens are the best : they show greater decorative power. The coloured designs were not lithographed by Sattler himself, which is also to be deplored. This series excited much attention and may have been the cause of others 65 GcniKiii Booh-plafcs trying their abilities in this direction. Ui)on the whole the number of true artists who have turned their attention to tx libris is not large, and they have not produced much, probably not half as much as has been done in the same period in England, that Eldorado of ex libris. Specimens of the iiest artists' work accom- pany this article, although it has been impos- sible to do full and complete justice to the various designers. Most of the present speci- mens, however, will speak for themselves fairly well, and there is need only of a few words about the designers. Some of the recent work ot Doepler and Hildebrandt proves that they have kept in step with the times. Each of them has designed more than a hundred good original plates. Wolbrand is an architect of Hamburg who has gained some reputation as an illustrator of comic local pamphlets. The specimens, as well as those of (iradl of Munich and some others, were rvss Avr s VLbTL Ava' Avr's [LC5TC BY .MAX KLINOER BY M.\X KI.IMIER secured with the kind assistance of Count Leiningen-Westerburg. Paul Voigt is director of one of the departments at the (lovernnient printing-offices at Berlin, where the German banknotes are made. Most of his plates are intaglio work on copper, usually engraved by himself. Merger's designs are very novel and inte- resting. They are not wood-blocks or lithographs, as one might be led to sup- ])ose at first sight, but are stencilled, a separate pattern being cut for each colour. 15erger lives at Munich, as does also I'ankok, whose fine wood-block colour jjrints cannot fail to prove interesting. In his book-plates Thoma scarcely appears to great advantage ; they are only rapid and slight sketches to which he has not devoted much time or thought. Still they are interesting. Of all the designers Hirtzel approaches perhaps nearest to the elegance and grace of the modern English ex libris ; but, as a rule, German tendencies do not incline that way, and perhaps the most specifically German attempts are those in which the drawing is of secondary importance to the colour scheme. Klinger has engraved ten plates in all, two for Liepmansohn, one for his brother, a professor of chemistry, two for the art dealer Gurlitt, one for the musical library of Peters at Leipsic, with the head of Beethoven, and one for Mr. Bode, Director of the Museum at Berlin, two for his 66 PETFRANCKEN BY PANKOK Austrian Book-plates own books, and one for Reinhold Richter, which was done quite recently. Greiner has engraved one for Hartung, and litho- graphed two superb plates for Weigand of Munich in gold and colours. In conclusion I will name a few other designers whose work in this direction is worthy of consideration. Karl Rickelt has designed several excellent armorial book-plates, including one for I.ipperheide. Peter Halm, the Munich etcher.has, among others, done a few pleasing examples for F. Schneider at Mentz ; Gustav Hogelorp is responsible for a fine tx libris for Count Drach (with two dragons), another for A. Herzog, an heraldic design surrounded by a border of oak-leaves, and an especially good design for von Schlieben, represent- ing a battered burial slab, such as are to be found on the walls of old churches. The ex libris for F. Hausslin by O. Schwindraz- heim, represents a house cleverly con- structed of old books, and upon one for B. SchafTheim we see a boy in the costume of the sixteenth century buying his first book from a booth at a fair. The in- scription, printed in old type, unfortu- nately includes the date of the incident, 1852, which seems out of keeping with the design and mars an otherwise pleasing plate. Hans W. Singer. s BY JULIUS SVENSSON OME AUSTRIAN BOOK- PLATES. BY WILHELM SCFIOLERMANN. BY SATTI.ER <5$ "he history of book-plates in Austria, from the earliest times down to the present century, though corresponding, of course, in regard to its genesis and chrono- logical development with that of other countries, is an interesting subject that has never yet been authoritatively dealt with. There does not exist, to my knowledge, any trustworthy guide, cata- logue, or other kind of publication devoted to this special topic, either from an artistic or from a bibliographical point of view, to which the amateur, bibliophile or antiquary, might turn for enlightenment in treating upon Austrian ex libris. Even the well-known German authority, \Varnecke, does not deal exhaustively with Austrian ex libris either from an artistic or from a chronological point of view. Austria has been from time immemorial a country par excellence of feudal aristocrats and monasteries, a land of monks and barons. As far back as a.d. 1312, there existed an illus- trated and illuminated " Passionary " (now preserved in the library of the University of Prague), on the first page of which the names BOOK-PLATE BY OTTO GREIXER Austrian Book-plates own bnoVs, and one for Rpinhold Richtcr, ; 1 plates lor Wcigand ot ..lu.nw. i.. ;. : . . i.J colours. In conclusion I will name a few other Peter Halm, f , etcher, 1 otho- ' ■■ Hcrzoi,'. an i a hurder of i good design for \ inc l)C ! fX Hbtis luim, r _ sln:( ted of old 1 upon . H. Schaffheim we .11 . . ,-, .1.... .-,-,. ■ of the sixteenth cent Ith al ;.. l.-.!f. 1 1 ■ in old tVpOT'll'l^ natcly y. i: date ' .Sr V w 11 IS out _ . _ . _ ^n and mars an oth erwise pleasing n,\N- \\ Singer. s RIAN BOOK- \\\ WILHELM RMANN. Ya 3TAJ4-5IOOa H3VII3H0 OTTO 68 The historj' of Ixwk-plates in Au.stria, from the fjarliest times down to the present century, though corresponding, of course, in re<;ard to its genesis and chrono- l(v' ' ' ' -.1 ., , - .' untries, is t iK-en a;. '-t, t., .la- li ted to tl r from a .<-h the ,1 rn 1, '.V iibns. Ev Warnei-1>' li'i Austri rfrom _ ..1 _ .0 immemorial a. ' Lts and _ ni' ' iS. As far I).' .2, there existed an iltus- trii. ' ,ted "Passionary" (now I" rary'of the University of i'mguL'^, on ti'c nrst page of which the names Austrian Book-plates and " likenesses " of the learned scribe as well as of the pious owner of the book (the Abbess Kuni- gunde, daughter of King Ottokar II. of Bohemia) are imprinted. In the various monasterial libraries the ex libris monasleiii appeared about the same time as in the neighbouring German ecclesiastic centres " of learning and peaceful seclusion." Previous to the year 15 19, the first ex libris proper now in existence was that of Aldobrandini, and the oldest dated book-plate in the town of Vienna is that of Johannes Faber, Bischoff von W'ien, in the year 1 540. Among the names of Austrian book-plate designers and engravers that have been handed down to posterity in the course of centuries, I can only repeat a few of the most conspicuous, such as Dietl, Yunker, Kenckel Konperz, Nicolai, C. Dietell (of Graz), Alois Count Rosea, Fr. Mayer, Fr. Schauer (the engraver), and five anonymous ex libris of rare quality and interest in the library of the " Nicolspurgensis Scholarum Piarum." The " Gumpoldskirchener Bibliothek " also con- tains some very choice specimens of old book- plates of various dates and sizes. There has quite recently been an exhibition of book-plates, together with book-covers and old manuscripts, in the town of Briinn in Moravia, the first one of this kind held in Austria. Here some thirty to forty old ex libris were shown, mostly from designs of the above-mentioned artists, the chapter-house of Kremsmlinster in Moravia con- tributing some of the finest specimens from its rare collection. HV I'AUI. VOIl'.T BY r.\UL VOIGT There are practically only three living Austrian book-plate designers, of whom two reside in Vienna. The names of these are Ernst Krahl, a painter and heraldic designer, and former pupil of Doepler, jun., of Berlin, and Hugo Strohl in the same profession. Both are as yet leaning more or less upon the safe lines of tradition, though, no doubt, their designs are well executed, and in this respect certainly deserve a note of unbiassed appreciation. From a really modern point of view, there seems at present to be but one young artist in Austria whose work can compare with that of the best foreign ex libris designers. This is Emil Orlik, of Prague. There is a charming freshness combined with a rich vein of phantasy and humour in Orlik's manner. He betrays at once an individuality brimming over with inventive faculty and a de- termination to break away from the fetters of tradition. His style is both original and con- vincing, completely different from any style at present prevailing in Germany (such as that of Joseph Sattler for instance), and entirely free from all and every kind of heraldic, " scholastic," or mediaeval influence. Emil Orlik was born in 1S70 in Prague, or more accurately speaking in " Alt Prag," the most ancient quarter of the quaint old capital of Bohemia. He commenced his studies in ^[unich, and was for about a year and a half a disciple of Professor Lindenschmidt at the Academy. There seems, however, to have been but little afiinity between master and pupil, and it is impos- 71 BY CARI. WOl.HKANl) (See German Book-plales) Ppebutir^I^ambur^, ItY 11KRNIIARI> WKNK; (See German Book-plates) BY \. MBBIHR (See German liook-flaUs) BY BKRMIARI) WENKJ (See German Book-plates) 72 Belgian Book-plafcs sible to trace any marked influence upon the character and development of OrHk's art from that source. The artist is at present indulging a transient migratory mood, and is engaged upon a roaming tour of study through England, Scotland, Holland, Belgium, and France. There appears to be no need for the critic to enter into details with regard to the various ^.v libris of this artist which are reproduced here- with. Each design bears a personal stamp, and displays independence and even daring both in its conception and execution. Whatever may he the direction which Orlik's artistic develop- ment will eventually take, it seems certain that we are destined to hear a great deal more of him in the early future, and his career will be watched with interest by all advocates of inde- pendence and individuality in art. Had it been intended to enter into an e.\- haustive treatise on Austrian book-plates, the basis of this article must needs have been con- siderably enlarged. It has been at least possible, however, to submit and consider a few of the best examples of ex libris that can be procured in Austria, where the modern art movement is only gaining ground very slowly and gradually. In conclusion I must tender my heartiest thanks to Mr. Karl Koch, and to Mr. Arthur liV E. KRAIll. Tellinek, to whose erudition and courtesy I am indebted for much valuable information con- cerning ex libris literature in general, and Austrian book-plates in particular. WiLHELM SCHOLERMANN. ELGIAN BOOK-PLATES. BY FERNAND KHNOPFF. HV E. KR.\Hl. D I ■ During the course of the renais- m. ^ sance, or the popularising of the applied arts — a movement which was the natural outcome of English e.xample, and is now flourishing everywhere — Belgium's share in the work was an ample contribution of pottery, pewter, and posters. Our painters concentrated their energies in the study ot ceramics, our sculptors — and not the least con- sidered among them — devoted their gifts of modelling and composition to the production of works in pewter, while the Belgian poster school (or rather schools) achieved a great reputation by designing several of the recog- nised masterpieces of their kind. The Belgian poster occupies a prominent place in the special publications devoted to this branch of art ; indeed, more than one volume has been entirely devoted to the efforts of the Belgian poster- makers. Nothing, therefore, would be easier 73 Belgian Rook-piates than to write a complete historical study of the poster in Belgium. But when we come to the question of book-plates, especially those of to-day, it is quite another matter. The revival of the tx libris in England and in Germany, whereby several artists have obtained a wide celebrity, has had no counterpart in this country. Belgian book-plates have always been scarce, and those that exist, more- over, are but little known, the public collections containing none of them. Private collections there are, it is true — including those of M. Hipjiert, M. Claessens the art hinder. Dr. Van den Corput, Comtc de Ghellinck, M. Pol de Mont, and ("f)nite de Limburg-Stirum — but they are somewhat diffi- cult of access and, from various causes, generally incomplete, especially so far as the most recent productions are concerned. Some of our national artists give evidence of real talent for this kind of work. First of all comes the late Fclicien Rops, the astonishing draughtsman, the consummate engraver, with a wit as keen as his needle's point, who was better cjuali- fied, jierhaps, than any one alive for the task. But no one thought of going to him. The catalogue of his works, so ably edited, under the pseudonym of Erastene Ramiro, by the Parisian advocate, M. Eugene Rodrigues, mentions kitrines (initials) and ^^tM\f-^RrLo, '^c> EZAVFAL BY EMIL ORLIK {See Auslriaii Book-plates) 74 BY KMII. ORl.IK (See Aiislnan Book-plates) " marks," but not a single ex libris. But while the absence of the typical ^\'aIloon master from the list of book-plate designers must be keenly regretted, it is satisfactory to note in the first rank the names of those who were either his direct disciples, or who, by displaying his identical racial qualities, may be said to have continued the work he himself per- formed with so much force and originality. I have often had pleasure in referring in The Studio to the interesting and meritorious group of Litge artists, whose essential decorative gifts are of so refined and "intellectual" a character — if so I may term it: I refer to MM. A. Donnay, A. Rassenfosse, and E. Pierchmans, the creators of the best of Belgian posters and also of our best «.v libris,. In the latter as in the former they display, without any parade of virtuosity, the well-balanced and logical style, allied to the soundest and most serious craftsman- ship, which is their distinguishing characteristic. 'Po their ranks on this occasion I would add yet another Liege draughtsman, M. de Witte — albeit his manner is somewhat different — who has de- signed a book-plate of great merit for M. Terme. In default of other virtues, the book-plates ot Brussels may boast of their comparative numerical Belgian Book-plates superiority and their diversity of style ; nevertheless the names of several artists which we would certainly expect to see are wanting from the Hst, notably those of MM. Crespin, H. Vandevelde, and Han- notiau, whose absence is greatly to be deplored. On the other hand, we find several amateurs who, wholly or in part, have executed their own book-plates, such as the Due d'Ursel, President of the Societe des Beaux-Arts of Brussels, M. Hippert, President of the Societe des Aquafortistes Beiges, and Comte Alberic du Chatel, who has engraved, with light and delicate touch, a charming ex Ubris in the eighteenth-century style. Numerous ex Ubris have been composed and engraved by M. J. Schavye, the art binder, who in point of fertility holds the " record," as the sporting phrase goes, for works of this sort. Certainly he has oc- casionally been obliged by his patrons to execute heraldic compositions of barbarous appearance and other designs of decidedly commercial aspect ; but the beautiful plate he designed and completed for M. Mon- tefiore shows him capable of producing BY EMIL ORl.IK {See Austrian Book-plata) 1!V KMII. ORI.IK (Sec Aiislrian Book-plates) true art work when unfettered by restrictions. M. Schavye it was who composed the book- plates for M. de Bonne, M. Edm. Picard the advocate, M. J. Van Volxem, Baron Van den Bergh, and M. R. Chalon, the learned and laughter-loving bib- liophile, whose practical jokes were famous in their time. M. J. Weckesser, another art binder, has also done some in- teresting plates, especially note- worthy being that of Count Leopold de Beauftbrt, whose celebrated library contains copies of several remarkable works on the chase. This particular book- plate has several times been incorporated into the scheme of the binding, which certain book-lovers declare to be its rational place. Among the Brussels artists Bclfriati Book-piatcs BARKLAU''^ BRUXLLLLS ^ BY FKRNAMJ KHNOl'KF EXUiSRJS who have designed book-plates may be mentioned A. Lynen, most thoroughgoing of Bruxcl- lois, who executed a work of this kind for M. G. Schoenfeld the advocate; G. M. Stevens, author of his own " mark " ; H. Meunier, of poster fame, who has executed cv tibris for Madame H. Meunier, and for MM. Campion and G. Fuss; G. Lemmen, most " modern " of book illustrators, his plates being intended for Comte Harry von Kessler of Berlin, Herr Curt von Mutzenbecher of the same city, and M. J- Meier- Graefe of Paris. M. A. ^'er- haegen, on behalf of M. J. Neve, Director des Beaux- Arts, has designed a plate which has been executed in admirable fashion by M. Vermorcken the engraver. Finally there is the writer himself, several of whose ex lihiis were reproduced some time ago in The Studio, and who has since composed one for the library of the Brussels Bar. " In Antwerp," writes M. Ch. Duniercy, keenest of art amateurs, advocate, and man of letters, '■ the book-plate nowadays has fallen from its former high estate. So far as I am aware this is an exact statement of how things stand. I know three Antwerp bibliophiles who possess ex libris. When I say " I know," you must regard this as a manner of speaking, for one of the three is myself, whom I scarcely know at all. My ex /ihn's, which, strictly speaking, is a ' character ' formed of two initials and innocent of device, was designed and 76 engraved on the wood of the pear-tree by my friend Max Elskamj), who is not content to be simply a great poet." M. Fernand Donnet, Director of the Royal Academy of Fine Arts in Antwerp, had a book- plate designed for himself which was touched up and completed by F. Pellens, the engraver, a student of the Institut Superieur des Beaux-Arts. Lastly, M. Pol de Mont, the poet, has a very beautiful specimen, invented and designed by M. Charles Dondelet, the quaint draughtsman of Ghent, whose learned talent and rich archaic style were admirably adapted for the production of this work. Other Ghent artists have also designed book-plates, in — comparatively — large numbers. The erudite and amiable librarian of the Uni- versity of Ghent, M. F. ^'andcr Haeghen, writes : " Here is the result of my researches with respect to ex libris in this library. I find book-plates owned by MM. Heremans, Voituron, and Gantrelle, designed and engraved by Armand Heins ; one belong- ing to M. Massy, designed by Em. Coemans and engraved by N. Heins ; one, the property of M. J. Roule/, engraved by \'. Lemaire from a little sketch by myself; a plate of my own for an Erasmian collection, engraved by N. Heins after a drawing by J. de Keghel ; two more, belonging to me, one designed and engraved by N. Heins, the other engraved by C. Onghena from a design of my own ; and one owned by M. Charles Hulin and designed and engraved by P. Allaert. HV DO.NNAV BY A. RASSENFOSSE Belgian Book-plates In addition must be remembered the little ex libris of the University library." This collection has certainly the merit of variety, tor side by side with examples of the simplest style of illustration we find portraits — somewhat photographic portraits — of book-lovers, while large- sized plates are in company with " marks " so BY A. RASSEN FOSSE small that they would be highly esteemed by M. H. Beraldi, once described by M. Octave Uzanne as " chief of the New School of Orthodox Biblio- philes." M. Beraldi, in a note attached to his work entitled " Graveurs," is very severe on book-plates generally, and insists that they shall be as small and as simple as possible. May one not even contend that the ex libris, however small it be, placed inside a volume, is calculated to destroy the harmony of the work, and that a " mark " ot this sort should properly figure on the outside of the book and form part of the ornamental binding ? Then comes this question : Can an orthodox book-lover interfere with the binding of his book ? And this : Should he remove from a \ olume the ex libris already attached to it ? The last-named question has been so clearly and delicately handled by Mr. H. G. Ashbee that I am constrained to quote his opinion. " But what," he asks, " shall be said about the removing of a book-plate from the volume to which it belongs, and to which it imparts a cha- racter, a historic and personal value ? " His answer is as follows : " For my own part I do not remove the book-plates from the volumes which I place on my shelves ; I like to leave in the books I use any plates which they may contain, and to contemplate ' in my mind's eye ' the owner or owners through whose hands they may have passed ; nor do I (as is sometimes done) paste my ex libris over the one already there. But I frankly own that I do not hesitate for one moment to abstract a book-plate from a worthless or an odd volume, or even to take any plate out of a long set, and add it to my collection of ex libris." A book-plate is a unique thing, unpretentious in point of size, and of definite character; something that must be specially commissioned, and, more- over, cannot decently exist or be displayed with- out justification — or, in other words, without a library of books for it to be placed in. For it is only a Victor Hugo who can be allowed, without exciting ridicule, to own a superb and imposing ex- libris, while possessing a library consisting of little ISV h. i'1-.l.LENS more than fifty volumes. To put it briefly, a book-plate does not " represent," as we say here, the money it costs. It is for this reason espe- ciallv that the return to fashion of the book- Be/i^icni Book-plates owner's mark, as seen in England and in Germany, seems scarcely j)ossil)le in Helgium. Tlie beauti- ful libraries of our old families have their fixed ii*!*'**. L cjlibri c^^^.'^OSBCPC BY A. VKRIIAEIIKN H ■k Von wi N 1 W/^xe'rI BY DONNAV heraldic book-plates ; and more often than not the new race of bibliophiles has been satisfied with copying some old mark, or has grown accustomed to defer his choice from day to day, or has thought it safer to entrust the matter to some working engraver, more or less a specialist, sometimes a foreigner, who, with no responsibility on his shoulders, has not scrupled to fabricate any sort ot work. These productions are sometimes such as almost to justify a certain Conite C, of Brussels, one of whose numerous eccentricities was that he used his e.x libris alternately to denote ownership in his books and in his hats '. 78 A word on the question ot the origin of book-plates. Mr. William Bolton has given his opinion on this subject with great clearness in an early number of the " Journal of the Ex Libris Society." Says the writer : " It is a fact pain- fully apparent to nearly every one who owns a library that there are in the world a great many outwardly respect- able people who have but very lax ideas of morality regarding the return of borrowed books, and who quietly treat as their own property any volume which, unluckily for its rightful owner, has by means of a loan fallen into their hands. This form of book stealing (for in reality it is nothing short of that) is no modern invention. Our ancestors, more than three centuries ago, suffered from these characteristic depredations as keenly as we do to-day, and for their own protection, very soon after the introduction of printing, seem to have adopted a jjlan, which has survived until the present time, of affixing to every volume their library contained an engraved mark of proprietorship, as a means of insuring the return of the book so labelled, in the event of its being lent, lost, or stolen. Such a label we now, somewhat perhaps inappropriately, call a ' book-plate.' " To conclude in patriotic fashion an article which, I fear, is incomplete, chiefly by reason of the some- what involuntary modesty of our bibliophiles, I would beg my readers to believe that, while the scarcity of book-plates in Belgium is remarkable, it is no less so than the honesty ®f our book borrowers. So mote it be ! Fern.\nd Khnopff. C/3 o o u o >^ PS Q o en H = c/3 1/3 PS s O U u H 1^ ^ o o Q CO Id h <; S 1^ u H O ft o hi ^ 3 S3 ft) 12- o HEWMAH ♦♦♦♦•»•»#••»»• HEWMAN MANUFACTURER OF EVERY ARTICLE OF SUPERIOR QUALITY FOR THE ARTIST. NEWMAN'S FLAKE WHITE IN OIL 18 MORE BRILLIANTLY WHITE, WELL PREPARED, AND LASTING THAN ANY OTHER. NEWMAN'S COPAL OIL MEDIUM 18 THE BE8T MEDIUM FOR OIL PAINTING. DRIES WELU ALL WORK DONE WITH IT IS PARTICULARLY FRESH AND BRILLIANT AND NEVER CHANGES. Price Is. per Bottle, or Larger. NEWMAN'S ARTISTS' BRUSHES FOR OIL OR WATER COLOUR. REASONABLY PRICED BUT VERY SUPERIOR IN QUALITY. 24 SOHO SQUARE, LONDON, W. o o g 3 ^ n s r-" Co JO B •8 z o 3 o o -** i: H c cr o 3 a- d 2: w O t/> oC OS OS 2 o C/1 H HAMPTON & SONS invite a visit of inspection (and comparison with best values elsewliere obtainable) of their Immense Stoclts of every possible requisite for Decorating and Furnishing throughout, in any of the tradi- tional styles, or in the best modern manner. Carpets, Furnishing Fabrics, Household Linens, Lace Curtains, China & Glass, Ironmongery. ItAnpren eM DE(0R\TI0f15RIRniTURE ^MIITATIOIIELKIRICllGHTirlG. CARPET3- FABRICS. FINE -ARTS. ESTIMATES AMD SUGGESTIVE SCHEMEi FREE tt SEC CATALOGUES PALL MALL EAbT Sanitation^ Electric Lighting, Building, Decorations, Furniture, Antiques, Fine Arts, Removals. Original Schemes for the Artistic Treatment of In- teriors, together with Estimates, prepared Free of Charge. BOOK-BINDINGS EXECUTED IN GENUINE LEATHERS. FINEST WORK IN EVERY DETAIL BY THE MOST EXPERIENCED WORKMEN ARTISTIC WORK AT MODERATE PRICES John & K. Bump US, Ltd. Booksellers and B ookbinders to H.M. the ^ueen 350 Oxford Street , w. BOOK-PLATES EX-LIBRIS DESIGNED AND ENGRAVED ON COPPER OR WOOD IN FINEST STYLE j« Jt ESTIMATES SUBMITTED AD. XIII READY SHORTLY A COURSE OF INSTRUCTION IN WOOD-CARVING ACCORDING TO THE JAPANESE METHOD ^ By CHARLES HOLME (EDITOR OF "THE STUDIO") friTH SErENTy-TIVO ILLUSTRATIONS & FOUR PLATES Bound in cloth, small crown 8vo. Price 2s. 6d. net -* Offices of "THE STUDIO" 5 Henrietta Street, Covent Garden, W.C. A Record of Art in 1 898 Now Ready THE THREE EXTRA NUMBERS OF " THE STUDIO ' DEALING WITH ART AT THE ROYAL ACADEMY, NEW GALLERY, NEW ENGLISH ART CLUB, AND THE PARIS SALONS, HANDSOMELY BOUND TOGETHER IN CLOTH, GILT Price 5/- Some Press Opinions " A publication covering such a wide field and illustrating "A most valuable souvenir of the year's art." so many different phases of art production in a manner that Weekly Sun. shows more than ordinary discrimination and care is certain " The reproductions are of the very highest class to which to be hiehlv valued.'' — Morning Post. The Si udio has accustomed us in all its productions." ^ ' ShejiM Telegraph. " It is certainly, in the quality of its numerous illustrations, " The editors of my eminently artistic contemporary Thb and in the excellence of its arrangement and production, Studio have surpassed even themselves in their edition of equal, if not superior, to any publication which has hitherto the Academy pictures this year." — Irish Soiiely. been designed for the representation of current art ; and it " The pictures have been judiciously selected and admir- is marked by a most commendable novelty of treatment." ably reproduced." — The Critic. The Globe. "A handsome volume, well printed, well bound, and pro- " The reproductions are. almost without exception, quite ^'i^^^ with as many iUustrations as there are pages .... a admirable, and the appearance of the whole series is worthy deeded improvement on nval publ.cat.ons.^^^^^ Cuardan of the highest praise. "-r/« Globe. ., .^^^^ .^ ^^^ ^^^^ .^^^^^ ^^ The "studTo peoplT'is a '■Among art periodicals The Studio with its • Record of guarantee of the artistic excellence of the work. It deserves Art in 1898' is the most comprehensive and intelligent a pUce in every art library."— ^iro/.twuH. attempt to give a conspectus of a year's production here and " Beautifully printed and profusely illustrated." in France, giving, with illustrations, some account of the : Daily News. work of each artist, and many beautiful reproductions from I " Exquisitely beautiful — the very triumph of modern art their preliminary studies." — Literature. processes." — Newcastle Daily Chronicle. .\D. .\IV Dr. E. ALBERT & CO., ^ Direct Photo-Etchers and Engravers, MUNICH, BAVARIA, S C H W A B I N G E R L A N D S T R A S S E, No. SS. (IMF.ASK ADDRESS EXACTLv). Zincotype Blocks AT LOV/EST TERMS •^>^3*>;-' I " |S« l: Photogravure Plates EiglUpence per Square Inch. f ^ MAXIMUM SIZE, ^ 2 ft. 8 in. ;< 3 ft. 6 in. Square. 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PRINTED WITHOUT TYPE— EVERY PAGE ILLUSTRATED. No Book-Collector or lover of rare books can afford to lose this opportunity of securing a work which is in various respects UNIQUE IN THE HISTORY OF PRINTING, and of which no re-issue will be made. For details see daily papers ; for prospectuses, &c., apply HARRY QUILTER, Esq., 21 Brvan.ston Square, W. PICTVRES FROM "THE STVDIO" Mounted and Ready for Framing. In response to a large number of inquiries for The Studio Supplements for framing purposes, a Portfolio containing the following selection, carefully printed upon the finest hand-made papers and mounted upon cards, has been prepared: — Lord LeightOn's (P.R.A.) "Tobit and the Angel." Printed in Colours on Japanae Papo Sir E. Burne- Jones' "Study for St. Joseph." Printed in Gold and Colours on Japanese Pap^^ H. H. La ThangUe's (A.R.A.) "Nightfall." Auto-Lithograph primed on Dutch Pape, NicO Jungmann's " Neeltje Tuyp." 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HANSON AND CO., TAVISTOCK STREET, COVENT GARDEN, AVP PUBLISHED AT THE OFPICES OF "THE STUDIO," S HENRIETTA STREET, COVENT GARDEN, LONDO.N IFO^ University of Ca'itornia ^ SOUTHERN BEGIoULUBRfYFA^^^^^^^^^^ ^°= ""^^;1urt;irmaTenaTo the library from which it was borrowed. 3 000 412 886 4