The Illustrators: The British Art of Illustration 1894-2020 by Chris Beetles

THE ILLUSTRATOR S THE BR I T I SH A RT Of I LLU S T R AT I On 1 8 9 4 -2 0 2 0

To the great Arnold Roth, our favourite All American Boy Copyright © Chris Beetles Ltd 2020 8 & 10 Ryder Street St James’s London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com ISBN 978-1-905738-98-4 Cataloguing in publication data is available from the British Library Researched and written by David Wootton, with contributions from Alexander Beetles, Chris Beetles, Michael Foreman and Anne Stevenson Hobbs Edited by Alexander Beetles, Fiona Nickerson, Pascale Oakley and David Wootton Design by Fiona Nickerson and Pascale Oakley Photography by Julian Huxley-Parlour Reproduction by www.cast2create.com Colour separation and printing by Geoff Neal Litho Limited Front cover: Arnold Roth, Our Cottontail Cornucopia Runneth Over [198] Front endpaper: Thomas Mackenzie, Scheherazade Dancing [10] This page: Lawson Wood, Monkey Band [detail of 34] Title page: Edward Ardizzone, Tim to the Rescue [detail of 112] Back endpaper: Michael Foreman, ‘This is the life’, he thought. ‘I am king on my very own castle.’ [205] Back cover: Beatrix Potter, Squirrel with a Hazelnut [3]

THE ILLUSTRATOR S

THE B RI T I SH A RT Of I LLU S T R AT I On 1 8 9 4 -2 0 2 0

CHRIS BEETLES 8 & 10 Ryder Street, St Jamesâ&#x20AC;&#x2122;s, London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com

CO n TE n TS 1

fAIRY & fAnTA SY Arthur Rackham Beatrix Potter E J Sullivan Frank Reynolds George Janny Thomas Mackenzie Frank Brangwyn Charles Rebel Stanton Helen Jacobs Ida Rentoul Outhwaite

2 5 10 12 13 16 19 20 22 25

E ARLY 20TH CEnTURY C ARTOOn & C ARIC ATURE Phil May Max Beerbohm Lawson Wood H M Bateman Pont

28 30 46 56 62

WILLIAM HE ATH ROBInSOn

E H SHEPARD

MABEL LUCIE AT T WELL

K f B ARKER

POST-WAR ILLUSTRATIOn Feliks Topolski Gerard Ho nung Rowland Emett Kathleen Hale Fred Banbery

104 107 108 110 114

EDWARD ARDIZ ZOnE

116

ROnALD SE ARLE

142

10 nORMAn THELWELL

154

11 JOHn GL A SHAn

162

12 MARK BOXER

172

13 THE AMERIC AnS William Steig Ludwig Bemelmans David Levine Arnold Roth Edward Sorel

180 187 190 199 202

14 COnTEMPORARIES Michael Foreman Alan Lee Peter Cross Sara Midda Simon Drew Amanda Hall Ed McLachlan Peter Brookes Matt

204 219 220 222 232 236 242 247 250

SELEC T BIBLIOGRAPHY

254

CUMUL ATIVE InDE X InDE X

255 259

1 fairy & fa=tasy

ARTHUR RACKHAM

ARTH U R R ACK HA M

Arthur Rackham, VPRWS (1867-1939) I5 the major gi5t book illustrators were to divide the world betwee= them, Arthur Rackham would claim the =orther= la=ds. His early 5amiliarity with the E=glish cou=tryside was soo= matched by a 5asci=atio= with Germa=y, stimulated by walki=g tours. The k=owledge that he glea=ed 5rom these travels gave him the authority to represe=t touchsto=es o5 Roma=ticism, 5rom A=derse= to Wag=er, i= u=ca==y detail. His visio= is so comprehe=sive a=d so co=vi=ci=g that it seems we =eed look just a little harder; i5 we do, we too would see Shakespeare’s 5airies playi=g i= the hedgerows a=d Grimm’s gobli=s loomi=g out 5rom the shadows cast by twisted trees. For a biography of Arthur Rackham, please refer to The Illustrators, 2018, page 4.

1 (opposite) THERE BROKE FORTH A WAILING AND A LAMENTATION Signed and dated 1904 Pen ink and watercolour 15 ¼ x 11 inches Provenance: Luke Gertler Illustrated: Little Folks Magazine, October 1901, ‘Stories of the Edda; of The Gods of Asgard: IX – The Death of Balder’ by E S Buchheim (in black and white); The Land of Enchantment, London: Cassell and Company, 1907, Page 137, ‘Stories from the Edda: IX – The Death of Balder’ by E S Buchheim (in black and white) Arthur Rackham reworked the drawing between its appearances in Little Folks and The Land of Enchantment, and subsequently coloured it.

There broke forth a wailing and a lamentation Between 1896 and 1905, Arthur Rackham regularly illustrated stories that appeared in Little Folks, a ‘magazine for the young’ edited by his friend, Sam Hamer. In 1907, the magazine’s publisher, Cassell, collected together 2ve of these stories, with their illustrations, in the volume, The Land of Enchantment. One the 2ve, ‘Stories from the Edda’, was itself a collection of eleven Norse myths retold by Emma Sophia Buchheim (1860-1951), a writer, translator and lecturer in German at King’s College, London. Her retellings were based on two Icelandic literary works, the Prose Edda and the Poetic Edda, both written down in the thirteenth century. The present work illustrates the ninth of the ‘Stories from the Edda’, entitled ‘The Death of Balder’. The gods were afraid for the safety of Balder the Beloved, one of their number and the son of Odin and Frigg. Frigg took an oath from all things living and dead that no harm should come to him. The Gods then considered him so safe that it became their sport to throw weapons at him. However, one god, Loki, who was envious of Balder, discovered that Frigg had asked no oath from mistletoe, because it seemed so insigni2cant. So he obtained the mistletoe and gave it to Hœder, who, blind and weaponless, had not joined in the sport. Under Loki’s direction, Hœder threw the plant, pierced Balder’s skin and killed him. Rackham’s illustration captures the immediate response to his death, as the gods begin to lament. Balder’s brother, Hermodhr, followed his body to the underworld. On arrival, he pleaded with Hel, the presiding goddess, to let Balder return with him, because the whole world was grieving. She agreed to let him go, on condition that all things on earth, both living and dead, wept for him. Unfortunately, a giantess named Thœck (believed by some to be Loki in disguise) refused to do so, saying that ‘Little good had I from him, living or dead’. So Balder remained with Hel. The unwitting murderer, Hœder, was killed by Vali, another of Balder’s brothers, while Loki was permanently bound to three upright stones. The death of Balder is considered the 2rst in a chain of events that leads to Ragnarok, the twilight of the gods.

ARTHUR RACKHAM

2 PETER SCREAMED OUT 'DO IT AGAIN', AND WITH GREAT GOOD NATURE THEY DID IT SEVERAL TIMES Signed and dated 06 Pen ink and watercolour 10 ½ x 7 ½ inches Illustrated: J M Barrie, Peter Pan in Kensington Gardens, London: Hodder and Stoughton, 1906 Exhibited: ‘Drawing on Childhood’, The Foundling Museum, London, January-May 2016; ‘Les drôles de petites bêtes d’Antoon Krings’, Musée des Arts Decoratifs, Paris, April-September 2019

BE ATRIX POT TER

B E ATR I X POT T E R

Helen Beatrix Potter (1866-1943) Beatrix Potter’s picture books remai= a la=dmark i= the history o5 the ge=re. Origi=ally published i= a variety o5 5orms, each volume had its appeara=ce tailored to a particular text, a=d the i=tegratio= o5 word a=d image was care5ully co=sidered. Though Potter made use o5 a basic a=thropomorphism, she te=ded to eschew 5urther 5a=tasy, a=d the great success o5 her illustratio= o5te= lies i= the se=se it gives o5 a particular place. Beatrix Potter was born at 2 Bolton Gardens, South Kensington, London, on 28 July 1866, the elder child and only daughter of a barrister who chose to live as a dilettante, with painting and photography numbered among his interests. Beatrix herself led a very sheltered life for many years, remaining with her parents until she was nearly 40. Educated at home, she was entirely self-taught as an artist. She sketched fungi, fossils and fabrics in the South Kensington Museums, and animals, both furtively at home, and during family summer holidays in the Lake District and Scotland. Then developing an interest in illustration, she absorbed the in uence of Thomas Bewick, Randolph Caldecott, Walter Crane and John Tenniel, as she published some greetings’ cards and a 2rst book, The Happy Pair (both 1890). Three years later, she invented the character of Peter Rabbit in a series of picture-letters for Noel Moore, the son of her former companion, Annie Carter. These formed the basis of The Tale of Peter Rabbit, which was privately printed in 1900, and 2nally accepted by Frederick Warne & Co two years later. This was followed by several more of her classic tales. After a 2erce battle with her parents, in 1905, Potter became engaged to Norman Warne, her editor, though two years later he died. Soon after, she bought Hill Top Farm at Sawrey, near Windermere, gaining a measure of independence and becoming a capable farmer. During the following eight years she produced much of her best work, and both her home and the adjacent Castle Farm, which she bought in 1909, were used as the settings for at least six of her books. Originally published in a variety of forms, each volume had its appearance tailored to a particular text, and the integration of word and image was carefully considered. Though Potter made use of a basic anthropomorphism, she tended to eschew further fantasy, and the great success of her illustration often lies in the sense it gives of a particular place. Following her marriage to William Heelis, an Appleby solicitor, in 1913, Potter worked little as an illustrator and spent much of her time farming. She died at Hill Top Farm on 22 December 1943. Her properties were bequeathed to the National Trust.

Her work is represented in numerous public collections, including the British Museum, Tate and the V&A. Further reading Margit Sperling Cotsen, The Beatrix Potter collection of Lloyd Cotsen, Los Angeles: Cotsen Occasional Press, 2004; Anne Stevenson Hobbs, Beatrix Potter: artist and illustrator, London: Frederick Warne, 2005; Anne Stevenson Hobbs (compiler), The Linder Collection of the watercolours and drawings of Beatrix Potter, [London]: Trustees of the Linder Collection, 1996; Anne Stevenson Hobbs and Joyce Irene Whalley (compilers), Beatrix Potter: the V&A Collection. The Leslie Linder Bequest, London: V&A Museum/Warne, 1985; Margaret Lane, The Tale of Beatrix Potter, London: Warne, 1946; Leslie Linder, A history of the writings of Beatrix Potter, London: Warne, 1987 (revised reprint); Leslie Linder (transcriber), The Journal of Beatrix Potter, 1881-1897, Harmondsworth: Warne, 1989 (new revised edition); Anne Carroll Moore, The Art of Beatrix Potter, London: Warne, 1955; Lolly Robinson, ‘Beatrix Potter’s illustration styles as seen in Appley Dapply’s Nursery Rhymes’, The Picture Book, 20 December 1987; V A J Slowe, ‘Potter, Helen Beatrix (b London, 28 July 1866; d Near Sawrey, Cumbria, 22 Dec 1943)’, Jane Turner (ed), The Dictionary of Art, London: Macmillan, 1996, vol 25, page 372; Judy Taylor, Beatrix Potter, artist, storyteller and countrywoman, London: Warne, 1986; Judy Taylor (collected & introduced), Letters to children from Beatrix Potter, London: Warne, 1997; Judy Taylor, ‘Potter [married name Heelis], (Helen) Beatrix (1866-1943)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 45, pages 10-11

The =otes o= the works by Beatrix Potter are writte= by A==e Steve=so= Hobbs, the 5oremost expert o= Potter’s work, a=d a great-=iece o5 Arthur Rackham. She has writte= exte=sively o= illustratio= a=d childre=’s literature, a=d especially the work o5 Beatrix Potter (i=cludi=g titles listed here i= further Readi=g). She was 5ormerly a curator at the British Museum (1964-66) a=d the Victoria & Albert Museum (1966-2002, i=cludi=g curator o5 special collectio=s at the natio=al Art Library a=d frederick War=e Curator o5 Childre=’s Literature). Also a violi=ist a=d pia=ist, she was o=e o5 the 5ou=der members o5 the Ma=tegazza Stri=g Quartet.

BE ATRIX POT TER

Squirrel with a Hazelnut Squirrels are much rarer players than mice in Beatrix Potter’s fantasy works, although she often drew them for children in picture letters. Occasionally she lets them engage in quasi-human activities, but rarely treats them anthropomorphically. They are never clothed. She preferred to draw them as wild creatures in their native surroundings, among tree branches or as small 2gures in a woodland glade. This striking squirrel is not Nutkin but a predecessor, drawn in a more schematic setting and momentarily still: seemingly a very di erent character from the familiar impudent and hyperactive hero of her celebrated Tale. On 8 August 1896, holidaying with Mr and Mrs Potter in Sawrey, Beatrix visited her Gaddum cousins at Sawrey Knotts on Windermere. That same day she wrote to young Eric Moore, ‘my little cousin Molly Gaddum has a squirrel and two babies’, and drew them for him. She refers to this visit in a letter sent from London on 6 March 1897 to four-year-old Molly’s brother Walter, then aged seven, showing a crouching squirrel, facing to the left and holding a nut. She had already sent Walter several ingenious movable ‘toy pictures’, now in the V&A and Cotsen Collections; Molly however was given the original tale of a 2shing frog. Six years later another nut-eating squirrel, enclosed in a circular frame but now reversed to face right again, decorates the title page of The Tale of Squirrel Nutkin. In Perthshire Beatrix Potter observed a squirrel trying to catch sparrows: ‘its 2erce little excited movements reminded me of a monkey’ (Journal, 21 August 1892). Writing on the same day to Eric Moore from Birnam, she records a Nutkin-like squirrel several generations older than Nutkin himself, but he was born among the red squirrel colonies of Cumberland. Between 1897 and 1907 the Potters stayed no fewer than seven times, in late summer and autumn, on the shores of Derwentwater – and here the seeds of a new story were sown. The hero makes his 2rst appearance in an illustrated letter sent to Norah Moore from Lingholm on 25 September 1901. Beatrix had seen a tail-less squirrel: ‘he was so impertinent, chattering and clattering and throwing down acorns onto my head’; most unusually, she includes herself in her drawing of this little drama. The new Tale had a long gestation: landscape sketches were done in late Summer 1901, and drawings for the book begun in December 1902. Live models had to be bought from a London pet shop, since her cousins’ gamekeeper

3 (opposite) SQUIRREL WITH A HA ELNUT Watercolour with bodycolour and pencil 9 ¼ x 5 ½ inches Provenance: The descendants of Walter and Margery (Molly) Gaddum, the children of Edith Gaddum, Beatrix Potter's cousin;

at Melford Hall could not get a squirrel (letter to Norman Warne, 22 November 1902). The Tale of Squirrel Nutkin was published at last in August 1903, supplanting a planned nursery rhyme book. Its illustrations include some of the artist’s most characteristic and charming images. Beatrix Potter tried out di erent styles and techniques from early in her career; as she experimented, so her con2dence grew. The greetings card designs, the picture stories and the rhyme sequences produced from 1890 onwards are executed with a miniaturist’s 2ne dry brush, and most of the line drawings too are drawn with a 2ne nib. Her animal studies, both scienti2c and imaginary, vary in size as well as technique. Squirrels were di cult models, volatile and hyperactive: such a fast-moving creature had to be captured in pencil impressions or in rapid washes. She 2lled whole sketchbooks with squirrels; other studies include the ‘head of a dead specimen’, an experiment in grey wash. There were also experiments in ‘grisaille’: 2ne stippled lines in grey wash heightened with white, as in The Squirrel’s Gift. A matched pair of designs shows two squirrels on a log; they 2t together perfectly to make a shaped greetings card. Squirrel anatomy, with its supple, serpentine form, lent itself to designs for borders, an endpaper design, and layouts for menu cards (all un2nished). Beatrix Potter’s subjects are individuals, but their individuality is especially striking in the larger-scale images, whether fantasy subjects such as The Rabbits’ Christmas Party or straightforwardly scienti2c studies ‘from nature’. (Even the fungi have personality.) For such portraits, relatively rare among her work, she chose a brighter palette, as in two striking parrot studies at the Free Library of Philadelphia. A pointillistic owl painted in a surprising range of tints is not Old Mr Brown but her brother’s pet owl from the mid-1890s. We know of only one mouse picture (from 1896) drawn in a technique similar to that found in the Gaddum squirrel, using a broader brush and looser brushstrokes. This squirrel is almost certainly little Molly Gaddum’s pet, ‘Mrs. Frisky’. The artist has succeeded in conveying its large lustrous eye, the feathery texture of its coat, and the soft downy texture of the hazel leaves among which it sits alert and wary, pausing for a moment as it feasts.

BE ATRIX POT TER

There was an old woman who lived in a shoe From an early age Beatrix Potter was fascinated by folklore: fairy tales, fables and traditional rhymes. Writing to her publisher in July 1902, she suggested a book of nursery rhymes in the style of ‘Caldecott and The Baby’s Opera’, but an original story won the day (The Tale of Squirrel Nutkin appeared in August 1903). Planned for 1905 instead, the rhyme book was delayed by the death of her 2ancé, Norman Warne. It survives in the National Trust collection as a manuscript dummy, the ‘1905 Book of Rhymes’. Rough sketches, some coloured and most with framed borders, accompany a collection of over 30 rhymes; all but one have animal protagonists. According to The Oxford Dictionary of Nursery Rhymes, the celebrated inhabitant of a shoe ‘has been identi2ed with several ladies’, probably because they had large families; the authors discreetly refer to the symbolism of the shoe. ‘The Old Woman who lived in a Shoe’ is an ancient rhyme, surviving in a variety of texts, more or less crude. Beatrix Potter’s verses veer from the one most familiar today (used here) to her own cosier adaptation for Appley Dapply’s Nursery Rhymes in 1917, ‘You know the old woman who lived in a shoe?’. It ends ‘I think if she lived in a little shoehouse – /That little old woman was surely a mouse!’ This three-page rhyme sequence comprises six of eight lines (in Beatrix Potter’s hand) and three pictures: a running mouse; a mother mouse with babies and cradle; and a white mouse lying in bed. Mice proliferate in most of Beatrix Potter’s early rhyme pictures, often charmingly clothed but still mouse-like. She became especially fond of mice. ‘I shall be glad to get done

with the rabbits’, she declared in a letter to Norman Warne (18 February 1904). On the 2rst page are 2ve lines of the rhyme in manuscript; on the second page is the last line of the second verse; and the third page has no text at all. Best-known of the three images is the second one, of which at least eight variants are known. Here the mother mouse sits in a rocking chair, nursing a mouse baby as she rocks with her foot a wooden cradle containing two more young mice. This scene was re-drawn for the picture of Hunca Munca and her family in The Tale of Two Bad Mice (1904), where four little mice are crammed into a wicker cradle from the doll’s house: ‘Hunca Munca has got the cradle, and some of Lucinda’s clothes’. The design was redrawn much larger and in heavy black ink for Peter Rabbit’s Painting Book (1911). Animals tucked up in bed, sick or sleeping, were a favourite subject. The 2rst known ailing mouse (but surely this is a rat?) was drawn in August 1892, during a stay in Perthshire. The attendant physician was Dr Culbard of Birnam, caricatured as a mole; the mouse was Mrs Potter. Also at Birnam, Beatrix had been giving medicine to a very ill mouse (21 August 1892). In a letter to Noel Moore (8 March 1895) we 2nd another mousepatient, cared for by Mr Mole and Nurse Mouse with a tea-cup. By 1901 (26 October) the brass bed has become a four poster at Melford Hall – and the mouse is Beatrix. From about 1890 Beatrix Potter produced a number of illustrated sequences, captioned or wordless. Most were devised as gifts, but some were done for pro2t. As so often with her designs, the original image

BE ATRIX POT TER

4 THERE WAS AN OLD WOMAN WHO LIVED IN A SHOE, SHE HAD SO MANY CHILDREN SHE DIDN'T KNOW WHAT TO DO! SHE GAVE THEM SOME BROTH WITHOUT ANY BREAD – SHE WHIPPED THEM ALL AROUND – AND PUT THEM TO BED! Inscribed with title Pen ink and watercolour Three images measuring 4 x 6 ½, 4 x 6 ½, and 4 x 5 ½ inches Exhibited: ‘The Long Nineteenth Century: Treasures and Pleasures’, Chris Beetles Gallery, March-April 2014, No 161 Drawn about 1917

The three images shown mounted inspires a number of variants; one is a two-page version presented to her cousin Caroline Hutton for Christmas 1897. There are extra images in the dummy ‘Book of Rhymes’, as also in the most complete sequence yet known: 2ve sheets dated February 1897 (Linder Bequest, V&A Museum); here too the last scene is an image without text. The National Trust and V&A versions both illustrate ‘She whipped them all round’, not included in Appley Dapply’s Nursery Rhymes. By 1917 Beatrix Potter’s publishers were in trouble and desperately needed a new story – but she insisted on a rhyme book. It is a ‘patchwork’ of old and new, compiled in a hurry. Of the seven rhymes selected, nearly all are original and only the ‘Old Woman in a Shoe’, fourth in the book, is a traditional nursery rhyme. It has two illustrations: the mice in a shoe, and (to accompany the end of the rhyme, when the children are in bed) a peacefully knitting mouse. This design was originally intended for a cover; it

belongs to an unpublished knitting rhyme, and is not included in any of her earlier versions of ‘The Old Woman who lived in a Shoe’. Neither knitting mouse nor mice in a shoe belong to the sequence shown here, but its 2rst picture inspired the cover of Appley Dapply’s Nursery Rhymes. Featuring variously as mother, waitress or nurse, the running mouse is less often included in letters or illustrations than the other two designs. Here she scurries o to the left, bringing broth in a tureen – but in a letter to Freda Moore (Winchelsea, 26 January 1900), Beatrix draws her landlady as a mouse with a steaming plate of food. In both these images the mouse runs to the left; but on the Appley Dapply cover the image is reversed. Now she is no longer the Old Woman mouse but Appley herself, running with a plate of jam tarts. Characteristically, Beatrix Potter is re-using her basic design, for a di erent rhyme.

E J SULLIVAn

E J S U LLIVA N

Edmund Joseph Sullivan, RWS RE IS (1869-1933) ‘Sullivan was naturally the most gifted of the younger black-and-white artists of my time, not excepting Beardsley.’ (A S Hartrick, Painter’s Pilgrimage Through Fifty Years, Cambridge University Press, 1939, page 156)

E J Sulliva= was o=e o5 the most striki=g a=d co= de=t illustrators o5 his ge=eratio=, ra=gi=g across ma=y moods a=d media, a=d becomi=g a particularly i= ue=tial teacher. For a biography of Edmund Joseph Sullivan, please refer to The Illustrators, 2016, pages 6-7.

The Man Who In uenced Arthur Rackham Chris Beetles Gallery is pleased to announce an online exhibition of the work of E J Sullivan, scheduled for year. The greatest of gift book illustrators, Arthur Rackham, acknowledged Sullivan as both a signi2cant in uence and a close friend. He included him in his list of the ‘33 Greatest Painters of the XIX Century’ (held in the Rackham family collections) and encouraged him to put himself up for election to the Royal Society of Painters in Water-Colours. Nevertheless, it was through his mastery of pen and ink draughtsmanship that Sullivan most strongly a ected Rackham.

5 THEN TO THE ROLLING HEAV’N ITSELF I CRIED ASKING, ‘WHAT LAMP HAD DESTINY TO GUIDE HER LITTLE CHILDREN STUMBLING IN THE DARK?’ AND – ‘A BLIND UNDERSTANDING!’ HEAV’N REPLIED Signed and dated 1912 Pen and ink on board 9 x 6 3 4 inches Provenance: Brigadier A C Sykes of Corton, Wiltshire and by descent Illustrated: Edward Fitzgerald, The Rubaiyat of Omar Khayyam, London: Methuen & Co, 1913, Verse XXXIII Exhibited: Venice Biennale, 1914

E J SULLIVAn

6 THEN SAID ANOTHER WITH A LONG-DRAWN SIGH, ‘MY CLAY WITH LONG OBLIVION IS GONE DRY: BUT, FILL ME WITH THE OLD FAMILIAR JUICE, METHINKS I MIGHT RECOVER BY-AND-BYE!’ Signed and dated 1907 Inscribed ‘LXV’ below mount Pen and ink on board 7 ¾ x 5 ½ inches Provenance: Brigadier A C Sykes of Corton, Wiltshire and by descent Illustrated: Edward Fitzgerald, The Rubaiyat of Omar Khayyam, London: Methuen & Co, 1913, Verse LXV

FRANK REYNOLDS Frank Reynolds (1876-1953)

Drawi=g mai=ly 5rom memory, fra=k Rey=olds became much admired 5or his direct characterisatio= o5 middle-class a=d low-li5e types a=d situatio=s. For a biography of Frank Reynolds, please refer to The Illustrators, 2011, page 130.

Frank Reynolds as a Book Illustrator Frank Reynolds is best remembered as a cartoonist for Punch, and for his role as its art editor during the 1920s. However, he was on occasion an outstanding book illustrator, especially of novels by Charles Dickens, in editions published by Hodder: David Copper eld (1911), The Pickwick Papers (1912) and The Old Curiosity Shop (1913). In his illustrations, he applied watercolour with great sensitivity in order to capture the individual personality of each character. The specialist on illustration, A E Johnson, went so far as to state that â&#x20AC;&#x2DC;until we see that wonderful gallery of fanciful personalities which began with Mr Pickwick and his companions portrayed by the pencil of Frank Reynolds, we shall have to wait still for the perfect edition of Dickens.â&#x20AC;&#x2122; (Frank Reynolds, London: A & C Black, 1907, page 56).

7 AGNES Signed and dated 1911 Watercolour with bodycolour and ink on board 14 Âź x 8 Âź inches Illustrated: Charles Dickens, The Personal History of David Copper eld, London: Hodder & Stoughton, 1911, Facing Page 448

fRAnK RE YnOLDS

GEORG JAnnY

GEO RG J AN N Y Georg Janny (1864-1935)

Georg Ja==y was a= Austria= theatre desig=er a=d easel pai=ter, who developed a= i=trigui=gly atmospheric strai= o5 5a=tasy pai=ti=g, depicti=g rocky coasts i=habited by sire=s a=d mou=tai= gorges populated by 5airies. Georg Janny was born in Vienna on 20 May 1864, three years before it became one of the two capitals of the newly-established Austro-Hungarian Empire. He worked in the studios of Brioschi, Burghart and Kautsky, Imperial and Royal Court Theatre Painters in Vienna, alongside Alphonse Mucha, Konrad Petrides and Leopold Rothaug, among others. The company produced sets for companies abroad as well as at home, including New York’s Metropolitan Opera. In 1898, Janny collaborated with Karl Schüller in painting the safety curtain at the Vienna Volksoper for the golden jubilee of Emperor Franz Joseph I. Following the death of Hermann Burghart in 1901, Janny, Petrides and Rothaug took over the company, and based themselves at Paletzgasse 38. In 1904, they exhibited together at the Austrian Pavilion of the St Louis World’s Fair with scenes from the Imperial Royal Austrian State Railways (that are now in the collections of the Technisches Museum, Vienna). Two years later, Janny produced the designs for a production at the Vienna State Opera of Karl Goldmark’s Die Königen von Saba, one of the most popular operas of the late nineteenth century. During the First World War, Janny turned from theatre design to easel painting. This was probably as an outcome of the impending dissolution of the Austro-Hungarian Empire, and the resulting lack of opportunities to work on elaborate theatrical productions. He painted landscapes and 2gures, including scenes from fairy tales or imaginary worlds, which were compared at the time to the works of Arnold Böcklin and Hermann Vogel. These he exhibited most regularly at the Kunstverein in Baden bei Wien and with the artists’ co-operative, Albrecht-Dürer-Bundes, of which he was a member and sometime archivist. He died in Vienna on 21 February 1935. The contents of his estate are now in the possession of the Hernals District Museum in Vienna.

(Detail of 8)

GEORG JAnnY

8 STRANGER THINGS Signed and dated 1920 Tempera with oil on board 18 ¾ x 13 ½ inches

GEORG JAnnY

9 ELFENSPIEL [ELVISH GAMES] Signed and dated ‘Wien 1917’ Signed and inscribed with title on reverse Tempera on board 34 ¾ x 24 ¼ inches Exhibited: 17th exhibition, Albrecht Dürer-Bund, Vienna, 1918

THOMA S MACKEnZIE

TH O M A S M ACK E N I E

Thomas Blakeley Mackenzie (1888-1944) Thomas Macke=zie was o=e o5 the last o5 the major illustrators o5 gi5t books, those beauti5ully produced editio=s o5 classic tales o5 wo=der. He k=owi=gly absorbed the i= ue=ces o5 such major predecessors as Aubrey Beardsley, Kay nielse= a=d Harry Clarke i= order to create his ow= style. Skilled as a pri=tmaker as well as a draughtsma= a=d watercolourist, he made use o5 li=ocut a=d etchi=g i= respo=di=g to some o5 his later commissio=s. Thomas Mackenzie was born in Bradford, Yorkshire, the elder son of the wool combing overlooker, James Bates Mackenzie, and his wife, Nellie (née Blakeley). At the time of his birth, the family was living at 3 Upper Pollard Street, Bowling. He was educated at a local board school, and then probably at Belle Vue Secondary School (Boys). It has been suggested that he began his close friendship with the future writer, J B Priestley (1894-1984), at Belle Vue. However, this is unlikely, given that Priestley arrived at the school in 1905, while Mackenzie 2nished his schooling in about 1903. By that time, he and his family had moved to 31 Balfour Street, and his father had established a wholesale business in bakery and confectionery. Mackenzie was encouraged to develop his ability to draw by teachers at both his schools. However, his parents were apparently reluctant to let him pursue an artistic career. What happened next, and for the seven years of his life between the ages of 15 and 22, is not known. A story has circulated that he ran away to study in Munich, a signi2cant artistic centre at the time. This has been accepted by Peter Cope (2011, page 9), but dismissed by Colin White (1988, page 11), who suggests instead that he undertook an apprenticeship (which conventionally took seven years), possibly as a draughtsman at a 2rm of engineers or printers. At the time that Mackenzie entered Bradford School of Art in 1910, he and his family had moved to 443 Killinghall Road, and his father had become an insurance agent. While there, he met fellow student, Florence Mary Anderson, who, like him, would become an accomplished illustrator. In 1912, both he and she won scholarships for two years’ study in drawing and painting at the Slade School of Art, in London, under Henry Tonks. However, Mackenzie left after a year, possibly because of an aesthetic disagreement or because he decided to seek paid work. In the meantime, he and Anderson had become lovers, and she gave birth to a son, Murray Anderson Mackenzie (in Epsom, Surrey, in May 1914). Murray would be brought up mostly by his grandparents in Yorkshire. On leaving the Slade in 1913, Mackenzie went to the publisher and distributor, Simpkin, Marshall, Hamilton, Kent & Co, and presented his

portfolio, which contained drawings that showed the in uence of Aubrey Beardsley and Harry Clarke. As a result of the visit, he received a commission to illustrate a small volume of Christmas carols, and this would eventually be published in 1916 (with the illustrations being credited to ‘T Mackenzie’). In the meantime, he made a somewhat uncertain living, mainly contributing drawings to The Sketch and other magazines. He also received an important commission from the publisher, James Nisbet, to illustrate Aladdin and his Wonderful Lamp, a large new gift book with a rhyming text by Arthur Ransome. However, this project was temporarily abandoned as a result of the increasing scale of the world war. In a letter of 15 February 1915, Ransome complained that Mackenzie had ‘suddenly gone o to Serbia’ on active service. Page 18

Scheherazade Dancing Thomas Mackenzie was one of the most eclectic of gift book illustrators, who almost revelled in his absorption of in uences. Here, in the 2gure of Scheherazade, he quotes most obviously from the work of Léon Bakst (1866-1924), the designer of sets and costumes most closely associated with Serge Diaghilev’s Ballets Russes. The Ballets Russes was one of the most culturally signi2cant phenomena of the early twentieth century, employing and in uencing many of the greatest 2gures working internationally in the 2elds of literature, music and the visual arts, as well as of dance itself. The company made its British debut in 1911, during the celebrations for the coronation of George V, and returned to London regularly both before and after the First World War, until 1922. Mackenzie is likely to have attended performances of the Ballets Russes and undoubtedly saw reproductions of Bakst’s costume designs. The company had created a ballet to the music of Rimsky-Korsakov’s symphonic suite, Scheherazade, in 1910, but Mackenzie based his 2gure of Scheherazade on Bakst’s design for the costume of a Boetian youth, a character in the ballet, Narcisse. Narcisse was choreographed by Michel Fokine to a specially-written score by Nikolai Tcherepnin, and premiered in Monte Carlo in April 1911, with Vaslav Nijinsky in the title role. Narcisse was the 2rst of three Greekthemed ballets designed by Bakst, who had been making a thorough study of ancient Greek costume since 1902, when he prepared designs for productions of Greek tragedies in St Petersburg. He rejected the monochromaticism of Neo-Classicism in favour of a brighter palette and more exotic patterning, which was both more archaeologically accurate and visually exciting. The design for the Boetian youth was among those included in the book, L’Art decoratif de Léon Bakst, which was published in Paris in 1913.

TH OMA S MACKEnZIE

10 SCHEHERA ADE DANCING Signed Pen ink, watercolour, bodycolour and pencil on board 10 Â¼ x 16 inches Probably illustrated in Ali Baba and Aladdin, London: George G Harrap, 1918

THOMA S MACKEnZIE

Biography of Thomas Mackenzie continued from Page 16 At the end of the First World War, Mackenzie bought Old Rushes, a cottage in the Hertfordshire village of Rushden, and this would remain his bolt hole for years to come. In 1918, Harrap published his 2rst signi2cant book, Ali Baba and Aladdin, his name appearing on it as ‘T Blakeley Mackenzie’. In the following year, Nisbet 2nally published its version of Aladdin in both deluxe and trade editions in time for the Christmas market (the illustrator appearing simply as ‘Mackenzie’). It was well received by the critics, and proved in uential, even on the design by William Cameron Menzies of the 1924 2lm, The Thief of Bagdad (over which Mackenzie would consider legal action). Nisbet followed Aladdin with Arthur and His Knights, solely in a trade edition (1920), Mackenzie illustrating a text by his friend and Nisbet’s juvenile book editor, Christine Chaundler. By 1921, he ‘was said to be the best paid illustrator in the country’ (White, 1988, page 27). In the years immediately following the war, Mackenzie and Anderson ‘rented various properties in and around London as well as travelling between London and Yorkshire singly or together’, though ‘they seem to have grown apart’ (Cope, 2011, page 13). In 1921, while on a walking holiday in Yorkshire, he met Katharine Clayton, who had recently completed her studies in jewellery design at Birmingham School of Art. He and Clayton spent increasing amounts of time together, including a further visit to Yorkshire in 1923, during which he made preparatory drawings for the illustrations to his next book, for Bodley Head, which were executed in etching, linocut and watercolour. This was the non-2ction volume, Brontë Moors and Villages from Thornton to Haworth, by Elizabeth Southwart, whose work Anderson had also illustrated. Mackenzie’s next two illustrative projects were more characteristic, in being gift books that showcased his talents for, respectively, the Orientalist and the fantastic. These were James Elroy Flecker’s play, Hassan (Heinemann, 1924), and James Stephens’ The Crock of Gold (Macmillan, 1926), the latter appearing in both deluxe and trade editions. Perhaps responding to a boom in etching, Mackenzie worked increasingly as a printmaker, and exhibited etchings and engravings with the London dealer, Alex Reid & Lefèvre. It is therefore understandable that his last two books should be illustrated with forms of print, linocuts for F J Harvey Darton’s A Parcel of Kent (Nisbet, 1926), and drypoints for a two-volume limited edition of Walter Pater’s Marius the Epicurean (Macmillan, 1929, with an introduction by Mackenzie’s friend, the poet and critic, J C Squire). In 1925, Mackenzie and Anderson had married at Hampstead Registry O ce in order to make Murray legitimate. However, shortly afterwards,

Anderson 2led for divorce on the grounds of Mackenzie’s adultery. Cope explains that ‘It is on record that the presiding judge suspected collusion between the parties, but subsequent enquiries failed to substantiate his view’ (2011, page 14). The divorce was granted in October 1928. In January 1929, Mackenzie married Katharine Clayton at Hampstead Registry O ce. Soon after, they left for Paris, where Mackenzie hoped to ful2l a long-held dream of establishing himself as a painter. Inspired by the formal qualities of both Piero della Francesca and Cézanne, he had for some time been producing landscapes and still lifes. However, he did not succeed in his plan, and after six months they returned to live at his cottage in Rushden with their savings depleted. He then survived by contributing to magazines and selling topographical etchings to gift shops (including views of Oxford), while Katharine produced jewellery. In 1936, he exhibited at the Royal Academy for his one and only time; the work, entitled Tuning Up, was probably an etching. In 1937, the Mackenzies moved to Cornwall, and settled in a stone cottage in Trewetha Lane, Trewetha, near Port Isaac. There they founded a summer school for paying students, which initially proved a success, but was forced to close following the outbreak of the Second World War. In the Register for 1939, Mackenzie described himself as ‘artist, designer, etcher, lithographer, visualiser’, and Katharine as ‘artist, jeweller, etcher’. They returned to making jewellery and, in his spare time, Mackenzie wrote detective novels; however, he thought none of them worthy of publication and requested that, following his death, they be destroyed. Thomas Mackenzie died of lung cancer at home in Trewetha on 8 December 1944, at the age of 56. His ashes were scattered over Buckden Moor, Yorkshire, where he and Katharine had 2rst met. Further reading Peter Cope, ‘Heart v Art: Florence Mary Anderson and Thomas Mackenzie’, Illustration, Spring 2011, pages 8-15; Colin White, ‘Thomas Mackenzie and the Beardsley legacy’, Journal of Decorative and Propaganda Arts, Winter 1988, pages 6-35

fRAnK BRAnGWYn

FRA N K B R AN G W YN

Sir Frank William Brangwyn, RA HRSA RSW RWS PRBA RE HRMS ROI (1867-1956) fra=k Bra=gwy= 5ul lled his ow= belie5, stated i= 1934, that a= artist ‘must be able to tur= his ha=d to everythi=g, 5or his missio= is to decorate li5e’. Though modest about his ow= achieveme=ts, he was ambitious i= the ra=ge a=d scale o5 his art, creati=g large-scale murals, oils a=d watercolours, illustratio=s a=d pri=ts, ceramics, 5ur=iture, stai=ed-glass a=d textiles, i= emulatio= o5 traditio=al workshop practice. He was particularly success5ul at arra=gi=g large =umbers o5 gures i=to complex compositio=s that vary i= mood 5rom impassio=ed to celebratory. For a biography of Frank Brangwyn, please refer to The Illustrators, 1999, pages 128-129.

11 TRIA JUNCTA IN UNO BOOKPLATE FOR W RUHR

Signed Inscribed ‘Morland Press’ on reverse Ink and chalk 18 x 17 inches Provenance: William de Belleroche; Vivien Noakes Illustrated: Eden Phillpotts (foreword), Bookplates by Frank Brangwyn, London: The Morland Press, 1920, Plate 68

CHARLES REBEL STAnTOn

C H AR L E S R E B E L S TA N TO N Charles Rebel Stanton (1887-1954)

At its most characteristic, the art o5 Charles Rebel Sta=to= exempli es the Jazz Age i= Britai=, e=compassi=g as it does both images o5 appers 5or popular illustrated magazi=es a=d a= Art Deco relie5 5or the Quee= Mary. Said to be trai=ed as a= architect, he became success5ul as a= illustrator, pai=ter a=d sculptor, a=d produced a ra=ge o5 work that i=cluded power5ul sce=es o5 devastatio= i= both world wars. Charles Rebel Stanton was born in Kentish Town, London, on 3 February 1887, the third of seven children of the book seller’s assistant, Charles Stanton, and his wife, Amelia (née Tate). At the time of the 1891 Census, the family was living at 22 Corinne Road, Islington. Nothing is known of Stanton’s education but, at the time of the 1901 Census, when he was 14 years old, he was working as a Science Assistant for the School Board of London, probably at a local school. By then, he and his family had moved to 121 South Street, Greenwich, and his father was working as a carpenter. In The Art of the RMS Queen Mary (1994), Douglas M Hinkey describes Stanton as ‘a painter trained as an architect’. While nothing is known of his architectural training, he is described as an ‘artist’ in the 1911 Census, which also records that he was still living with his family, which had moved to 53 Grosvenor Park SE, St Mary Newington. In the previous year, he had won second prize in the class for ‘pictorial art’ in a competition organised by the magazine, The Studio. Charles Stanton began his career as a commercial artist, designing posters and postcards and illustrating books, and signing his work ‘Charles R Stanton’. Commissions included a poster for the Fine Art Society that was general enough in its design to have been used to advertise any number of exhibitions (though the example that has come to light promoted ‘Water Colours of Flower Time … by Rosa Wallis’ of 1911). His postcard designs ranged between imaginary monsters (published by C W Faulkner & Co) and views of Minehead and Dunster (published by Frith). He also contributed illustrations to Hutchinson’s History of the Nations (1914-16). Following the outbreak of the First World War in 1914, Stanton enlisted as a Private in the First Surrey Ri es in March 1915. He became a Second Lieutenant in September of that year and a Lieutenant in the following June. One of his younger brothers, John Tate Stanton, served in the same regiment, and died in 1916. Though not an o cial war artist during the First World War, Stanton produced a number of watercolours of the devastated landscapes of Belgium and northern France while on active service. He also designed a Christmas card for the regiment.

Charles Rebel Stanton sketching the design for the nickel-coated panel on the RMS Queen Mary It has been suggested that Stanton began to make use of his middle name, Rebel, during the First World War. Certainly, he signed his work ‘C Rebel Stanton’ after the war, and was sometimes known simply as Rebel Stanton. From the early 1920s, he designed book covers for publishers that included Mills & Boon. Gradually, he established his reputation with watercolours of alluring young women that were published in such magazines as The Bystander, The Illustrated London News, Picture Post, The Sketch and The Tatler. He also worked as a painter in oils, producing not only landscapes but also a series symbolising the progress of transport through the ages, which was commissioned for Transport House, the London headquarters of the Transport and General Workers’ Union. In 1926, he married Eunice Emily Cantrell Stones, who was 12 years his junior, and they settled together at a at in Warren House, 295 Euston Road. In 1930, he would hold an exhibition at his studio in Warren House. During the early 1930s, Stanton spent two years perfecting a new form of relief, in which he superimposed layers of American whitewood, which he then painted in tempera or oil. The process was described in H B Newbold’s Modern Practical Building (which 2rst appeared in 1934). Examples of these reliefs included medallions of Derby winners that temporarily decorated the Plaza Hall, Dublin, the venue of the Irish Sweepstake draw (1932) and a frieze for an aerodrome administration block, commissioned by the Fairby Construction Company (1935). Most famous, however, was the nickelcoated mural panel that incorporated a clock, which he produced for the Second Class Lounge of the Queen Mary (1935). This was a particularly prestigious commission, as the liner was something of a oating ambassador and showcased the talents of many of Britain’s leading artists. Stanton also developed a line in decorative masks, including one of the comic actor,

CHARLES REBEL STAnTOn

Will Hay, which graced the bohemian Arts and Letters Club, in Ham Yard, Soho, of which the artist was a member (1937). By 1936, Stanton had divorced his wife Eunice (who, in that year, would marry a pottery agent called Gordon Munro). He was living at 101 Adelaide Road, Chalk Farm, in 1937, and at 24 Formosa Street, Maida Vale, two years later. During the Second World War, Stanton produced drawings and paintings of bomb damaged buildings in London, and speci2cally of the Holborn area between September 1940 and July 1941. However, it is uncertain whether he ever received a commission from the War Artistsâ&#x20AC;&#x2122; Advisory Committee to produce such images. (In a PhD thesis of 1991, B F Foss records that he made four unsuccessful applications to the WAAC.) By 1946, Stanton was based at Redcli e Road, in Kensington. In that year, he produced The Silver Star Statuette, the hallmarked silver trophy for the new National Film Award, based on a competition-winning design by a young Southport schoolteacher, Juliet Brothers. Three such statuettes were presented annually by the Daily Mail for the best British 2lm, and the best performance by an actor and an actress in British 2lms. His work is represented in the collections of the Cuming Museum, Art Collection and Local History Library and Archive (Southwark). 12 GHOULIES AND GHOOSTIES Signed Watercolour and bodycolour 23 x 17 3 4 inches Illustrated: The Sketch, 6 April 1927, Page 18

HELEn JACOBS

H EL E N JACOB S

Helen Mary Jacobs, BWS (1888-1970) Tale=ted i= both draughtsma=ship a=d watercolour pai=ti=g, Hele= Jacobs soo= established hersel5 as a childre=’s illustrator. Though best k=ow= 5or the precisio=, e=ergy a=d imagi=atio= o5 her early 5airy subjects, she respo=ded well to a variety o5 commissio=s; a=d, as a primary teacher, she seemed a= ideal i=terpreter o5 textbooks a=d primers. Helen Jacobs was born in Ilford, Essex, on 10 October 1888, the daughter of the wharf manager, William Jacobs, and his second wife, Ellen (née Flory). The youngest member of the family, she had four half-siblings, the eldest of whom was the popular writer, W W Jacobs, and four siblings. She spent her childhood in Stoke Newington, London, at addresses that included 112 Manor Road (by 1891) and 3 Paradise Row (by 1901). Jacobs studied under Arthur Legge at the art school of the West Ham Municipal College. While there, in 1910, she contributed a box, painted with characteristic fairies, to the National Competitions of Schools of Art, which was illustrated in The Studio. From that year, she began to exhibit watercolours at mixed exhibitions, including those organised by the Royal Academy of Arts, the Royal Institute of Painters in Water-Colours and the Dudley Gallery. It may be assumed that, as a member of the British Watercolour Society, she was also represented in its exhibitions. In addition, she produced a series of drawings of species of moth for the entomologist, Lord Rothschild.

While beginning to establish herself, in the years 1911-12, Jacobs had lived with her sister, Florence, at Carisbrooke, Osborne Road, Buckhurst Hill, Essex. However, by 1914, she had returned to London and settled in Winchmore Hill, living at 34 Queen’s Avenue by 1917, and remaining there until her death. In her later years, Jacobs taught at a primary school in Stoke Newington, and turned to illustrating school books and primers. These included frequent collaborations with her friend Stella Mead (‘The Open Road’ series, and other Nisbet publications, and later titles published by the University of London Press) and some with Constance M Martin (particularly the ‘Riverside Readers’, published by Philip & Tacey). The pedagogic material led to a move away from the precise beauty of her early fairy watercolours to a brighter, bolder graphic style. Helen Jacobs died on 15 December 1970.

Jacobs quickly established herself as a children’s illustrator, working mainly in watercolour and pen and ink. She contributed to annuals (including Pip & Squeak and Playbox) and periodicals (including The Sunday Fairy), while responding increasingly to commissions from major publishers, most notably Harrap.

13 FAIRY PAINTERS Signed Watercolour, pen ink and bodycolour 14 ½ x 10 ¼ inches Provenance: Bierrum Family Illustrated: The Bookman, Special Christmas Number, 1933; J H Steel, An Introduction to the King's English B, London: James Nisbet & Co, 1945, Page 64

HELEn JACOBS

Nos 15 & 16 were drawn for and probably Illustrated in Constance M Martin, The Wild Swans and Other Stories, (‘the Golden Readers’ Series 15 (left) THE FAIRY GODMOTHER Pen and ink 7 x 4 ½ inches

16 THE GOBLIN HID BEHIND THE BARREL Pen and ink with pencil 7 x 5 inches Illustrated: ‘The Goblin and the Grocer’

14 THE ELVES AND FAIRIES CAME TO GREET THEM, BEARING THEIR QUAINT OFFERINGS Signed Pen and ink, 10 ¾ x 7 ½ inches Provenance: The Estate of Constance M Martin Illustrated: C M Martin (Reteller and Editor), Legends From the Norse (the ‘Riverside’ Series No 10), London: Martins Press, [1948], Page 24, ‘Frey and Gerda’ Exhibited: ‘The Turn of Women Artists 1837-2018’, Chris Beetles Gallery,March-April 2018, No 112

IDA REnTOUL OUTHWAITE

IDA R E N TO U L O U T HWA I T E Ida Sherbourne Rentoul Outhwaite (1888-1960)

The origi=ality o5 Ida Re=toul Outhwaite lies i= the way that she gra5ted eleme=ts o5 the Australia= outback o=to the E=glish 5airy traditio= a=d so created a mythology that is at o=ce =atio=al a=d perso=al. Ida Rentoul Outhwaite was born Ida Rentoul in Carlton, Melbourne, Victoria, Australia, on 9 June 1888, the younger of the two surviving children of the Reverend John Lawrence Rentoul, a Presbyterian minister and professor of theology at Ormond College, University of Melbourne, and his wife, Annie (née Rattray). She was educated at the Presbyterian Ladies’ College, Melbourne, where she proved herself to be academically brilliant. In 1903, at the age of 15, Ida began to work closely with her writer sister, Annie, and in that year they contributed six illustrated fairy stories to the weekly magazine, The New Idea: A Woman’s Home Journal for Australasia. They re2ned their collaboration in the following year in their 2rst book, Mollie and the Bunyip, which was well received. The collaboration was then developed in the 2rst of their famous songbooks, Australian Songs for Young and Old, with music by Georgette Peterson, which was launched at the Australian Exhibition of Women’s Work, Melbourne, in October 1907. In the December of the same year, the sisters produced a pantomime book, The Story of the Pantomime Humpty Dumpty, to accompany a production at Her Majesty’s Theatre, Melbourne, for which Ida had designed the costumes. Printed in chromolithographic colour, its illustrations – inspired by the work of Walter Crane – indicated a greater versatility and a particular feel for comedy. The many strands of Ida’s early work were brought together in 1908 in both the 2rst Australian edition of her sister’s version of Peter Pan and their 2rst substantial story book, The Lady of the Blue Beads. In 1909, Ida married Arthur Grenbry Outhwaite, manager – and later managing director – of the Perpetual Executors and Trustees Association of Australia. Together they had four children, all of whom served as models for the 2gures in her later illustrations. The second phase of her career was launched by an exhibition at the Fine Art Society, Melbourne, in September 1916. This coincided with the publication of Elves and Fairies, which made much of the ability of new printing

17 THE GUESTS WENT INTO CONFERENCE Signed with initials Inscribed with title below mount Watercolour 10 ¼ x 8 inches

IDA REnTOUL OUTHWAITE

processes to reproduce the subtleties of watercolour. Further shows followed and, on her 2rst trip to England in 1920, Outhwaite exhibited at the Fine Art Society, London. Her success led to a series of 2ve colour-plate books by A & C Black. These included The Enchanted Forest (1921), the 2rst of her collaborations with her husband, and The Little Green Road to Fairyland (1922), probably her most popular collaboration with her sister. In her later books, fairies were displaced from their central position by animals, a change that re ected wider shifts in fashion. Unfortunately, this did not prove popular with her readership. Ida’s husband, Arthur Outhwaite, died in 1938, and both their sons died in action in the Second World War, during which she worked in censorship. She spent her last years with her unmarried sister living in a at in Caul2eld, a suburb of Melbourne. She died in Caul2eld on 25 June 1960. Further reading Diane Langmore, ‘Outhwaite, Ida Sherbourne (1888–1960)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/outhwaite-ida-sherbourne7933/text13807, published 2rst in hardcopy 1988; Marcie Muir and Robert Holden, The Fairy World of Ida Rentoul Outhwaite, Sydney: Craftsman House, 1985

18 THE ECHIDNA PERFORMED Signed with initials Inscribed with title below mount Watercolour 10 ¼ x 8 inches

2 Early 20th Century Cartoon & Caricature

PHIL MAY

ph il M ay

pae_eZ We__ehm MhU, ri rp neaC (1864-1903) Sometimes referred to as the ‘grandfather of British illustration’, Phil May was one of the most in uential black-and-white artists of his generation. Earthy, street-wise, and redolent of the music hall, his work is the antithesis of Aubrey Beardsley. foc h beogchZaU oW pae_ MhU, Z_ihsi ciWic to The Illustrators, 2017, Zhgi 36.

19 GuMMerRnipeR deRiGn fAr Mhe leMMer a

Regdi` pid hd` edk, 4 ½ x 3 edcais Reme_hc to Phil May's ABC: Fifty-Two Original Designs Forming Two Humorous Alphabets From A to Z, lod`od: lih`idah__ pciss, 1897

PHIL MAY

20 (oZZoseti) ‘WhaM'R MhaM Mhere Glan% RpaCe lefM fAr JiM?’ ‘Why MhaM'R fAr Mhe fAl%R aR Can'M read!’ Regdi` hd` `hti` 1900 pci_emedhcU skitca od civicsi pid hd` edk 10 ½ x 7 edcais pcovidhdci: l\ki Gict_ic Co__icteod i__\stchti`: Punch, 28 Mhcca 1900, phgi 217

21 Mhe GuMMerRnipeR ‘ pleaRe , Rir , MuppenCe WArMh Af GuMMer RCrapinGR an ’ MAMher RayR Ge Rure Mhey ’ re all Clean ‘ CauRe Rhe ’ R e peCMinG CAMpany ’ Regdi` hd` `hti` /99 idsccebi` weta tet_i bi_ow mo\dt pid hd` edk 8 ½ x 6 edcais i__\stchti`: Punch, 3 MhU 1899, phgi 207; dhve` C\ZZ_iètca, Phil May, the Artist and His Wit, lodòd: Mai foct\di pciss, 1981, phgi 115 exaebeti`: 'Mai fedi act oW i__\stchteod', Mai fedi act RoceitU, lodòd, J\_U 2001

MAX BEERBOHM

Ma G e e r G A hM

Rec hidcU Mhxeme__ehd Giicboam, iR neaC npR (1872-1956) Equally valued as a caricaturist and writer, Max Beerbohm sustained an elegant detachment in art and life. Though the tone of his drawings is often lightly wicked, it is also a ectionate, for he hated to wound his subjects, most of whom he knew and liked. As a result, he was on safest ground in satirising artists and writers of the past, and in making many self-caricatures.

‘the greatest caricaturist of the kind – that is, portrayer of personalities – in the history of art’ (e`m\d` We_sod, 1954, q\oti` ed R n Giacmhd, Portrait of Max: an intimate memoir of Sir Max Beerbohm, niw yock: rhd`om ho\si, 1960, Zhgi 262)

foc h beogchZaU oW Mhx Giicboam, Z_ihsi ciWic to The Illustrators, 2014, Zhgi 89.

King Edward the Seventh

‘Both as Prince of Wales and as King, Edward VII (1841-1910) was Max’s favourite subject. The Hart-Davis Catalogue lists 72 caricatures of him (a number only surpassed by self-caricatures …). The Prince and later King was vulgar: he had next to no book learning; he cared little for the arts beyond theatregoing; his delights were the race course, the gambling table, food and drink, and, notoriously, philandering … Max, while still a schoolboy, began caricaturing the Prince of Wales, and never left o . There are those who feel Max despised Edward, but their view fails to take into account Max’s sense of fun, his love of irony, his genuine delight in anything touching the ridiculous, his broad sympathy for simple souls, whatever their position in life … As King, Edward fascinated Max more than ever. He drew him constantly and unsparingly. One of Edward’s “salient” features was his large, pointed nose. Max said, à propos of the King, “The noses of fat men do not follow suit with the rest of them as they age. The noses become, if anything, sharper, thinner”’. (n Joad hh__, Max Beerbohm. Caricatures, niw hhvid: yh_i udevicsetU pciss,1997, Zhgis 171-173)

liWt: Max Beerbohm, possibly while living at Abinger Manor Cottage, Surrey,during the Second World War (Woc moci edWocmhteod, Z_ihsi sii tai doti to 24 )

MAX BEERBOHM

22 %inG edWard Mhe Re'enMh Regdi` hd` edsccebi`weta tet_i pid edk hd` whticco_o\c 8 ½ x 7 ¾ edcais

MAX BEERBOHM

A Nightmare Mai amicechd wcetic, hidcU Jhmis (1843-1916), sitt_i` ed edg_hd` ed 1876, hd` wcoti most oW aes mhjoc wocks Wcom taht temi. hi bichmi tai Whvo\ceti dovi_est oW Mhx Giicboam hd`, waid Giicboam +cst mit aem ed 1895, ai Wo\d` tai mhd hs Whscedhtedg hs aes books. Gitwiid 1898 hd` 1954, Giicboam Zco`\ci` ht _ihst 22 h)icteodhti chcecht\cis oW Jhmis taht c_ivic_U cceteq\i aes h\taoceh_ Zicsodh_etU hd` _etichcU stU_i. Jhmis ghedi` h ciZ\thteod Woc Zco`\cedg ZsUcao_ogech__U hc\ti dhcchtevis taht ixhmedi` edivethb_i hd` \devicsh_ cod ects oW moch_ cahchctic. hi bichmi edccihsedg_U ixZicemidth_ ed aes httimZts to ciZcisidt comZ_ix sthtis oW med` hd` hmbeg\o\s motevis, Wocmedg _odg ZhchgchZas taht Zcocii` edècict_U bU whU oW s\ggistevi, saeWtedg c\medhteod. Maes hZZcohca whs h)icti`, Wcom 1897, bU aes cahdgi oW Zchcteci, Wcom wcetedg aes owd `chWts to ècthtedg to h tUZest. Mai most segde+chdt cis\_ts oW Jhmis’s ixZicemidthteod wici tacii _hti dovi_s: The Wings of a Dove (1902), The Ambassadors (1903) hd` The Golden Bowl (1904). Maisi wici Zhctec\_hc_U _ovi` bU Giicboam, tao\ga ai whs hwhci taht taiec stU_estec eèosUdcchseis wici ciZ_iti weta è c\_tU hd` ceZi

Woc ZhcoÙ. as bota wcetic hd` hctest, ai whs hb_i to cisZod` ed woc` hs wi__ hs emhgi; so ai Zcoveì` chZteods to aes chcecht\cis taht s\ccedct_U memec Jhmis’s moì oW ixZcisseod, hd` h_so Ziddi` h moci s\bsthdteh_ Zhstecai, ‘Mai Moti ed tai Me``_i desthdci’, waeca +cst hZZihci` ed tai Saturday Review od 8 dicimbic 1906, hs Zhct oW aes sicod` ‘Cacestmhs Ghc_hd`’. Mai Zcisidt chcecht\ci whs ixaebeti` two Uihcs _htic, ed aZce_ 1908, ed hd ixaebeteod ht ChcWhx & Co, lodòd. it ZoctchUs Jhmis hs hd ixZict wetdiss ed h co\ct oW _hw, ed tai ì_eceo\s_U emZosseb_i Zoseteod oW biedg hski` to Zcoveì h ‘Z_hed hdswic’ to h ‘Z_hed q\isteod’. it es \d_eki_U to ci_hti to h sZice+c ‘ch\si cé_èbci’, tao\ga tai +g\cis sihti` biaed` tai h\taoc _ook hs eW taiU mhU ahvi stiZZi` o\t oW odi oW Jhmis’s dovi_s. id aes chth_og\i oW Giicboam’s chcecht\cis, r\Zict hhct-dhves dotis taht bota Jhmis’s so_ecetoc, Rec Giocgi liwes, hd` liwes’s sod hci hmodg taosi Zcisidt, biedg sihti` bi_ow _iWt oW tai ‘Ccoss-exhmededg Co\dsi_’. Mai st\Ù Woc taes chcecht\ci whs idtet_i` ‘ad awW\_ fhdcU …’ chtaic tahd ‘a negatmhci …’. Mai +dh_ caoeci oW woc`s _ihvis tai sZicthtoc wodìcedg waitaic tai ‘degatmhci’ es taht oW hidcU Jhmis oc oW odi oW aes _iss sUmZhtaitec cihìcs.

23 a niGhMMare. Mr henry JaMeR RuGpAena’d, aR pRyChAlAGiCal e perM, in a CauRe C l Gre CrARR - e aMininG CAunRel : ‘ CAMe Rir , i aR% yAu a plain ueRMiAn , and i e peCM a plain anRWer !’ Regdi` hd` `hti` 1908 idsccebi` weta tet_i od ocegedh_ mo\dt Whticco_o\c hd` Zidce_ 11 ¼ x 16 edcais pcovidhdci: Mess e_ezhbita We__ehmsod leticht\ci: r\Zict hhct-dhves, A Catalogue of the Caricatures of Max Beerbohm, lod`od: Mhcme__hd, 1972, no 805. (r\Zict hhct-dhves dotis ed aes idtcU taht ‘tai od_U otaic cicogdeshb_i ZioZ_i ed co\ct hci Rec Giocgi liwes hd` aes sod’.) exaebeti`: ‘Chcecht\cis bU Mhx Giicboam’, ChcWhx & Co, lod`od, aZce_-MhU 1908

MAX BEERBOHM

Cashmere – and again the queue! id tai s\mmic oW 1908, tai amicechd hctest, Joad Redgic Rhcgidt (1856-1925), ixaebeti` aes oe_ Zhedtedg, Cashmere, ht tai roUh_ achìmU (hs no 496). it ìZecti` aes deici, riedi Acmod`, wihcedg h _hcgi ixotec Zhtticdi` sahw_ hd` sthdèdg ed sivid è)icidt Zoseteods hghedst h vic`hdt bhckgco\d`. Mai i)ict es oW sivid seme_hc womid wh_kedg togitaic, hd` es ZicahZs s\ggistevi oW bota tai aistaitec Zhedtedgs oW a_bict Mooci hd` tai C_hssech_ Wceizis taht edsZeci` taim, tao\ga weta hd Aceidth_est twest. it h_so ci_htis to h d\mbic oW otaic wocks taht Rhcgidt Zco`\ci` oW womid ed sahw_s (hs liega C\_vic ahs ixZ_oci` ed tai Whscedhtedg èssicthteod, ‘picWocmedg iìdteteis ed tai act oW Joad Redgic Rhcgidt’, udevicsetU oW piddsU_vhdeh, 1999). at tai temi oW ets ixaebeteod, Rhcgidt’s Cashmere whs tai s\bjict oW m\ca commidt, waeca httimZti` bota to ì+di hd` ìdU h Zosseb_i mihdedg. Codtceb\teods to taes commidt wici dot od_U wcettid b\t h_so `chwd, hs es

iZetomesi` bU tai Zcisidt wock bU Mhx Giicboam, wao chcecht\ci` Rhcgidt somi 22 temis. exaebeti` ht tai niw edg_esa act C_\b ed 1909, h Uihc hWtic Cashmere hZZihci` ht tai ra, et ciZ_echtis tai comZoseteod oW tai Zhedtedg hd` h``s tai +g\cis oW Rhcgidt hd` hd edticZcitic imZ_oUi` bU tai tchvi_ hgidt, Maomhs Cook. id so òedg, et _ochtis tai sittedg to tai edg_esa Zcotictochti oW %hsamec, tai doctaicdmost cigeod oW tai idèhd s\bcodtedidt, h Z_hci taht Rhcgidt divic hct\h__U veseti`. Mai Uo\dg womid comZcesi h q\i\i oW dhtevis kiid taht Rhcgidt Zhedt taiec Zoctchets. MaiU mhU dot bi hwhci taht Rhcgidt ah` teci` oW hcciZtedg Zoctchet commesseods hd`, ed 1907, ah` o ceh__U c_osi` aes st\èo. fcom taht temi, ai Woc\ssi` edccihsedg_U od _hd`schZis hd` hccaetict\ch_ s\bjicts, edc_\èdg mhdU ed whticco_o\c, hd` h_so comZ_iti` tai siceis oW m\ch_s Woc Z\b_ec b\e_èdgs ed Mhsshca\sitts.

24 CaRhMere – and aGain Mhe ueue! Mr RarGenM ( MA CAA% ’ R inMerpreMer ): ‘ WhaM iR iM Mhey WanM ? WhaM ? ... nA ! CAnfAund iM: really, MhiR iR MAA Gad ! dAn ' M Mhey %nAW i ’ 'e Made up My Mind , aGRAluMely and irre'ACaGly, nAM MA aCCepM any MAre CAMMiRRiAnR ?’ Regdi`, edsccebi` weta tet_i hd` `hti` 1909 pid edk, whticco_o\c hd` Zidce_ 12 ¼ x 16 edcais pcovidhci: Mess e_ezhbita We__ehmsod i__\stchti`: Mhx Giicboam, Fifty Caricatures, niw yock: e p d\ttod & ComZhdU, 1913 leticht\ci: r\Zict hhct-dhves, A Catalogue of the Caricatures of Max Beerbohm, lod`od: Mhcme__hd, 1972, no 1368 exaebeti`: niw edg_esa act C_\b, R\mmic 1909, no 203

MAX BEERBOHM

Max Beerbohm and Maurice Baring Ad_U two Uihcs aes i_ìc, Mhx Giicboam bichmi h c_osi Wceid` oW tai wcetic, Mh\ceci Ghcedg (1874-1945), h mimbic oW tai Whmo\s bhdkedg Whme_U. MaiU Zcobhb_U mit ed 1893, ht odi oW tai R\d`hU ividedg s\ZZics ai_` ht tai lodòd aomi oW e`m\d` Gossi (dow bist cimimbici` Woc aes mimoec, Father and Son). Giicboam whs taid isthb_esaedg aemsi_W hs h `hdÙ hd` a\mo\cest, wae_i Ghcedg whs st\Ùedg towhc`s tai ixhmedhteod Woc tai deZ_omhtec Ricveci. Gota cahcmedg hd` hm\sedg, taiU hm\si` hd` cahcmi` ihca otaic. Ghcedg’s chciic ed èZ_omhcU Zcovi` hboctevi. hhvedg ìvi_oZi` h _ovi oW r\sseh, od tceZs mhì ed 1900 hd` 1902, hd` ahvedg big\d to _ihcd r\ssehd, ai ìceì`, _hti ed 1904, to cit\cd to tai co\dtcU, mhstic tai _hdg\hgi, hd` \si aes kdow_i`gi hd` ixZiceidci hs chth_Usts Woc h _etichcU chciic. as hcis\_t, ai Zco`\ci` iUi-wetdiss ciZocts od tai r\sso-JhZhdisi Whc Woc tai London Morning Post, hd`, ed J\di 1905, Z\b_esai` aes hcco\dt, With the Russians in Manchuria. Russian Essays and Stories Wo__owi` ed 1908. id tai aZce_ oW taht Uihc, Giicboam ai_` hd ixaebeteod oW chcecht\cis ht ChcWhx & Co, waeca edc_\ì` Mr Maurice Baring, Testing Carefully the Russian Sense of Humour [26, sii ovic_ihW], odi oW sivich_ taht ai mhì oW aes Wceid`. Giicboam ‘c_hemi` to tcihs\ci h__ [Ghcedg’s] books, weta tai ixciZteod oW taosi hbo\t r\sseh, waeca ai … h`metti` megat ahvi biid aes owd b_ed` sZot’ (JosiZa eZstied, ‘Mh\ceci Ghcedg & tai goo` aega-bcow’, The New Criterion, Actobic 1992, Zhgi 18). Mai imZahses oW tai Zcisidt chcecht\ci es taiciWoci _iss tai cahchctic oW Ghcedg per se tahd tai edcodgc\etU oW taes gidt_U a\moco\s mhd idghgedg weta tai cihsi_iss_U bcooèdg, so\_-sihccaedg r\ssehds. nivictai_iss, Ghcedg cicthed_U hbsocbi` tai ed \idci oW codtimZochcU r\ssehd _eticht\ci edto aes owd wcetedg, hd` whs Zcisceidt ed òedg so, hs es iveìdci` bU aes Z_hU, The Grey Stocking, waeca hZZihci` ht tai niw roUh_tU Maihtci, lodòd, ed 1908. it civih_s tai emZhct oW adtod Caikaov’s Uncle Vanya sex Uihcs biWoci ets Gcetesa Zcimeici, hd` tacii Uihcs biWoci tai Gcetesa Zcimeici oW hdU oW Caikaov’s Z_hUs. Giicboam’s ciZoct oW Ghcedg’s Z_hU, Z\b_esai` ed tai Saturday Review, whs, _eki taht oW otaic ccetecs, ZicahZs edivethb_U _\kiwhcm, hd` codc_\ì` taht Ghcedg whs issidteh__U hd ‘h`chmhtest’ wao ìh_t mici_U ‘ed a\m`c\m hd` Uo\ hd` mi’. Ghcedg Zcovi` moci emmièhti_U s\ccissW\_ hs tai h\taoc oW s\ca \cbhdi hd` wettU saoct stoceis hs taosi co__icti` ed Diminutive Dramas (1910); taisi edc_\ì` ‘Mai Mimbic Woc leticht\ci’, waeca Wiht\ci` Giicboam aemsi_W hs odi oW Wo\c _evedg wcetics sthdèdg Woc h Zhc_ehmidthcU codstet\idcU, hd` Zcoveì` aem weta h _odg sZiica taht Zhcoèi` aes cahchcticestec stU_i. Giicboam wo\_` ciZhU tai comZ_emidt bU ZhcoÙedg Ghcedg ed ‘a__ roh`s’, h Zeici taht ì_egati` tai vectem waid ai cih` et, tao\ga et whs Z\b_esai` od_U ed 1950, +vi Uihcs hWtic Ghcedg’s ìhta, ed h +dh_ ièteod oW A Christmas Garland.

id civeiwedg Diminutive Dramas, hs Zhct oW h weìc Zco+_i oW Ghcedg ed The Bookman ed fibc\hcU 1913, robict GeckmUci comZhci` tai comec hZZcohcais oW Ghcedg hd` Giicboam: a_tao\ga ‘Mhx’ chtcais to tai _eWi tai sZiica hd` gist\ci oW tai s\bjicts waom ai Zhcoèis ai òis dot gevi \s tai +di ix\bichdt hvo\c, hd` tai boestico\s mecta taht wi +d` ed tai bist ixhmZ_is oW Mc Ghcedg’s tcihtmidt oW tai ZhcoÙ … [howivic,] wi wo\_` dot Woc tai woc_` \dìc-istemhti tai edemethb_i ‘Mhx’ ivid ed Whvo\c oW so hgciihb_i h\taoc hs Mc Mh\ceci Ghcedg. Adi oW Ghcedg’s stcidgtas whs aes hbe_etU to imZ_oU è)icidt gidcis ed tai ciWchmedg oW aes q\h_eteis oW ix\bichdci hd` mecta. Ro, ed 1910, ai h_so Z\b_esai` h co__icteod oW WhecU th_is, The Glass Mender and Other Stories. it es taes to waeca Giicboam h__\ìs ed Mr Maurice Baring, Telling a Fairy Story [25], ed waeca Ghcedg idtictheds h tacodg oW ‘Gih\teis’, ‘taht s\ccisseod oW _ovi_U womid weta waom Mh\ceci ZoZ\_hti` aes _eWi’ (emmh lit_iU, Maurice Baring: A Citizen of Europe, lodòd: Codsthb_i, Zhgi 196), ivid tao\ga ai Zcobhb_U cimhedi` ci_ebhti. id aes _eWitemi, Ghcedg whs codseìci` h mhjoc wcetic, hd` taici ahvi biid stic_edg httimZts to civevi edticist ed aes _eWi hd` wock, edc_\èdg taht bU ph\_ hocghd. id civeiwedg ph\_ hocghd’s co__icteod, Maurice Baring Restored (1970), tai gciht amicechd _etichcU ccetec, e`m\d` We_sod, cicommidì` ‘Wo\c ìZhctmidts’ oW Ghcedg’s wock wocta cièscovicedg: ‘aes iegat books hbo\t r\sseh … aes _odg dovi_ ch__i` semZ_U C [1924] … tai siq\idci oW b\c_isq\is hd` Zhcoèis taht ai Z\b_esai` bitwiid 1910 hd` 1913 … [hd`] aes _etichcU ccetecesm, weta waeca m\st bi codseìci` aes hdtao_ogeis’ (‘how not to bi Goci` bU Mh\ceci Ghcedg’, The Devils and Canon Barham, niw yock: fhcchc, Rtch\ss hd` Geco\x, 1973). howivic, ai h_so h`metti` taht tai q\edtissidci oW Ghcedg megat _ei ed Giicboam’s Zhcoèis oW aem, hd` et mhU bi taco\ga taim taht aes Zcisidci \_temhti_U s\cvevis.

25 Mr MauriCe GarinG, MellinG a fairy RMAry Regdi` hd` `hti` 1911 idsccebi` weta tet_i od ocegedh_ mo\dt Whticco_o\c hd` Zidce_ weta Zid hd` edk 16 x 12 ¼ edcais pcovidhdci: Mess e_ezhbita We__ehmsod leticht\ci: r\Zict hhct-dhves, A Catalogue of the Caricatures of Max Beerbohm, lod`od: Mhcme__hd, 1972, no 89 exaebeti`: lod`od Gco\Z, 1911

MAX BEERBOHM

26 (hbovi) Mr MauriCe GarinG, MeRMinG Carefully Mhe ruRRian RenRe Af huMAur Regdi`, edsccebi` weta tet_i hd` `hti` 1908 Whticco_o\c hd` Zidce_, 14 x 16 edcais pcovidhdci: Mess e_ezhbita We__ehmsod leticht\ci: r\Zict hhct-dhves, A Catalogue of the Caricatures of Max Beerbohm, lod`od: Mhcme__hd, 1972, no 88 exaebeti`: ‘Chcecht\cis bU Mhx Giicboam’, ChcWhx & Co, lod`od, aZce_-MhU 1908

27 (oZZoseti) RChAlar pAeM r C M [ r C Mre'elyan , 1872-1951 ] Regdi`, edsccebi` weta tet_i hd` `hti` 1941 pidce_ weta whticco_o\c 10 ¼ x 5 ½ edcais i__\stchti`: The Abinger Chronicle, 'o_ 2, no 7, Actobic 1941; r C Mcivi_Uhd, Selected Poems, lod`od: MhcGebbod & %ii, 1953 leticht\ci: r\Zict hhct-dhves, A Catalogue of the Caricatures of Max Beerbohm, lod`od: Mhcme__hd, 1972, no 1681

MAX BEERBOHM

Scholar Poet R C T d\cedg tai Ricod` Woc_` Whc, Mhx Giicboam ìvi_oZi` h Wceid`saeZ weta tai Zoit hd` tchds_htoc, robict Ch_vic_iU Mcivi_Uhd (1872-1951). leki aes Uo\dgic bcotaic, tai aestocehd, G M Mcivi_Uhd, r C Mcivi_Uhd ah` biid h mimbic oW tai i_eti edti__ict\h_ soceitU, tai aZost_is, wae_i ht Chmbce`gi. Codsiq\idt_U, ai bichmi h Wceid` oW mimbics oW tai G_oomsb\cU Gco\Z, edc_\èdg e M focstic, weta waom ai tchvi__i` to idèh ed 1912. Mcivi_Uhd ah` mhccei` tai d\tca veo_edest, e_ezhbita vhd ìc hoivid, ed 1900, hd` taiU sitt_i` ht Mai Rae)o_`s, ed R\cciU, hbo\t Wo\c me_is Wcom dockedg. Maici taiU bco\gat \Z taiec sod, tai hctest, J\_ehd Mcivi_Uhd, wao whs bocd ed 1910. robict’s tchds_hteods – mhed_U Wcom Gciik hd` lhted, hd` edc_\èdg tacii Z_hUs bU RoZaoc_is – ed \idci` aes owd ZoitcU hd` vicsi `chmhs. Ad tai ivi oW whc, ed Jhd\hcU 1939, Giicboam hd` aes weWi, f_ocidci, _iWt taiec aomi ed rhZh__o, od tai ith_ehd reveich, hd` cit\cdi` to edg_hd`. MaiU movi` edto abedgic Mhdoc Cotthgi, h smh__ M\òc ao\si owdi` bU taiec Wceid`s, tai wcetic, tchds_htoc hd` Zhtcod, RU`diU Rcae), hd` aes weWi, 'eo_it. it whs _ochti` ed tai ve__hgi oW abedgic Commod h me_i oc so docta oW Mai Rae)o_`s, tai aomi oW tai Mcivi_Uhds. Mai Zhcesa oW abedgic ah` httchcti` ccihtevi +g\cis Woc somi Uihcs, edc_\èdg e M focstic, wao, sedci 1925, ah` _evi` ht aes Whme_U aomi ht abedgic hhmmic. id 1939, h d\mbic oW taisi +g\cis chmi togitaic to Wo\d` tai modta_U _etichcU mhghzedi, The Abinger Chronicle, Z\b_esai` bU r C Mcivi_Uhd hd` ièti` bU RU_veh RZceggi. tai weWi oW tai Manchester Guardian jo\cdh_est, Cice_ RZceggi. aZhct Wcom Giicboam, focstic hd` Mcivi_Uhd, tai caeiW codtceb\tocs to The Abinger Chronicle wici A_evic lo`gi, dismod` McChctaU hd` tai comZosic, rh_Za 'h\gahd We__ehms (h codtimZochcU oW Giicboam’s ht Cahcticao\si). Giicboam `ciw tai Zcisidt h)icteodhti chcecht\ci oW Mcivi_Uhd Woc tai Actobic 1941 ess\i oW The Abinger Chronicle. id aic mimoceh_ isshU, ‘Mhx ed abedgic’, Z\b_esai` ed The Twentieth Century ed J\_U 1956, RU_veh RZceggi ìsccebi` Mcivi_Uhd hs ‘h aihve_U-booti`, th__, stceèdg scao_hc-Zoit, weta h tedU c\ckshck od aes ked`_U, stooZedg bhck codthededg odi oc two books to cih`’ (Zhgi 66); taes ixhct_U mhtcais tai emhgi Zcisidti` bU Giicboam. ehc_U od tai mocdedg oW 3 a\g\st 1944, tai Giicboams’ abedgic aomi whs h_most ìmo_esai` bU ìbces, hs h cis\_t oW tai bombedg oW tai dihcbU ca\cca. MaiU s\cvevi`, tao\ga taiec _hd`_oc`, RU`diU Rcae), èi` two modtas _htic, Zosseb_U hs h cis\_t oW tai saock. MaiU ividt\h__U Wo\d` ciW\gi weta rh_Za hd` 'eo_it Woo` ht f_edt Cotthgi, Gox he__, docta oW dockedg (waeca whs odci tai aomi oW tai 'ectocehd dovi_est, Giocgi Micièta). Maiec movi mhU ahvi codtceb\ti` to tai Wo_èdg oW The Abinger Chronicle, tai _hst ess\i oW waeca hZZihci` ed RiZtimbic 1944.

MAX BEERBOHM

Evenings in Printing House Square a_Wci` hhcmswocta, 1st 'esco\dt noctac_e)i (1865-1922), whs h ZowicW\_ Z\b_esaedg mhgdhti, wao cis\scethti` \dZco+thb_i diwsZhZics bU mhkedg taim ZoZ\_hc to h mhss mhckit. hi ìvi_oZi` amh_ghmhti` pciss, tai _hcgist Z\b_esaedg imZeci ed tai woc_` ht tai temi, waeca edc_\ì`, hmodg otaics: tai Evening News (hcq\eci` 1894), tai Daily Mail (Wo\dì` 1896), tai Daily Mirror (Wo\dì` 1903), tai Observer (hcq\eci` 1905), The Times hd` The Sunday Times (bota hcq\eci` 1908). Mai Zcisidt chcecht\ci ciWics to taht _htist hcq\eseteod.

fo__owedg hhcmswocta’s hcq\eseteod oW tai mhghzedi, Vanity Fair, iegat Uihcs _htic, ed 1904, Giicboam codtceb\ti` iegat chcecht\cis. aZZihcedg bitwiid 1905 hd` 1909, taiU wici edeteh__U segdi` weta tai Zsi\`odUms, r\ta hd` Ge_bo, hhcmswocta taedkedg ‘et wo\_` bi commicceh__U bittic taht ZioZ_i sao\_` wod`ic wao tai chctoodest whs wao `ciw so _eki [Giicboam]’ (q\oti` ed n Joad hh__, 1997, Zhgi 98). howivic, wae_i h`mecedg taim, ai ‘aisethti` to Z\b_esa taim … bich\si ai tao\gat taim _ebi__o\s’ (n Joad hh__, 2002, Zhgi 232).

hhcmswocta ah` h goo` wockedg ci_hteodsaeZ weta Mhx Giicboam, Zcoveèdg hctec_is hd` chcecht\cis Woc aes Z\b_echteods. id dicimbic 1896, Giicboam ah` thkid \Z tai edvethteod oW hhcmswocta to wceti h cig\_hc co_\md Woc tai diw_U-Wo\dì` Daily Mail, od hdU s\bjict taht ai wesai`. Mai cis\_ts ah`, waht odi beogchZaic oW Giicboam ahs ch__i`, ‘tai ked` oW smhct-h_ickU aook taht hhcmswocta _eki`’ (n Joad hh__, Max Beerbohm: A Kind of Life, lodòd: yh_i udevicsetU pciss, 2002, Zhgis 50-51).

id a\t\md 1906, hhcmswocta èscovici` taht Giicboam ah` divic biid to ith_U, so s\ggisti` taht ai veset tai co\dtcU hd` wceti h siceis oW tchvi_ hctec_is Woc taht diwsZhZic. Mai tceZ cahdgi` tai co\csi oW aes _eWi, hs ai bichmi ìticmedi` to _evi ed ith_U hd`, ed 1910, è` so, sitt_edg ht rhZh__o weta aes diw weWi, f_ocidci.

28 e'eninGR in prinMinG hAuRe R uare lArd nArMhCliffe : ‘ help ! aGain i feel Mhe deMAnR Af RenRaMiAnaliRM riRinG in Me . hAld Me faRM ! CurG Me , if yAu lA'e Me !’ Regdi`, edsccebi` weta tet_i hd` `hti` 1911 pid edk hd` whticco_o\c weta Zidce_ 12 ¼ x 15 ½ edcais pcovidhdci: The Times; Mai Ji)ciU accaic po_etech_ Chctood Co__icteod i__\stchti`: Mhx Giicboam, Fifty Caricatures, lod`od: We__ehm hiedimhdd, 1913, no 38 leticht\ci: r\Zict hhct-dhves, A Catalogue of the Caricatures of Max Beerbohm, lod`od: Mhcme__hd, 1972, no 1118

exaebeti`: neaC, Wedtic 1911; lod`od Gco\Z, 1913; 'p\ci Go_`. 50 yihcs oW tai fi`ichteod oW Gcetesa actests', Mh__ Gh__iceis, fibc\hcU 2011; 'Mai lodg neditiidta Cidt\cU: Mcihs\cis hd` p_ihs\cis', Caces Giit_is Gh__icU, Mhcca-aZce_ 2014, no 143

MAX BEERBOHM

Cold-Shouldered Yet id dicimbic 1911, ad`ciw Godhc lhw bichmi lihìc oW tai Codsicvhtevi phctU, Wo__owedg tai cisegdhteod oW acta\c Gh_Wo\c tai Zciveo\s modta. hes cesi taco\ga tai chdks oW tai ZhctU whs _hcgi_U `\i to aes sthdci od tai ess\i oW thce) ciWocm – tai thxhteod oW goo`s emZocti` edto Gcethed – waeca ah` gcowd o\t oW h dii` to covic costs Wcom tai Ricod` Goic Whc (18991902). hes +cst mhjoc sZiica od tai mhttic ed aZce_ 1902 whs wi__ cicievi` hd` ihcdi` aem tai Zoseteod oW phc_ehmidthcU RiccithcU to tai Gohc` oW Mchì ed J\_U 1902. Mai Codsicvhtevi phctU bichmi edccihsedg_U èveì` bitwiid tai ‘fcii fooìcs’ – taosi wao s\ZZocti` Wcii tchì – hd` thce) ciWocmics. Mai ceWt Wocci` Gh_Wo\c to cisegd ed dicimbic 1905 hd`, weta tai Codsicvhtevis ed oZZoseteod, Godhc lhw bichmi tai ZcedceZh_ sZokismhd Woc thce) ciWocm ed tai sahòw chbedit. hes b\sediss ixZiceidci hd` ske__ hs h c_ihc hd` codcesi sZihkic od icodomecs cimidti` aes emZocthdci to tai ZhctU hd`, tao\ga tai Codsicvhtevis _ost tai Gidich_ e_icteod oW 1910, _i` to aes bicomedg lihìc oW tai phctU.

1910 Gidich_ e_icteod, tai Codsicvhtevis ah` Zcomesi` to s\bmet thce) ciWocm to h ciWicid`\m, waeca bichmi kdowd hs ‘Godhc lhw’s pcoZosh_’. id novimbic 1912, tai Codsicvhtevis weta`ciw taes Z_i`gi, c_hemedg taht tai govicdmidt’s Whe_\ci to s\bmet homi r\_i to h riWicid`\m cidìci` taiec owd Z_i`gi d\__ hd` voe`. Maes hdgici` sicteods oW tai ZhctU, hd` hWtic wiiks oW cicievedg dightevi _ittics hbo\t tai cahdgi, lhw o\t_edi` taht ai wo\_` dot bi hvicsi to h cit\cd to tai ocegedh_ Zo_ecU, b\t et wo\_` ciq\eci aes cisegdhteod. id Jhd\hcU 1913, weta Godhc lhw tacihtidedg aes cisegdhteod eW èssidtedg ZhctU mimbics è` dot Wh__ ed _edi, h comZcomesi ovic tai thce) ciWocm Zo_ecU whs hgcii` ids\cedg taht ai cimhedi` hs lihìc. id Giicboam’s chctood, Godhc lhw chd bi siid hcm ed hcm weta Mhce) riWocm, hs ai whs Woc m\ca oW aes chciic. Maes s\ggists tai whU ed waeca tai ess\i ah` ìsthbe_esi` dot od_U aes owd Zoseteod hs _ihìc, b\t tai ZhctU hs h wao_i. The note on Co_` Rao\_ìci` yit is written by Alexander Beetles.

howivic, bU tai sthct oW 1913, tai odgoedg ìbhti od thce) ciWocm tacihtidi` to id` Godhc lhw’s _ihìcsaeZ Zcimht\ci_U. hihèdg edto tai

29 CAld-RhAuldered yeM Mr GAnar laW ( MA Mariff refArM ) ‘ iM ’ R a uee - er MhinG , laddie , GuM Mhere ’ R e'idenMly a RAr ’ rM Af a RAMeWhaM aGAuM ye MhaM dAeR nAM inRpire CAnfidenCe .’ Regdi`, edsccebi` weta tet_i hd` `hti` 1913 pid edk, Zidce_ hd` whticco_o\c 12 x 15 ¾ edcais pcovidhdci: Mai Ji)ciU accaic po_etech_ Chctood Co__icteod i__\stchti`: Mhx Giicboam, Fifty Caricatures, niw yock: e p d\ttod& ComZhdU, 1913 leticht\ci: r\Zict hhct-dhves, A Catalogue of the Caricatures of Max Beerbohm, lod`od: Mhcme__hd, 1972, no 903 exaebeti`: liecistic Gh__iceis, 1913

MAX BEERBOHM

Colonel Repington as tai me_ethcU coccisZodìdt Woc The Times `\cedg tai fecst Woc_` Whc, Cahc_is à Co\ct riZedgtod (1858-1925) whs tai most segde+chdt hd` emZocthdt me_ethcU jo\cdh_est oW tai Ziceo`. extchvhghdt hd` si_W-emZocthdt, ai ciWicci` to aemsi_W hs ‘tai most bce__ehdt me_ethcU wcetic oW aes `hU’ ed aes owd iZethZa. riZedgtod whs ixtcimi_U wi__-coddicti`, hd` aes ciZoctedg ed \idci` ìceseods ht tai vicU aegaist _ivi_, to tai ixtidt taht ai whs somitemis ciWicci` to hs ‘tai twidtU-taec` mimbic oW tai chbedit’. id 1914, ai ah` biid tai +cst to cahmZeod tai hZZoedtmidt oW fei_` Mhcsah__ %etcaidic hs RiccithcU oW Rthti Woc Whc, hd` tai Wo__owedg Uihc aes ciZoctedg oW tai ‘sai__ schd`h_’, tai saocthgi oW hcte__icU hmm\deteod ht tai Wcodt, ai_Zi` bcedg dhve` l_oU` Giocgi to tai Zoseteod oW Medestic oW M\deteods. id 1918, tai Uihc oW Mhx Giicboam’s chcecht\ci, riZedgtod whs shcki` bU The Times waid tai iètoc, Gio)ciU dhwsod, bichmi ixhsZichti` weta aes codted\i` sthd` hghedst tai Whc Chbedit.

30 (oZZoseti) CAlAnel repinGMAn Regdi`, edsccebi` weta tet_i hd` `hti` 1908 Whticco_o\c hd` Zidce_ 11 3 4 x 9 edcais pcovidhdci: Rec e`whc` Mh\Wi ra leticht\ci: r\Zict hhct-dhves, A Catalogue of the Caricatures of Max Beerbohm, lod`od: Mhcme__hd, 1972, no 1216 exaebeti`: liecistic Gh__iceis, lod`od, 1957

id h``eteod to aes stht\s hs h Wocme`hb_i hd` ed \idteh_ jo\cdh_est, riZedgtod ah` h_so ihcdi` h ciZ\thteod hs h ch` hd` h womhdesic. a Zcomesedg me_ethcU chciic, `\cedg waeca ai ah` biid Zcomoti` to _ei\tidhdt-co_odi_ hd` hZZoedti` CMG (ComZhdeod oW tai Ac`ic oW Rt Mecahi_ hd` Rt Giocgi), ah` biid c\t saoct waid h _odg-c\ddedg h)hec weta h mhccei` womhd bichmi Z\b_ec hd` Wocci` aes cisegdhteod ed 1902. Mao\ga ai b_hmi` shbothgi bU h jih_o\s cevh_, seme_hc stoceis Wo__owi` aem taco\gao\t aes jo\cdh_estec chciic, hs ai bichmi kdowd hs ‘tai Z_hUboU oW tai Wisticd fcodt’ hd` ‘tai gocgio\s Wcickedgtod’. The note on Co_odi_ riZedgtod is written by Alexander Beetles.

MAX BEERBOHM

L AWSON WOOD

l aWRA n WA Ad

C_hcidci lhwsod Woo`, ri (1878-1957) Lawson Wood was an accomplished cartoonist, illustrator and poster designer. He gained great popularity with his humorous illustrations of animals, including dinosaurs and monkeys. The ginger ape, Gran’pop, proved a particular favourite on both sides of the Atlantic. lhwsod Woo` whs bocd ht 66 Woo`somi roh`, dhctmo\ta phck, lodòd, od 23 a\g\st 1878, edto h dothb_U hctestec Whme_U. hi whs tai i_ìst cae_` oW tai _hd`schZest, liwes pedaocd Woo`, hd` aes weWi, lo\esh (déi Whtsod), hd` tai gchd`sod oW tai hccaetict\ch_ Zhedtic hd` Zcedtmhkic, liwes Joad Woo`. hi gciw \Z weta aes Whme_U ht G\cdseì, Raici, dihc G\e_`Woc`, R\cciU, hd` _htic ht 51 homi+i_` roh`, Caesweck, hd` whs Zcevhti_U i`\chti`. Woo` cicievi` _issods ed hct Wcom aes Whtaic biWoci st\Ùedg edticmettidt_U ed lodòd ht tai R_hì Rcaoo_ oW act, \dìc fci` Gcowd hd` hidcU Modks, hd` taid ht hihtaic_iU’s Rcaoo_ oW fedi act. hi h_so httidì` ividedg c_hssis ht fchdk Ch_ìcod’s Rcaoo_ oW ademh_ phedtedg, %idsedgtod. id 1896, ht tai hgi oW 18, Woo` joedi` tai Ziceoèch_ Z\b_esaic, C acta\c pihcsod, wockedg taici Woc sex Uihcs hd` ividt\h__U bicomedg ets caeiW sth) hctest. Wae_i taici, ai mit aes W\t\ci weWi, tai Whsaeod hctest, Cahc_otti focgi. MaiU mhccei` ed 1903, sitt_i` ht Gi`Woc` phck, hd` ah` tacii cae_`cid. Mai Uo\dgist whs bocd ed 1911, hWtic tai Whme_U ah` movi` to 15 a_bict roh`, Gixae__, R\ssix. id tai Wo__owedg Uihc, taiU sitt_i` ht Co\ct lo`gi, Gcoombce`gi, dihc M\dbce`gi Wi__s, %idt. Maes whs hd \dtidhdti` mièhivh_ mhdoc ao\si taht Woo` ah` ìceì` to tchdsWic Wcom ets ocegedh_ Zoseteod ed uèmoci, R\ssix, idghgedg tai hccaetict, Joad d C_hcki, hd` tai aestocehd, J e rhU, to s\Zicvesi tai oZichteod. Wockedg ed h Wcii_hdci chZhcetU Wcom 1902, Woo` bichmi hd hccomZ_esai` Zostic ìsegdic hd` `ciw chctoods Woc h d\mbic oW Ziceoèch_s, edc_\èdg The Bystander, Fry’s Magazine, The Graphic, Nash’s Magazine, Punch hd` The Strand Magazine.

id 1915, h Uihc hWtic tai o\tbcihk oW tai fecst Woc_` Whc, Woo` vo_\dtiici` hd`, Wo__owedg tchededg Woc tai acmU Ricveci CocZs ht a_ìcsaot, obthedi` h commesseod. Rood hWtic, ai bichmi hd o cic ed tai %eti Gh__ood Wedg oW tai roUh_ f_Uedg CocZs. d\cedg tai bhtt_i oW 'emU re`gi ed aZce_ 1917, ai sht aega hbovi tai hcteod hd` ai_Zi` tai h__ei` hcte__icU sZot Gicmhd stcodgao_`s. as h cis\_t, tai fcidca ìcochti` aem Woc aes gh__hdtcU. disZeti hctevi sicveci, Woo` ste__ Wo\d` temi, ed 1916, to sit \Z h toU comZhdU ed co__hbochteod weta aes hccaetict Wceid`, Joad d C_hcki, ht Zcimesis ed Commicceh_ roh`, ehstbo\cdi. Mhì to aes owd ìsegds, tai toUs bichmi kdowd hs ‘lhwsod Wooèis’. id tai shmi Uihc, tai Z\b_esaic, fciìceck Whcdi, h_so _h\dcai` aem hs h wcetic hd` e__\stchtoc oW cae_`cid’s books, weta tai ‘Mc’ siceis. fo__owedg tai id` oW tai whc, Woo` hd` aes Whme_U sitt_i` ht A_` Moki+i_`, Cchd_iega, R\cciU, h ao\si taht aes Wceid` Joad d C_hcki ccihti` o\t oW tacii cotthgis. Mai ve__hgi ah` bicomi somitaedg oW h co_odU oW e__\stchtocs, Zcoveèdg hs et è` ht vhceo\s temis h aomi to RtiZaid Ghgaot di lh Gici, e`m\d` d\_hc, Gictchm pchdci hd` We__ehm hihta robedsod. leki robedsod, ai codtceb\ti` to piccU Gch`sahw’s siceis oW Z\b_echteods, ‘Mai act oW tai i__\stchtoc’, hd` h_so wocki` hs h t\toc Woc piccU Gch`sahw’s coccisZodìdci co\csi, tai pciss act Rcaoo_. Woo` co__hbochti` bcei U od chctoods weta %ieta Rao_to do\g_hs, \dìc tai joedt dhmi oW ‘h\st_ib\ck’. do\g_hs’s +cst weWi, JosiZaedi, wocki` hs Woo`’s siccithcU (hd` sai ghvi becta to do\g_hs’s sod, h_so ch__i` %ieta, wao bichmi tai most doti` edg_esa Zoit oW tai Ricod` Woc_` Whc). do\g_hs’s sicod` weWi, waom ai mhccei` ed 1941, whs Woo`’s `h\gatic, paoibi.

amodg h chdgi oW s\bjicts, ai ìvi_oZi` e M rii`’s dovi_ eìh oW \sedg ZciaestocU hs h s\bjict Woc a\mo\c, ed s\ca siceis hs Prehistoric Proverbs (Z\b_esai` ed vo_\mi Wocm ed 1907). hi saowi` ixhmZ_is oW aes comec wock, ed 1906, ed h joedt ixaebeteod, ai_`, weta aes Whtaic hd` gchd`Whtaic, ht tai Moìcd Gh__icU, lodòd, hd` taid, ed 1908, ht h so_o saow ht tai Gcook Rtciit act Gh__icU. a c_osi Wceid` oW tai chctoodest, Mom Gcowdi, ai joedi` aem bcei U hs h mimbic oW tai lodòd Rkitca C_\b.

id 1923, Woo` so_` A_` Moki+i_` to tai dovi_est, fchdk Rweddictod, hd` _iWt Cchd_iega, Zcobhb_U Woc ehstbo\cdi, waeca cicthed_U bichmi aes aomi bU 1928. it siims taht aes weWi, Cahc_otti, +_i` Woc èvocci ed 1929. d\cedg tai Wo__owedg ìchì, ai bichmi h goo` Wceid` oW etai_ Wibb, wao _evi` ht ehst dihd, j\st to tai wist oW ehstbo\cdi. Mogitaic, taiU ccihti` h shdct\hcU Woc bh`_U tcihti` aocsis, hd` taes codtceb\ti` to Woo`’s i_icteod hs h fi__ow oW tai Zoo_ogech_ RoceitU ed 1934. hes wock whs h_whUs bhsi` od c_osi obsicvhteod oW hdemh_ hZZihchdci hd` biahveo\c, waeca whs edWocmi` bU vesets to lodòd Zoo hd` tai _och_ zoo ht Whddock Ghcìds, po_ighti, hd` h_so bU tai hdemh_s ed aes owd smh__ midhgicei.

Woo` h_so Zco`\ci` moci siceo\s wock, waeca ai saowi` hs h mimbic oW bota tai roUh_ idstet\ti oW phedtics ed Whtic Co_o\cs hd` tai A_` d\`_iU act RoceitU (bicomedg 'eci pcise`idt oW tai _httic).

a_cih`U Whmo\s, Woo` ghedi` edticdhteodh_ ZoZ\_hcetU weta aes a\moco\s e__\stchteods oW hdemh_s, hd` isZiceh__U tai gedgic hZi, Gchd’ZoZ, wao mh`i aes +cst hZZihchdci ed The Sketch ed 1932. hi mo\dti` so_o saows oW aes

L AWSON WOOD

comec hct hccoss Gcethed hd`, ao_èdg stcect codtco_ ovic aes coZUcegat, so_` ciZco`\cteods oW aes emhgis taco\gao\t tai woc_`. hi bichmi so s\ccissW\_ ed amicech taht, ed 1939, tai hdemhtoc, ub iwicks, wao ah` ai_Zi` Wh_t desdiU to ccihti MeckiU Mo\si, Z_hddi` to Zco`\ci 24 chctood +_ms Wiht\cedg Gchd’ZoZ; aowivic, tai Zcojict whs edticc\Zti` bU tai Ricod` Woc_` Whc, hd` od_U tacii wici comZ_iti`. Woo` whs h_cihÙ _evedg weta etai_ Wibb ht redgwoo` fhcm Cotthgis, ehst dihd, waid, ed 1942, aes owd ao\si, ed cidtch_ ehstbo\cdi, whs ìstcoUi` bU idimU bombedg. fo__owedg tai id` oW tai whc, ai codted\i` to Z\b_esa chctoods hd` e__\stchteods, edc_\èdg taosi taht hZZihci` ed dihd’s Gran’pop’s Annual, Z\b_esai` bU dihd (1935-50), hd` books Z\b_esai` bU Gecd Gcotaics (most_U 1946). Mowhc`s tai id` oW aes _eWi, Woo` citeci` to Re`mo\ta, divod, sitt_edg od tai i`gi oW tai towd ht dowd_hd`s, Rh_combi he__. aWtic h _odg e__diss, ai èi` ht aes aomi od 26 Actobic 1957. Further reading a e Joadsod, Lawson Wood (Gc\sa, pid hd` pidce_ Riceis), lodòd: a & C G_hck, 1910; Joad Jidsid, ‘Woo`, (C_hcidci) lhwsod (1878-1957)’, h C G Mhttaiw hd` Gcehd hhccesod (i`s), Oxford Dictionary of National Biography, AxWoc` udevicsetU pciss, 2018, attZs://òe.ocg/10.1093/o`db/9780198614128.013.66128

31 Gran'pAp feelR Mhe CAld Rnap Regdi` Whticco_o\c weta bo`Uco_o\c 15 x 11 ½ edcais exaebeti`: ‘Mai agi oW We__ehm hihta robedsod’, Wist ho\si, peddic, aZce_-MhU 2013, no 47

L AWSON WOOD

Gran’pop Mhkedg aes +cst hZZihchdci ed The Sketch ed 1932, lhwsod Woo`’s gedgic-co_o\ci` hZi, Gchd’ZoZ, bichmi odi oW tai most ZoZ\_hc chctood cahchctics od bota seìs oW tai at_hdtec `\cedg tai Ziceo` bitwiid tai two woc_` whcs. Woo` whs Zcobhb_U edsZeci` ed aes ccihteod oW Gchd’ZoZ bU Giocgi Rt\`Ù, wao ah` _h\dcai` tai seme_hc_U ZoZ\_hc Z\ZZU, Godzo, ed The Sketch h ìchì ihc_eic.

waeca s\ca mhghzedis hs Collier’s ocìci` taisi `chwedgs: ‘p\b_esaics ed amicech ahvi ed`\_gi` ed tchdsht_hdtec Zaodi ch__s, ht £5 h med\ti to ocìc “Gchd’ZoZs”, hWtic waeca h “Gchd’ZoZ” skitca whs tchdsmetti` bU “ti_iZaotogchZaU”, tai +desai` `chwedg commesseodi` bU chb_i hd` tai comZ_iti` Zect\ci èsZhtcai` h `hU oc so _htic od tai \iid MhcU’ (q\oti` ed Jidsid, 2018).

Gchd’ZoZ es hd i_ìc_U hZi wao, ìsZeti aes hgi, ste__ idghgis ed h weì chdgi oW idticthededg hd` idicgitec ischZhìs weta h chst oW otaic hdemh_ cahchctics. Most dothb_U, taisi edc_\ì Uo\dgic modkiUs – Zosseb_U Gchd’ZoZ’s hct\h_ gchd`cae_`cid – hd` h_so Zegs. Gchd’ZoZ hd` aes coticei c_ihc_U cimhed hdemh_s, hd` taiec cahchcticeshteod es Wo\dì` od lhwsod Woo`’s hckdow_i`gi` obsicvhteod oW hdemh_ hZZihchdci hd` biahveo\c. howivic, taiU \si mhdmhì – eW mhkisaeWt – hccissoceis, hd` memec h weì chdgi oW a\mhd hcteveteis idcomZhssedg wock, _ies\ci hd` òmistec _eWi. Mai hct oW memeccU hd` tai o\tcomi oW tai hcteveteis bota Zcoveì mhdU oZZoct\deteis Woc a\mo\c.

Wae_i The Sketch hd` Collier’s wici hemi` ht h`\_ts, Gchd’ZoZ sood bighd to bi mhckiti` to cae_`cid, weta tai Z\b_echteod oW dihd’s Gran’Pop’s Annual Wcom 1935, hd` taid otaic Zect\ci books. Mai hZi h_so hZZihci` ed h vhceitU oW two-`emidseodh_ Wocms, od ceghcitti chc`s, Zostchc`s hd` Zcedts. MhdU oW taisi wici Z\b_esai` ed _hdg\hgis otaic tahd edg_esa, edc_\`edg dhdesa, d\tca hd` Gicmhd.

Wae_i hZZihcedg cig\_hc_U ed The Sketch, Woo`’s Gchd’ZoZ `chwedgs sood gchci` tai covic oW tai amicechd mhghzedi, Collier’s, tahdks to tai i)octs oW tai hctest’s ahc`wockedg hgidts, fchdces & Me__s. id They Make Us Smile (1942), tai e__\stchtoc, piccU Gch`sahw ixZ_hedi` tai ixZidsevi Zcociss bU

(dithe_ oW 33)

Mai Whmo\s amicechd hdemhtoc, ub iwicks, got Gchd’ZoZ movedg, ed tacii chctood +_ms ed 1940, hd` tai RacoZsaeci comZhdU, MiccUtao\gat MoUs tchdsWocmi` aem edto tacii-èmidseods ed 1938. Mao\ga tai ZoZ\_hcetU oW Gchd’ZoZ bighd to whdi hWtic tai Ricod` Woc_` Whc, MiccUtao\gat codted\i` to Zco`\ci soWt toU vicseods oW tai cahchctic \dte_ 1964, h_most h ìchì hWtic tai ìhta oW aes ccihtoc.

32 (oZZoseti) iM'R RurpriRinG WhaM iM Can dA Regdi` idsccebi` weta tet_i od civicsi Whticco_o\c hd` bo`Uco_o\c 15 ¼ x 12 edcais

L AWSON WOOD

33 i heard MhaM Ane aM Mhe CluG Regdi` idsccebi` weta tet_i od civicsi Whticco_o\c weta bo`Uco_o\c 14 ½ x 11 ¼ edcais i__\stchti`: p\b_esai` hs h Zcedt bU focmhd, 1930

L AWSON WOOD

34 MAn%ey Gand Regdi` Whticco_o\c hd` bo`Uco_o\c 15 x 12 edcais

L AWSON WOOD

35 Mhe 19Mh ‘hAle’ Regdi` idsccebi` weta tet_i hd` ‘Gchd’ZoZ stecks to tai o_` c\_is' od civicsi Whticco_o\c hd` bo`Uco_o\c weta Zidce_ od bohc` 14 ½ x 11 edcais i__\stchti`: disegd Woc h Zostchc` Woc tai ‘Gchd’ZoZ’ siceis exaebeti`: ‘ho_i ed Adi!’, Mai atkedsod Gh__icU Ro\taZoct, MhU-a\g\st 2017

L AWSON WOOD

36 Gran’pAp aM iM aGain yAu Ray yAur aRReMR ha'e Rhrun%? Regdi` idsccebi` weta tet_i od civicsi Whticco_o\c hd` bo`Uco_o\c 15 ¼ x 12 edcais

L AWSON WOOD

37 Gran’pAp aM iM aGain We're dAinG GiG GuRineRR Regdi` idsccebi` weta tet_i od civicsi Whticco_o\c hd` boÙco_o\c 15 x ¼ x 12 edcais i__\stchti`: disegd Woc Zostchc` no 1650, Woc 'h_idtedi's oW d\dìi; i__\stchti`: Marking Time with Gran’Pop, 1948 Ch_id`hc Woc Mi_oÙ am\simidts, poct_hd`, Acigod

L AWSON WOOD

38 Gran’pAp aM iM aGain Mhe GeRM Rer'iCe GAinG Regdi` idsccebi` weta tet_i od civicsi Whticco_o\c hd` bo`Uco_o\c 15 ¼ x 12 edcais

H M B ATEMAN

h M G aMe M a n

hidcU MhUo Ghtimhd (1887-1970) H M Bateman established his inimitable style before the First World War when, as he put it, he ‘went mad on paper’, by drawing people’s mood and character. This culminated in ‘The Man Who ...’, his famous series of cartoons dramatising social ga es. h M Ghtimhd whs bocd ht R\ttod focist ed niw Ro\ta Wh_is, a\stch_eh, od 15 fibc\hcU 1887. hi whs tai sod oW hd edg_esamhd wao owdi` hd ixZoct hd` Zhckedg b\sediss. a Uihc hWtic aes becta, tai Whme_U cit\cdi` to edg_hd`, hd` ai whs i`\chti` ht focist he__ ho\si, Ro\ta lodòd. Gevid tai Wciiòm to ìvi_oZ aes hctestec _ihdedg Wcom hd ihc_U hgi, ai httidì` Wistmedstic Rcaoo_ oW act hd` Go_`smetas’ Co__igi hd`, ed \idci` bU Comic Cuts hd` Ally Sloper’s Half-Holiday, mhì codtceb\teods to Scraps (1903) hd` The Tatler (1904). hi whs idco\chgi` bU pae_ MhU hd` Joad hhssh__ to sZid` somi temi ed tai st\èo oW Cahc_is vhd hhvicmhit ht tai niw act Rcaoo_, RtchtWoc` Rt\èos, %idsedgtod (1904-7). hi h_so took \Z hmhti\c boxedg, thZ-`hdcedg, go_W hd` +saedg, aobbeis taht wici to Zcovi vh_\hb_i hs so\ccis Woc chctood mhticeh_. hi ìvi_oZi` aes edemethb_i stU_i hco\d` 1911 waid, hs ai Z\t et, ai ‘widt mh` od ZhZic’ bU `chwedg ZioZ_i’s moo` hd` cahchctic chtaic tahd taiec ZaUsech_ hZZihchdci. MhdU oW aes ihc_U chcecht\cis saow tai ed \idci oW Re`diU Remi hd` hidcU AsZovht, hd` seme_hc_U ìZect m\sech_ hd` m\sec-ah__ Zicsodh_eteis hd` taihtcech_ Zco`\cteods. hi e__\stchti` taihtcech_ civeiws ed The Bystander (1910) hd`, hs ‘A\c udthmi` actest ht tai p_hU’, ed The Sketch (1912-14). Maes wock mit weta s\ca s\cciss taht ai whs h_so commesseodi` to Zco`\ci Zostics Woc two Z_hUs bU Giocgi Gicdhc` Rahw, Fanny’s First Play hd` John Bull’s Other Island (bota 1912). id tai Uihcs biWoci tai fecst Woc_` Whc, ai _evi` ed Ro\ta C_hZahm. d\cedg tai whc, ai joedi` h lodòd cigemidt, b\t whs sood èscahcgi` od tai gco\d`s oW e__ aih_ta.

Mai bigeddedg oW tai Zost-whc Ziceo` whs mhcki` bU so_o saows oW Ghtimhd’s wock ht tai liecistic Gh__iceis (1919, 1921). it h_so shw tai imicgidci oW aes Whmo\s siceis oW chctoods codcicdedg tai soceh_ gh)i, ‘Mai Mhd Wao ...’, wae_i ai h_so ìvi_oZi` h siq\idteh_ hZZcohca ìcevi` Wcom Chchd `’acai hd` tai cedimh. Maco\gao\t aes chciic ai codtceb\ti` to h_most h__ tai _ihèdg Ziceoèch_s hd` e__\stchti` h d\mbic oW books. hes hct Zcovi` to bi h bcihta oW Wcisa hec to tai st\)U Zhgis oW Punch, hd` aes vegoco\s, wao__U ves\h_ hZZcohca whs c_osic to codtedidth_ wock s\ca hs taht oW tai Gicmhd shtecech_ mhghzedi, Simplicissimus, tahd to hdUtaedg ed edg_hd`. at tai Zihk oW aes chciic ed tai 1930s, ai whs ihcdedg bitwiid Wo\c hd` +vi tao\shd` Zo\d`s Wcom chctoods Woc mhghzedis, edc_\èdg The Radio Times, book e__\stchteods hd` h`victesedg. hi `covi tai _htist chcs hd`, ed 1925, b\e_t h ao\si ht rieghti hihta ed R\cciU. fo__owedg aes citecimidt ed 1939, ai sahci` aes temi bitwiid RhmZWoc` Co\ctidhU, divod, hd` tai Mièticchdihd es_hd` oW Gozo. id 1962, tai fedi act RoceitU mo\dti` h citcosZictevi oW aes wock. hi èi` od Gozo od 11 fibc\hcU 1970. hes wock es ciZcisidti` ed d\mico\s Z\b_ec co__icteods, edc_\èdg tai Gcetesa M\si\m. Further reading adtaodU adìcsod, The Man Who Was H M Bateman, exitic: Wibb & Gowic, 1982; Joad Jidsid, ‘Ghtimhd, hidcU MhUo (1887-1970)’, h C G Mhttaiw hd` Gcehd hhccesod (i`s), Oxford Dictionary of National Biography, AxWoc` udevicsetU pciss, 2004, vo_ 4, Zhgis 299-301

39 Mhe GeniuR WhA WaR uiMe huMan Regdi` hd` `hti` 1916 pid edk hd` whticco_o\c 16 ½ x 8 ½ edcais i__\stchti`: h M Ghtimhd, More Drawings, lod`od: Mita\id & Co, 1922

H M B ATEMAN

40 RMiff! Regdi` hd` `hti` 1918 idsccebi` weta tet_i bi_ow mo\dt pid hd` edk weta Zidce_ 14 x 20 Â¾ edcais i__\stchti`: The Illustrated Sporting & Dramatic News, 2 Actobic 1918, phgi 235

H M B ATEMAN

41 CAn'erRaMiAnR ( Mhe CARMerR ) Regdi` hd` `hti` 1922 idsccebi` ‘Costics’ bi_ow mo\dt pid hd` edk 10 x 8 edcais

42 hair and arM Regdi`, edsccebi` weta tet_i hd` `hti` 21 pid hd` edk 13 ¾ x 9 edcais i__\stchti`: Punch, R\mmic n\mbic, 1921

H M B ATEMAN

43 RAulful Regdi` hd` `hti` 23 idsccebi` ‘Ro\_W\__’ bi_ow mo\dt pid edk hd` whticco_o\c 14 ¾ x 10 ¾ edcais

H M B ATEMAN

44 Mhe inCAMe Ma AffiCial An Mhe iCe (Ar CuMR a feW fiGureR) Regdi` idsccebi` weta tet_i bi_ow mo\dt pid edk hd` whticco_o\c 14 Â¼ x 10 edcais i__\stchti`: The Tatler; h M Ghtimhd, Brought Forward: A Further Collection of Drawings, lod`od: Mita\id & Co, 1931, phgi 63

PONT

p An M

Ghved Gchahm lhe`_ic, ariGa (1908-1940), kdowd hs ‘podt’ Following in the Punch tradition of George Du Maurier and Frank Reynolds, Graham ‘Pont’ Laidler excelled at satirising the British middle classes. Before his premature death at the age of just 32, Laidler had established a reputation as one of the nest cartoonists of the twentieth-century with his acute observations of the ‘British Character’. foc beogchZaU oW podt, Z_ihsi ciWic to The Illustrators, 2014, Zhgi 130.

45 Mhe GriMiRh CharaCMer failure MA appreCiaMe GAAd MuRiC Regdi` idsccebi` weta tet_i od civicsi pid hd` edk weta Zidce_ 7 ½ x 10 ¾ edcais i__\stchti`: podt, The British Character Studied and Revealed, lod`od: Co__eds, 1938, phgi 29

3 William Heath Robinson

WILLIAM HE ATH ROBINSON

WIL L IA M H E AT H RO B I N S O N William Heath Robinson (1872-1944) Heath Robinson is a household name, and a byword for a design or construction that is ‘ingeniously or ridiculously over-complicated’ (as de ned by The New Oxford Dictionary of English, 1998, page 848). Yet, he was also a highly distinctive and versatile illustrator, whose work could touch at one extreme the romantic watercolours of a Dulac or Rackham, at another the sinister grotesqueries of a Peake, and at yet another the eccentricities of an Emett. For a biography of William Heath Robinson, please refer to The Illustrators, 2018, page 22. Essays on various aspects of Heath Robinson’s achievements have appeared in previous editions of The Illustrators: on his illustrations to Rabelais in 1996, pages 112-113; on the relationship of his illustrations to those of Arthur Rackham in 1997, pages 124-125; on his illustrations to The Arabian Nights Entertainments in 1999, pages 73-74; and on one of his illustrations to Twelfth Night in 2000, pages 17-18.

The Chris Beetles Gallery has mounted a number of signi cant exhibitions of the work of William Heath Robinson, including: 1. ‘William Heath Robinson (1872-1944)’, Chris Beetles Gallery, March 1987 (with a fully illustrated catalogue) 2. ‘The Brothers Robinson’, Chris Beetles Gallery and the Royal Festival Hall, February 1992 (with a fully illustrated catalogue – see catalogue image) 3. ‘William Heath Robinson (1872-1944). 50th Anniversary Exhibition’, Chris Beetles Gallery, September 1994 4. ‘The Gadget King’, Manchester City Art Galleries, Heaton Hall, May-October 2000 5. ‘W Heath Robinson’, Dulwich Picture Gallery, Linbury Room, November 2003 (to complement Dulwich’s own exhibition of William Heath Robinson) 6. ‘Heath Robinson at Nunnington Hall’, National Trust, Nunnington Hall, North Yorkshire, July 2005 7. ‘Contraptions. William Heath Robinson (1872-1944)’, Chris Beetles Gallery, June-August 2007 (to launch a volume of cartoons published by Duckworth) 8. ‘William Heath Robinson 1872-1944’, Chris Beetles Gallery, May-June 2011 (with a fully illustrated catalogue– see catalogue image) 9. ‘The Inventive Art of William Heath Robinson’, Chris Beetles Gallery, March-April 2016

Geo rey Beare, The Brothers Robinson, London: Chris Beetles Ltd, 1992 Fully illustrated catalogue, hardback, limited to 500 copies, 240 pages

Geo rey Beare, William Heath Robinson, London: Chris Beetles, 2011 Fully illustrated catalogue, paperback, 163 pages

WILLIAM HE ATH ROBINSON

The Bystander

on Golf

46 P TTING O T THE OLD HOLED O T Signed Inscribed â&#x20AC;&#x2DC;Holed Outâ&#x20AC;&#x2122; below mount Pen and ink 14 Â¾ x 10 Â¾ inches Illustrated: The Bystander, 3 January 1923, Page 31 Exhibited: â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May- June 2011, No 174; â&#x20AC;&#x2DC;Hole in One!â&#x20AC;&#x2122;, The Atkinson Gallery, Southport, May-August 2017 This cartoon was published in The Bystander to mark the turning of the year from 1922 to 1923, with '1922' written on the ball. The date was subsequently altered by the artist.

WILLIAM HE ATH ROBINSON

47 THE KINDLY CADDY-BIRD OF ST ANDREWS P RS ING ITS DAILY RO ND Signed and inscribed â&#x20AC;&#x2DC;The Kind Caddy-Bird of St Andrewsâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;Bystanderâ&#x20AC;&#x2122; Pen ink and watercolour 16 x 11 Â¼ inches Illustrated: The Bystander, 6 February 1924, Page 305 Exhibited: â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May- June 2011, No 178; â&#x20AC;&#x2DC;Hole in One!â&#x20AC;&#x2122;, The Atkinson Gallery, Southport, May-August 2017

WILLIAM HE ATH ROBINSON

48 CASABIANCA OF THE LINKS Signed and inscribed with title Watercolour with pen and ink 15 x 10 ¾ inches Illustrated: The Bystander, 11 March 1925, Page 553 Exhibited: ‘The Gadget King’, Manchester City Art Galleries, Heaton Hall, May-October 2000; ‘William Heath Robinson 1872-1944’, Chris Beetles Gallery, May-June 2011, No 180; ‘Hole in One!’, The Atkinson Gallery, Southport, May-August 2017

WILLIAM HE ATH ROBINSON

49 A TRAINED EARLY BIRD COMPELLING A WORM TO T RN BEFORE IT CASTS Signed, inscribed with title and â&#x20AC;&#x2DC;For the preservation of our greensâ&#x20AC;&#x2122; Pen and ink with pencil 14 Â¾ x 10 Â¾ inches Illustrated: The Bystander, 18 April 1923, Page 29 Exhibited: â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May-June 2011, No 170; â&#x20AC;&#x2DC;Hole in One!â&#x20AC;&#x2122;, The Atkinson Gallery, Southport, May-August 2017

WILLIAM HE ATH ROBINSON

50 S MMER TRO BLES IN THE TROPICS â&#x20AC;&#x201C; SNAKE CASTS ON THE SAHARA GOLF CO RSE Signed and inscribed with title and â&#x20AC;&#x2DC;Bystander Summer Noâ&#x20AC;&#x2122; Pen ink and watercolour 15 Â½ x 11 Â½ inches Illustrated: The Bystander, 20 June 1923, Page 121 Exhibited: â&#x20AC;&#x2DC;The Gadget Kingâ&#x20AC;&#x2122;, Manchester City Art Galleries, Heaton Hall, May-October 2000; â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May- June 2011, No 171

WILLIAM HE ATH ROBINSON

51 THE INC RABLE GOLFER DOES A SHORT HOLE IN ONE Signed Inscribed â&#x20AC;&#x2DC;incurableâ&#x20AC;&#x2122; below mount Pen ink and watercolour 17 x 12 inches Illustrated: The Humorist, 3 October 1931, Page 275 Exhibited: â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May-June 2011, No 185; â&#x20AC;&#x2DC;Hole in One!â&#x20AC;&#x2122;, The Atkinson Gallery Southport, 20 May - 28 August 2017

WILLIAM HE ATH ROBINSON

52 ALL IS NOT GOLD THAT GLITTERS AMERICAN GOLFERS , WHO THINK THEY SEE A BOTTLE OF WHISKEY, O ERCOME WITH HONO R AND A ERSION

Signed and inscribed with title Pen and ink 16 x 11 inches Illustrated: The Bystander, 15 August 1923, Page 633 Exhibited: â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May-June 2011, No 175; â&#x20AC;&#x2DC;Hole in One!â&#x20AC;&#x2122;, The Atkinson Gallery, Southport, May-August 2017

WILLIAM HE ATH ROBINSON

53 AN NFORT NATE BACK-HANDER AT ST ANDREWS Signed and inscribed with title Pen ink and crayon 15 Â¼ x 10 Â¾ inches Illustrated: The Bystander, 22 August 1923, Page 697 Exhibited: â&#x20AC;&#x2DC;William Heath Robinson 1872-1944', Chris Beetles Gallery, May-June 2011, No 173; â&#x20AC;&#x2DC;Hole in One!â&#x20AC;&#x2122;, The Atkinson Gallery, Southport, May-August 2017

WILLIAM HE ATH ROBINSON

54 KNOCKING THE GRO ND FROM BENEATH HIS FEET THE TOO IGORO S GOLFER : â&#x20AC;&#x2DC; NOW I HA E J ST ABO T C T MYSELF OFF ' Signed and inscribed with title and â&#x20AC;&#x2DC;Bystanderâ&#x20AC;&#x2122; Pen ink and watercolour 14 Â½ x 10 Â¾ inches Illustrated: The Bystander, 7 November 1923, Page 397 Exhibited: â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May-June 2011, No 176; â&#x20AC;&#x2DC;Hole in One!â&#x20AC;&#x2122;, The Atkinson Gallery, Southport, May-August 2017

WILLIAM HE ATH ROBINSON

55 ANOTHER INSTANCE OF THE NRELIABILITY OF A CHEAP CAR IN AN EMERGENCY Signed Pen and ink 17 Â½ x 13 Â½ inches

WILLIAM HE ATH ROBINSON

How to Live in a Flat Nos 56-60 are all illustrated in W H Robinson and K R G Browne, How To Live in a Flat, London: Hutchinson & Co, 1936

56 PETSâ&#x20AC;&#x2122; PLAY-GRO ND, TRYPLIT MANSIONS, MAIDA ALE Inscribed with title Pen and ink 11 Â½ x 7 Â¾ inches Illustrated: Page 47 Exhibited: â&#x20AC;&#x2DC;The Gadget Kingâ&#x20AC;&#x2122;, Manchester City Art Galleries, Heaton Hall, May-October 2000; â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May-June 2011, No 56

WILLIAM HE ATH ROBINSON

58 (opposite) A FLAT WEDDING Inscribed with title Pen and ink 10 Â½ x 7 Â½ inches Illustrated: Page 7 Exhibited: â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May-June 2011, No 52; â&#x20AC;&#x2DC;The Age of William Heath Robinsonâ&#x20AC;&#x2122;, West House, Pinner, April-May 2013, No 7

57 ADJ STABLE DO BLE ENTRANCE TO A CON ERTED HO SE Inscribed with title Pen and ink 9 x 7 Â¾ inches Illustrated: Pages 78-79 Exhibited: â&#x20AC;&#x2DC;Heath Robinson. Machines and Inventionsâ&#x20AC;&#x2122;, The West House & Heath Robinson Museum Trust, Pinner, March-April 2011, No 27

WILLIAM HE ATH ROBINSON

59 AN â&#x20AC;&#x2DC;FRAISâ&#x20AC;&#x2122; B NGALOW FOR WARM WEATHER Inscribed with title Pen and ink 7 x 7 Â½ inches Illustrated: Page 105 Exhibited: â&#x20AC;&#x2DC;Heath Robinson. Machines and Inventionsâ&#x20AC;&#x2122;, The West House & Heath Robinson Museum Trust, Pinner, March-April 2011, No 30; â&#x20AC;&#x2DC;Comedy and Commentaryâ&#x20AC;&#x2122;, Mottisfont, January-April 2020

60 HOW TO DO WITHO T THE MANTEL SHELF IN A MODERN FLAT Inscribed with title Pen and ink 5 1 4 x 5 Â½ inches Illustrated: Page 19 Exhibited: â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May-June 2011, No 54; â&#x20AC;&#x2DC;The Inventive Art of William Heath Robinsonâ&#x20AC;&#x2122;, Chris Beetles Gallery, March-April 2016

WILLIAM HE ATH ROBINSON

How to Run a Communal Home 61 RE I AL OF THE TIME-HONO RED RITE OF TOSSING THE PANCAKE ON SHRO E T ESDAY Inscribed with title Pen and ink 6 Â½ x 5 Â½ inches Illustrated: W Heath Robinson and Cecil Hunt, How To Run a Communal Home, London: Hutchinson & Co, 1943, Page 72, â&#x20AC;&#x2DC;Rites and Ceremoniesâ&#x20AC;&#x2122; Exhibited: 'Heath Robinson, Machines and Inventions', The West House & Heath Robinson Museum Trust, Pinner, March-April 2011, No 46; â&#x20AC;&#x2DC;William Heath Robinson 1872-1944â&#x20AC;&#x2122;, Chris Beetles Gallery, May-June 2011, No 102

62 THE MONTHLY O ERHA L Inscribed with title Pen and ink 6 Â½ x 5 Â½ inches Illustrated: W Heath Robinson and Cecil Hunt, How To Run a Communal Home, London: Hutchinson & Co, 1943, Page 98, â&#x20AC;&#x2DC;Anno Dominiâ&#x20AC;&#x2122; Exhibited: â&#x20AC;&#x2DC;The Inventive Art of William Heath Robinsonâ&#x20AC;&#x2122;, Chris Beetles Gallery, March-April 2016

4 E H Shepard

E H SHEPARD

e h s h ePA r d

eInOGt howaIF sHOpaIF, MC (Be (1879-1976) While E H Shepard is now best remembered for his immortal illustrations to Winnie-the-Pooh and The Wind in the Willows, he was a wide-ranging illustrator, with an unsurpassed genius for representing children, and an underrated talent for political cartoons. FoI a biogIapHy of e h sHOpaIF, plOaGO IOfOI to The Illustrators, 2018, pagO 41. FoI OGGayG on vaIiouG aGpOctG of tHO aItiGt’G acHiOvOmOntG, GOO The Illustrators, 1999, pagOG 151-152; The Illustrators, 2000, pagOG 28-32; anF The Illustrators, 2007, pagOG 199-200.

63 A !e$TLeMA$ ... As F(rCed T( r0se Fr(M TABLe signOF 0nGcIibOF ‘A gOntlOman tHat waG at FinnOI witH my loIF ... waG foIcOF to IiGO fIom tablO’ bOlow mount POn anF ink on boaIF 8 x 11 ¼ incHOG 0lluGtIatOF: ( F MoIGHOaF (OF), Everybody's Pepys: the Diary of Samuel Pepys 1660-1669, LonFon, BOll, 1926, Facing PagO 21

64 The T( $ M s0q e signOF 0nGcIibOF witH titlO anF ‘CambIiFgO’ bOlow mount POn anF ink 10 ¾ x 7 incHOG 0lluGtIatOF: ( F MoIGHOaF (OF), Everybody's Pepys: the Diary of Samuel Pepys 1660-1669, LonFon, BOll, 1926, Facing PagO 436

E H SHEPARD

65 seL0$A A MAe$Ad $( hATLess A$d T(ss0$! d0s(rdered L(C s, sTAL ed Ar( $d The P re signOF witH initialG signOF, inGcIibOF witH titlO, book titlO anF aItiGt’G aFFIOGG on IOvOIGO POn anF ink 8 ¾ x 7 incHOG 0lluGtIatOF: OnnOtH !IaHamO, Dream Days, LonFon: THO BoFlOy hOaF, 1930, PagO 14

E H SHEPARD

Shepardâ&#x20AC;&#x2122;s approach to The Wind in the Willows e h sHOpaIF HaF a vOIy HigH opinion of OnnOtH !IaHamOâ&#x20AC;&#x2122;G The Wind in the Willows (1908), anF conGiFOIOF it â&#x20AC;&#x2DC;onO of tHO bookG â&#x20AC;&#x201C; HO HaF a mOntal liGt of tHOm, HO GaiF â&#x20AC;&#x201C; tHat GHoulF not bO illuGtIatOFâ&#x20AC;&#x2122; (rawlO nox (OF), The Work of E H Shepard, LonFon: MOtHuOn, 1979, pagO 178). howOvOI, wHOn o OIOF tHO job, HO accOptOF it. hO waG OxcitOF at tHO cHancO to attOmpt it anF waG GuIO tHat HO coulF Fo bOttOI tHan tHoGO wHo HaF tIiOF bOfoIO: Paul BIanGon (1913), $ancy BaInHaIt (1922) anF ynFHam PaynO (1927). !IaHamO waG GcOptical aG to sHOpaIFâ&#x20AC;&#x2122;G Guitability. But HiG own pIOfOIIOF cHoicO, AItHuI rackHam, HaF IOjOctOF tHO pIojOct wHOn tHO book waG IGt publiGHOF, tHIougH pIOGGuIO of woIk, anF woulF not pIoFucO HiG own OFition until 1940, aftOI tHO autHoIâ&#x20AC;&#x2122;G FOatH. sHOpaIF viGitOF !IaHamO at CHuIcH CottagO, PangbouInO, BOIkGHiIO, in oIFOI to pOIGuaFO Him of HiG woItH. POIHapG tHinking of A A MilnOâ&#x20AC;&#x2122;G toyG, !IaHamO tolF sHOpaIF tHat â&#x20AC;&#x2DC;my animalG aIO not puppOtG; tHOy alwayG makO tHOm puppOtGâ&#x20AC;&#x2122;, tHOn aFFOF, aG botH plOa anF blOGGing, tHat â&#x20AC;&#x2DC;0 lovO tHOGO littlO pOoplO; bO kinF to tHOm.â&#x20AC;&#x2122; nablO to accompany sHOpaIF Fown to tHO THamOG, HO,

The Horn Book, ApIil 1954) sHOpaIF tHOn wOnt out to look anF GkOtcH, â&#x20AC;&#x2DC;anF GwoIO HO coulF HavO GOOn (ttOI IiGing fIom tHO watOI, anF BaFgOI on tHO bankâ&#x20AC;&#x2122; ( nox, 1979, pagO 178). hO lOft !IaHamO â&#x20AC;&#x2DC;moIO OxcitOF at tHO pIoGpOct of tHat woIk tHan any otHOI HO HaF unFOItakOn, in GpitO of itG immOnGO Fi cultyâ&#x20AC;&#x2122; ( nox, 1979, pagO 180). !IaHamO, in tuIn, waG FOligHtOF witH tHO IOGultG. POtOI !IOOn HaG noticOF How !IaHamO HaF tIanGfOIIOF â&#x20AC;&#x2DC;tHO GcOnO of The Wind in the Willows â&#x20AC;¦ in HiG minF to tHO countIy anF tHO IivOIGiFO GuIIounFing HiG nOw HomOâ&#x20AC;&#x2122; way upGtIOam fIom itG oIiginal GOtting. THiG GubtlO cHangO HaG bOOn pOIpOtuatOF Go potOntly by sHOpaIFâ&#x20AC;&#x2122;G illuGtIationG â&#x20AC;&#x2DC;tHat many pOoplO IOmain convincOF to tHiG Fay not only tHat rat anF MolO livOF nOaI PangbouInO, but tHat The Wind in the Willows waG actually wIittOn tHOIOâ&#x20AC;&#x2122; (Kenneth Grahame 1859-1932, LonFon: JoHn MuIIay, 1959, pagO 346). AG a IOGult, sHOpaIF, wHo waG Go cautiouG of intOIpIOting !IaHamOâ&#x20AC;&#x2122;G book, Gigni cantly incIOaGOF tHO GtatuG of an alIOaFy claGGic tOxt.

tolF mO of tHO IivOI nOaI by, of tHO mOaFowG wHOIO MolO bIokO gIounF tHat GpIing moIning, of tHO bankG wHOIO rat HaF HiG HouGO, of tHO poolG wHOIO (ttOI HiF, anF of ilF ooF way up on tHO Hill about tHO IivOI. (e h sHOpaIF, â&#x20AC;&#x2DC;0lluGtIating The Wind in the Willowsâ&#x20AC;&#x2122;, 66 M(Le AT h(Me signOF witH initialG POn anF ink witH boFycolouI on boaIF 4 Â½ x 6 Â¼ incHOG 0lluGtIatOF: OnnOtH !IaHamO, The Wind in the Willows, LonFon: MOtHuOn & Co, 1931, PagO 113

E H SHEPARD

HARVISTON END

Harviston End â&#x20AC;&#x2DC;haIviGton enFâ&#x20AC;&#x2122; waG wIittOn OaIly in tHO caIOOI of POtOI Ling (1926-2006), wHo iG bOGt IOmOmbOIOF aG tHO co-cIOatoI of tHO 0TV Goap opOIa, Crossroads. Ling poGGibly wIotO tHO poOm aG a IOGponGO to tHO nationaliGation of BIitainâ&#x20AC;&#x2122;G IailwayG in 1948, anF tHO GubGO uOnt cloGuIO of linOG anF GtationG. 0n tHO tHIOO yOaIG alonO bOtwOOn nationaliGation anF tHO publication of tHO poOm, almoGt 200 GtationG wOIO cloGOF. A moIO concOItOF pIogIammO of cloGuIOG woulF occuI following tHO implOmOntation of BIitiGH railâ&#x20AC;&#x2122;G MoFOIniGation Plan in 1955, OigHt yOaIG bOfoIO ricHaIF BOOcHingâ&#x20AC;&#x2122;G infamouG 1963 IOpoIt, â&#x20AC;&#x2DC;THO rOGHaping of BIitainâ&#x20AC;&#x2122;G railwayGâ&#x20AC;&#x2122;. THougH haIviGton enF iG a ctional Gtation, itG namO cHimOG witH tHat of onO tHat cloGOF in 1948 (haIIingwoItH, $oItHamptonGHiIO) anF two tHat woulF cloGO in 1951 (hallington, LincolnGHiIO, anF haIlington halt, soutH oIkGHiIO).

I looked out of the train, And I suddenly saw the empty station As we hurtled through, with a hollow roar â&#x20AC;&#x153;Harviston Endâ&#x20AC;? â&#x20AC;Ś It was dark and dead Thick dandelions choking the flower-bed, Torn posters that flapped on the porterâ&#x20AC;&#x2122;s shed A broken window-pane, The waiting roomâ&#x20AC;&#x2122;s shuttered desolation, The padlock on the booking-office door. Rrring â&#x20AC;Ś Rrring â&#x20AC;Ś Rrring â&#x20AC;Ś

I remember that platform bell, Which startled the quiet station once an hour â&#x20AC;&#x153;Harviston Endâ&#x20AC;? â&#x20AC;Ś White pebbles used to spell The name along the borders, all in flower With fierce geranium. lobelia and stocks; Sweet alyssum, and a golden privet hedge. There was always a labelled bicycle, or a box Of seedlings at the platformâ&#x20AC;&#x2122;s edge When a train was expected; Or a basket of pigeons in the shade,

E H SHEPARD

Drawling and crooning, waiting to be collected … In the luggage office (where I was sometimes weighed, As a great treat, on the station scales) There was a musky smell of bran, and paraffin; While, outside, sunlight dazzled upon the rails And on the bright advertisements (enamelled tin– Three pen-nibs, and a splash of inky blue); And the air soft with tar, the summer smell … And the chuff of a steam-train drowsing through The hazy hills … And the sound of the bell … Rrring … Rrring … Rrring … And now the platform bell will ring no more. Thye will not come again, Those summers of youth and exultation; New trains must run, and new tracks must wind, And a place out of sight is soon out of mind– And “Harviston End” has been left behind … As we hurtled through, with hollow roar, I looked out of the train, And I suddenly saw the empty station.

PlOaGO notO tHat tHO poOm HaG bOOn aFFOF to GHow How it appOaIOF in Punch anF iG not paIt of tHO aItwoIk.

67 hArV0sT($ e$d signOF signOF witH tHO initialG of ruGGOll BIockbank, Punch'G AIt eFitoI, bOlow mount POn anF ink on boaIF 12 ½ x 18 ½ incHOG 0lluGtIatOF: Punch, 10 JanuaIy 1951, PagOG 48-49, ‘haIviGton enF’ by POtOI Ling

E H SHEPARD

INCIDENT IN AUGUST When the Cirle train was held up by a signal Between Gloucester Road and High Street (Ken.) In the battering dog-day heat of August We sweated and mopped our brows. And then We saw in the cutting, amid the loosestrife And butterflies looping through bindweed trails, A boy who lay drinking, straight from the bottle, When of course, he was paid to look after the rails. High stood the sun and the heat-haze shimmered, The crickets shrilled to the burnished tracks; But our minds and the motors throbbed together, Insisting “You’re late. You mustn’t relax. You mustn’t look backward, you mustn’t look ... Southward?” (Oh, the linemen stood by in the hills of Var And leaned on their spades as the trains went past them And swigged red wine from a great stone jar.) Now, the boy in the sunlight was drinking water – Or beer at the best. It might have been Beaune Or Chateauneuf, but a London embankment Was not the slopes of the Côtes-du-Rhône. Still, a Mistral blew out of dry Vaucluse, A Mistral blew over South-West Ten ... Till the train pulled out from the Mondragon-sur-Lez As the points changed back towards High Street (Ken.)

PlOaGO notO tHat tHO poOm HaG bOOn aFFOF to GHow How it appOaIOF in Punch anF iG not paIt of tHO aItwoIk.

68 0$C0de$T 0$ A ! sT signOF anF inGcIibOF witH titlO signOF witH tHO initialG of OnnOtH BiIF (‘FougaGGO’), Punch'G AIt eFitoI bOlow mount POn anF ink on boaIF 11 ½ x 9 ¾ incHOG 0lluGtIatOF: Punch, 27 AuguGt 1952, PagO 285, ‘0nciFOnt in AuguGt’ by BIyan MoIgan

5 Mabel Lucie Attwell

MABEL LUCIE AT T WELL

MAB EL LU C i E At t w E L L Mabel LucQe ASSIell, SwA (1879-1964)

Mabel Lucie Attwell developed her own imaginative, and often amusing, imagery through annuals and postcards. Then, as her popularity increased, she applied it to a wide range of products. She was a household name by the 1920s, by which time no home was complete without an Attwell plaque or money-box biscuit tin. Mabel LucQe ASSIell Ias born aS 182 MQle End Road, London, on 4 June 1879, She sQxSh chQld of She buScher, AugusSus ASSIell, and hQs IQfe, EmQly Ann (née HarrQs) . She Ias educaSed prQvaSely and aS She Coopers’ Company Coborn School, Qn She BoI Road, Ihere she shoIed an early SalenS for arS. She funded her oIn sSudQes aS HeaSherley’s and SS MarSQn’s School of ArS (1895-1900), and, IhQle aS She laSSer, meS felloI sSudenS, Harold EarnshaI, Iho Iould become a paQnSer and QllusSraSor. they marrQed Qn 1908, and Iould have Shree chQldren. DQslQkQng her formal SraQnQng, ASSIell compleSed neQSher course, and Surned IQSh some relQef So conSrQbuSQons So perQodQcals and commQssQons for QllusSraSed books, QncludQng several Qn Raphael tuck’s serQes, ‘Raphael House LQbrary of GQfS Books’ (1909-25), QncludQng a successful edQSQon of Alice in Wonderland (1910). Her Iork as an QllusSraSor Ias admQred by Queen Mary of RomanQa, Iho QnvQSed her So sSay aS She royal palace Qn BucharesS and collaboraSed IQSh her on SIo chQldren’s books, Peeping Pansy (1919) and The Lost Princess (1924). in uences on her Iork Qncluded her frQend, HQlda CoIham, and such members of She London SkeSch Club as John Hassall and wQllQam HeaSh RobQnson. AfSer her husband losS hQs arm, Shrough acSQve servQce Qn She FQrsS world war, ASSIell became She maQnsSay of She famQly. in 1922, she produced She rsS of her hugely successful chQldren’s annuals. three years laSer, she Ias elecSed So She SocQeSy of women ArSQsSs. A rapQd and prolQ c Iorker, IQSh a keen busQness sense, she also desQgned cards, posSers, calendars, gurQnes and Iall plaques, and saI her creaSQons Surned QnSo crockery paSSerns and sofS Soys. For mosS of her career, ASSIell lQved beSIeen London and Sussex IQSh her husband, Harold EarnshaI. FolloIQng She deaShs of SheQr son, BrQan (Qn 1935), and Shen of Harold (Qn 1937), and bomb damage So her SIo London homes (Qn 1940), she moved So Foxfold, wQlSshQre. AS She end of She Second world war, she seSSled Qn FoIey, CornIall, IQSh her son, PeSer, as a companQon, and remaQned Shere unSQl her deaSh on 5 November 1964. Her busQness Ias carrQed on by her daughSer, MarjorQe (knoIn as Peggy).

Further reading BrQan Alderson (rev), ‘ASSIell [marrQed name EarnshaI], Mabel LucQe (1879-1964)’, H C G MaSSheI and BrQan HarrQson (eds), Oxford Dictionary of National Biography, Oxford UnQversQSy Press, 2004, vol 2, pages 885-887

ChrQs BeeSles’ bQography of Mabel LucQe ASSIell, publQshed by PavQlQon Books Qn 1985, sold ouS Qn hardback, and Qs noI publQshed Qn paperback by ChrQs BeeSles LSd.

MABEL LUCIE AT T WELL

69-76 are Provenance: the EsSaSe of Mabel LucQe ASSIell

69 (opposQSe) YOU'RE SUCH A COMFORt tO ME! inscrQbed ‘My HoS waSer BoSSle’ beloI mounS Pen and Qnk IQSh pencQl and bodycolour on board 10 ¼ x 8 ¼ Qnches PrelQmQnary desQgn for posScard No 2737, for ValenSQne of Dundee, 1934

70 JUS’ CRYiN’ MYSELF tO SLEEP! SQgned waSercolour and bodycolour IQSh pencQl 7 ½ x 11 ¼ Qnches illusSraSed: DesQgn for posScard No 2037, for ValenSQne of Dundee, 1931 LQSeraSure: John HenSy, The Collectable World of Mabel Lucie Attwell, London: RQchard DennQs, 1999, Page 56, as No 2037

MABEL LUCIE AT T WELL

71 (opposQSe) iF i LEAVE A CANDLE BURNiNG iN tHE wiNDOw Pâ&#x20AC;&#x2122;RAPS YOUâ&#x20AC;&#x2122;LL FiND tHE wAY BAC SOON â&#x20AC;&#x201C; tO ME! waSercolour and bodycolour IQSh pencQl 11 x 9 Â¾ Qnches illusSraSed: DesQgn for posScard No 1580, for ValenSQne of Dundee, 1929 LQSeraSure: John HenSy, The Collectable World of Mabel Lucie Attwell, London: RQchard DennQs, 1999, Page 52, as No 1580

72 OH! â&#x20AC;&#x201C; LOO At ME LOO iNG At YOU SQgned inscrQbed IQSh SQSle and â&#x20AC;&#x2DC;You canâ&#x20AC;&#x2122;S do ShaS hereâ&#x20AC;&#x2122; on reverse waSercolour IQSh bodycolour on board 9 1 2 x 8 1 4 Qnches illusSraSed: DesQgn for posScard No 3281, for ValenSQne of Dundee, 1936 LQSeraSure: John HenSy, The Collectable World of Mabel Lucie Attwell, London: RQchard DennQs, 1999, Page 63, as No 3281

MABEL LUCIE AT T WELL

73 GEt wELL QUiC LY! SQgned waSercolour and bodycolour on board 9 x 7 Qnches illusSraSed: DesQgn for posScard No 3531, for ValenSQne of Dundee, 1936, IQSh She capSQon, ‘i’m noS “alarmed” – no – noS a bQS/when my clock goes o –/i jusS smQles aS QS!/thaS's Ihy i’m someSQmes laSe!’ LQSeraSure: John HenSy, The Collectable World of Mabel Lucie Attwell, London: RQchard DennQs, 1999, Page 64, as No 3531

MABEL LUCIE AT T WELL

74 ‘DOROtHY DEAR’ – ‘YOU CANNOt BE DOROtHY DEAR – OH NO!’ inscrQbed IQSh SQSle beloI mounS Pen and Qnk IQSh pencQl on board 7 x 10 Qnches

75 witH LOVE – FROM ME SQgned inscrQbed IQSh SQSle and ‘PosScard No: 5657’ on reverse Pen Qnk and IaSercolour IQSh bodycolour and pencQl 10 ¼ x 6 ½ Qnches illusSraSed: DesQgn for posScard No 5657, for ValenSQne of Dundee, 1957 LQSeraSure: John HenSy, The Collectable World of Mabel Lucie Attwell, London: RQchard DennQs, 1999, Page 114, as No 5657

MABEL LUCIE AT T WELL

76 tODAY wE'LL DO OUR GARDENiNG tO HELP OUR FLOwERS tO GROw. wE wAtER tHEM AND wEED tHEM â&#x20AC;&#x201C; AND PLANt tHEM iN A ROw SQgned Pen Qnk and IaSercolour 9 x 9 Qnches DesQgn for a HandkerchQef

6 K F Barker

K F B ARKER

K , b <2 K > 2

Kathleen ,rances barker (1901-1963) K F Barker was a sensitive and observant writer and illustrator of books about animals, and especially dogs and horses. In illustrating the work of other authors, she produced a ne edition of Anna Sewell’s equestrian classic, Black Beauty (1936). Kathleen ,rances barker was 8orn at The beeches, Wellow 2oad, Ollerton, Nottinghamshire, on 2 January 1901, the third of four children of (John) Wright barker, the painter of hunting scenes and animal portraits, and his wife, >llen Mary (née <lcock). Pro8a8ly at the out8reak of the ,irst World War, the family moved to Thorn Lea, 16 Duchy 2oad, Harrogate, Yorkshire, and this would remain Kathleen’s home for the remainder of her life. ,ollowing in her father’s footsteps, she produced images of animals, and especially dogs, some of which she contri8uted to The Field, Tailwagger and the Yorkshire Evening Post. In 1933, barker 8egan to write and illustrate 8ooks, including those 8y other authors, most of which were pu8lished 8y < & C black, Country Life and William Heinemann. Her work was informed 8y her love of animals and her favourite pastimes: riding, otter hunting and 8eagling. >mploying pen, ink and pencil, she depicted her su8jects with care and a ection, often concentrating on their appearance and 8ehaviour to the exclusion of extraneous setting or action. Though commissions dried up during the Second World War, she renewed her literary activity in the 1950s, and has four 8ooks pu8lished 8y George G Harrap, as well as others 8y Country Life. She died in Harrogate on 1 <pril 1963.

77-84 were illustrated in <nna Sewell, black beauty. The Life Story of a Horse, London: < & C black, 1936

77 bL<CK b><!TY IN bLINK>2S Pen ink and chalk with 8odycolour 4 ¼ x 3 ¼ inches Illustrated: Spine of Dust Jacket

78 bL<CK b><!TY Charcoal, chalk and 8odycolour 12 x 10 ¾ inches Illustrated: ,ront Cover of Dust Jacket

K F B ARKER

Black Beauty Originally pu8lished in 1877, <nna Sewell’s Black Beauty was an innovative novel. It was one of the rst to have an animal narrator, and was intended to draw the attention of an adult readership to equine cruelty and the need to prevent it. <n immediate 8estseller, it led to changes in the law in 8oth britain and the !nited States. Gradually, as its position as a campaigning novel lessened, it 8ecame considered a classic of children’s literature.

79 bL<CK b><!TY Signed Pencil 12 ½ x 8 ½ inches Illustrated: ,rontispiece

80 ><2LY D<YS WITH MY MOTH>2 Signed Pencil 12 ½ x 8 ½ inches Illustrated: ,acing Page 4

K F B ARKER

81 TH> C<2T>2 W<S SHO!TING <ND ,LOGGING TH> TWO HO2S>S Signed Pencil with pen and ink 10 ¾ x 14 ½ inches Illustrated: ,acing Page 96

82 TH<T IS J!ST LIK> TH> ST<2 bL<CK b><!TY H<D Signed Pencil and charcoal 12 x 10 ¾ inches Illustrated: ,acing Page 252

K F B ARKER

83 GING>2 T2OTT>D <N IO!SLY <LONG bY TH> H>DG> Signed Pencil 14 ½ x 10 ¾ inches Illustrated: ,acing Page 128

84 J!ST T2OT HIM O!T, WILL YO!? Signed Pencil with charcoal and 8odycolour 12 x 10 ¾ inches Illustrated: ,acing Page 245

100

K F B ARKER

85-94 were illustrated in K , barker, Nothing But Dogs, London: <dam & Charles black, 1938 85 (a8ove left) THY W<YS SH<LL b> MY W<YS Inscri8ed with title, ‘and thy gods my gods’ ‘Section I’ and ‘(Dogs as Pals)’ on a detached slip of paper Pencil, 8 x 5 ¼ inches Illustrated: Page 8 86 (a8ove right) P<DDY, <N I2ISH S>TT>2 Inscri8ed with title, ‘Section VII’ and ‘Shooting-Dogs’ on a detached slip of paper Pencil 13 x 9 ½ inches Illustrated: Page 70

87 (left) WI2>-H<I2>D ,O T>22I>2 ,2OM NOS> TO ST>2N H> LOOKS LIK> < G>NTL>M<N

Signed and dated 1935 Pencil 8 x 9 inches Illustrated: Page 61

88 (right) < 'ON>-M<N SO2T'. D<NDY DINMONT Inscri8ed with title, ‘Section I’ and ‘(Dogs as Pals)’ on detached slip of paper Pencil 9 ½ x 7 inches Illustrated: Page 11

K F B ARKER

89 (a8ove) POINT>2 Inscri8ed with title, ‘Section VII’ and ‘(Shooting-Dogs)’ on a detached slip of paper Pencil 11 x 14 ½ inches Illustrated: Page 79

90 (8elow) 2O!GH-CO<T>D COLLI> Inscri8ed with title, ‘Section VIII’ and ‘(Sheep Dogs)’ on a detached slip of paper Pencil 9 x 11 ½ inches Illustrated: Page 80

91 TH<T G2<ND OLD b2>>D, TH> >NGLISH M<STI,, Inscri8ed with title, ‘Section I ’ and ‘The Long & The Short of Them’ on a detached slip of paper Pencil 11 ½ x 7 inches Illustrated: Page 90

101

102

K F B ARKER

92 (8elow) G2><T D<N>

93 (right) I2ISH WOL,HO!ND

I, ON> W<NTS SIz> CO!PL>D

THIS HO!ND IS > C>PTION<LLY

WITH GOOD LOOKS

Pencil 12 x 8 inches Illustrated: Page 88

G>NTL> IN DISPOSITION

Inscri8ed with su8title, 'Section ' and '(Hounds)' on a detached slip of paper Pencil with chalk 6 ¾ x 8 inches Illustrated: Page 119

94 GYPSY. < SCHN<!z>2 Inscri8ed with title, 'Section I' and ',oreign & ,antastic Dogs' on a detached slip of paper Pencil, 9 ½ x 11 ¼ inches Illustrated: Page 137

7 Post War Illustration

104

FELIKS TOPOL SKI

F eLIk s tO POL s k I FNli)G topolG)i (1907-1989)

The signi!cance of Feliks Topolski is suggested by those projects that were closest to his heart: the regular broadsheet, Topolski’s Chronicle (1953-82), and the sequence of murals, Memoir of the Century (1975-89); for his drawings and paintings comprise a uniquely comprehensive yet impartial record of the age in which lived. He employed a swift, expressionist style for all of his projects, from illustrations to stage designs. This gave an emotional unity to his oeuvre, and even the smallest of his !gures – such as a vignette for his edition of Bernard Shaw’s Pygmalion (1941) – seems to speak volumes. For a biography of FNli)G topolG)i, plNaGN rNfNr Ho The Illustrators, 2011, pagNG 275-276.

The Rakes’ Progress The Rakes’ Progress iG a 1945 %riHiGh lm wriHHNn and producNd by Fran) LaundNr and sidnNy GilliaH, and dirNcHNd by sidnNy GilliaH. IH haG bNNn dNGcribNd aG ‘parH GaHiric criHiquN, parH ironic NlNgy’ and ‘onN of HhN moGH faGcinaHing lmG of HhN claGGical %riHiGh cinNma’G richNGH pNriod’. FNli)G topolG)i’G ‘aHmoGphNric and GomNwhaH lonNly’ drawingG for HhN HiHlN GNquNncN GuggNGH HhaH GaHirN will noH wholly dominaHN (%rucN %abingHon, Launder and Gilliat: British Film Makers, ManchNGHNr UnivNrGiHy PrNGG, 2002, pagNG 94 & 98). %aGNd on a GHory by Val ValNnHinN, who conHribuHNd Ho HhN GcrNNnplay, The Rake’s Progress HracNG HhN dNclinN of a modNrn uppNr-claGG playboy, Vivian kNnway, Hhrough a lifN of womaniGing, hNavy drin)ing and running inHo dNbH, from bNing GNnH down from Oxford Ho cauGing HhN dNaHh of hiG faHhNr. InGpirNd in parH by William 7ogarHh’G GNriNG of painHingG and NngravingG of HhN GamN namN, HhN lm dNparHG from iHG GourcN by allowing kNnway Ho rNdNNm himGNlf by dying in combaH during HhN sNcond World War (aG Ghown in HhN opNning momNnHG). RNx 7arriGon’G GympaHhNHic porHrayal of kNnway iG conGidNrNd onN of HhN bNGH pNrformancNG of hiG carNNr. 95 O/ t7e eM%A/kMe/t PNn in) and crayon 12 ¾ x 15 3 4 inchNG Drawn for HhN HiHlN GNquNncN of sidnNy GilliaH and Fran) LaundNr'G lm, The Rake's Progress, 1945, and alGo illuGHraHNd on HhN poGHNr HhaH advNrHiGNG iH

96 (oppoGiHN) At t7e RA(es PNn and in) wiHh crayon and pNncil 12 ¾ x 15 3 4 inchNG Drawn for HhN HiHlN GNquNncN of sidnNy GilliaH and Fran) LaundNr'G lm, The Rake's Progress, 1945; similar Ho ‘DNrby’, illuGHraHNd in FNli)G topolG)i, Britain in Peace and War, London: MNHhuNn & (o, 1941

FELIKS TOPOL SKI

105

106

FELIKS TOPOL SKI

97 PAssPORt (O/tROL PNn in) and crayon wiHh pNncil 12 ¾ x 15 ¾ inchNG Drawn for HhN HiHlN GNquNncN of sidnNy GilliaH and Fran) LaundNr'G lm, The Rake's Progress, 1945

98 I/ t7e 7OteL LO%% PNn in) and crayon 12 ¾ x 15 3 4 inchNG Drawn for HhN HiHlN GNquNncN of sidnNy GilliaH and Fran) LaundNr'G lm, The Rake's Progress, 1945, and alGo illuGHraHNd on HhN poGHNr HhaH advNrHiGNG iH

GERARD HOFFNUNG

GeRA R D 7 O FF/ U/ G GNrard 7o nung (1925-1959)

Gerard Ho nung developed a unique vein of gentle, yet powerful humour, through drawings, lectures and even concerts – for his favourite subject was music at its most delightful and daft. For a biography of GNrard 7o nung, plNaGN rNfNr Ho The Illustrators, 2011, pagN 257.

99 (OMFORt ReAD signNd InGcribNd ‘noH yNarly, taHlNr’ bNlow mounH PNn and in) wiHh pNncil 3 x 2 ½ inchNG ProvNnancN: Lu)N GNrHlNr IlluGHraHNd: Tatler 100 t7e (AROL sI/GeRs signNd WaHNrcolour and bodycolour wiHh pNncil 11 ½ x 8 ½ inchNG

107

108

ROWL AND EMET T

ROW L A/ D e M e t t

FrNdNric) Rowland emNHH, O%e (1906-1990) Rowland Emett established himself as the creator of elegant and whimsical cartoons during the 1930s, while working as an industrial draughtsman. In 1951, he reached a wider public with his designs for The Far Tottering and Oyster Creek Railway, which was sited at Battersea Park during the Festival of Britain. Gradually, he converted more of his illustrations into increasingly complex three-dimensional machines. Both drawings and inventions helped cheer a nation fed up with years of austerity. For a biography of Rowland emNHH, plNaGN rNfNr Ho The Illustrators, 2019, pagN 105.

The Mystery of the Merri eld thomaG AdamG’G ‘nNw (anadian novNl’, ‘thN MyGHNry of HhN MNrri Nld’, waG GNrialiGNd in HhrNN parHG bNHwNNn 21 May and 18 JunN 1960 in ‘(anada’G naHional magazinN’, Maclean’s, which waG HhNn publiGhNd forHnighHly. A Gummary of HhN rGH parH givNG a avour of HhN wholN of HhiG fanHaGy comNdy advNnHurN GNH during HhN sNcond World War: (hic) McAlliGHNr, ignoranH, ugly and cravNn, waG waGhNd ovNrboard in an AHlanHic GHorm. AnoHhNr wavN waGhNd him bac) on board. WhNn hN rNgainNd conGciouGnNGG hN GNNmNd briN y Ho havN bNcomN a di NrNnH man: wiHHy, lNarnNd and dryly provo)ing. 7N had HhN crNw of 7M(s MNrri Nld in Hurmoil bNforN hN changNd – aH lNaGH for a HimN – inHo hiG old GNlf. (Maclean’s, 4 JunN 1960, pagN 22)

101 t7e PIeR7eAD ReVeLLeRs signNd PNn in) and waHNrcolour on board 9 ¾ x 12 inchNG

ROWL AND EMET T

102 ReALIt – seA A/D (ORVette – FADeD. POtteR LOst 7IMseLF I/ A (7IVALRI( ReVeRIe stARRI/G ADMIRAL OF t7e FLeet LORD POtteR PNn in) and waHNrcolour 15 ½ x 22 inchNG IlluGHraHNd: Maclean's, toronHo, 4 JunN 1960, PagN 23, ‘thN MyGHNry of HhN MNrri Nld’ by thomaG AdamG, sNcond of thrNN ParHG

103 As t7e se(O/Ds tI(keD % , t7e sOU/D (7A/GeD FROM A LO/G-DRAW/OUt ‘PI/-/-/G’ tO A s7ARP ‘PI/G-PO/G’ signNd InGcribNd ‘(laGGify conHacH aG followG: Gh, whalN, or imaginaHion ... thNm AGdic guyG arN Go ping-happy – ParH II’ bNlow mounH PNn in) and waHNrcolour wiHh bodycolour 10 ½ x 13 inchNG IlluGHraHNd: Maclean's, toronHo, 4 JunN 1960, PagN 50, ‘thN MyGHNry of HhN MNrri Nld’ by thomaG AdamG, sNcond of thrNN ParHG

109

110

k At 7 L e e / 7 A L e

kaHhlNNn 7alN, O%e (1898-2000) Precocious and versatile, Kathleen Hale established herself as a member of the artistic circle of Fitzrovia while still in her twenties. However, it was marriage and motherhood that engendered her most immortal creation, Orlando the Marmalade Cat, and his adventures – which were !rst told to her sons as bedtime stories. The artwork and its reproduction for the !rst published stories set a new standard for children’s illustrated books when they appeared in 1938. For a biography of kaHhlNNn 7alN, plNaGN rNfNr Ho The Illustrators, 2009, pagN 139.

104 ORLA/DO Is DeLIG7teD WIt7 7Is WIDeR MARGI/s Drawn on papNr hNadNd wiHh HhN arHiGH'G addrNGG InGcribNd wiHh HiHlN WaHNrcolour wiHh pNncil 8 ¾ x 6 ½ inchNG

KATHLEEN HALE

111

Orlando the Marmalade Cat Goes to the Moon 106 ORLA/DO's LIst InGcribNd NxHNnGivNly wiHh HNxH from HhN boo) bNlow mounH WaHNrcolour and pNncil wiHh pNn and in) 5 ½ x 6 ½ inchNG Drawn for buH noH illuGHraHNd in kaHhlNNn 7alN, Orlando the Marmalade Cat Goes to the Moon, London: John Murray, 1968 RNvNrGN: t7e sAU( (AtsULe

105 (7RIstMAs 1971 signNd WaHNrcolour wiHh pNncil 9 ¾ x 6 ¾ inchNG

PNn in) and waHNrcolour wiHh pNncil and bodycolour 3 ½ x 6 inchNG PrNliminary drawing for kaHhlNNn 7alN, Orlando the Marmalade Cat Goes to the Moon, London: John Murray, 1968, PagN 6

106 (rNvNrGN)

112

KATHLEEN HALE

107 sOMe OF t7e FL I/G sAU(eRs WeRe As %IG As 7OUses, %Ut ORLA/DO (AUG7t sMALL O/es I/ 7Is /et A/D (LIM%eD %A(k WIt7 t7eM I/tO t7e sAU( (AtsULe WaHNrcolour wiHh pNn in), bodycolour and pNncil 7 ½ x 6 inchNG PrNliminary drawingG for kaHhlNNn 7alN, Orlando the Marmalade Cat Goes to the Moon, London: John Murray, 1968, PagNG 14 and 13 RNvNrGN: sUDDe/L 7e sAW 7U/DReDs OF FL I/G sAU(eRs FLAs7I/G PAst t7e WI/DOWs

InGcribNd ‘... iHG caGHorG Ho HhN oor' and 'HhN caHG landNd’ bNlow mounH PNn and in) 6 3 4 x 6 inchNG

KATHLEEN HALE

108 t7e sUMMeR VIsItORs 7AD ARRIVeD, GReetI/G eA(7 Ot7eR WIt7 s7OUts OF JO . t7e LIttLe DOG LAUG7eD tO see sU(7 FU/ InGcribNd wiHh HiHlN bNlow mounH PNn in) and colourNd in)G wiHh waHNrcolour, bodycolour and pNncil 7 ½ x 6 ½ inchNG PrNliminary drawing for kaHhlNNn 7alN, Orlando the Marmalade Cat Goes to the Moon, London: John Murray, 1968, PagN 26

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114

FRED B ANBERY

F R eD % A /% e R

FrNdNric) ernNGH %anbNry (1913-1999) Fred Banbery made a strong impact as an illustrator on three continents. Having become a sta artist for The Times of India early in his career, he settled in the United States after the Second World War, and contributed illustrations to a wide range of books and periodicals. Working increasingly for British clients from the mid 1950s, he made his most lasting contribution to our illustrative tradition by determining the quintessential look of Michael Bond’s immortal character, Paddington Bear. For a biography of FrNd %anbNry, plNaGN rNfNr Ho The Illustrators, 2017, pagN 198.

109 7e (LOseD 7Is e es, A/D, 7OLDI/G 7Is /Ose WIt7 O/e PAW, 7e JUMPeD I/ PNn in) and waHNrcolour wiHh bodycolour 6 x 5 ¾ inchNG ProvNnancN: thN eGHaHN of FrNd %anbNry IlluGHraHNd: MichaNl %ond, Paddington Bear, London: (ollinG, 1972, PagN 26 exhibiHNd: ‘FrNd %anbNry and PaddingHon %Nar’, (hriG %NNHlNG GallNry, April-May 2000

110 7e %eGA/ MAkI/G sOMe MARMALADe sA/DWI(7es PNn in) and waHNrcolour 5 ¾ x 5 1 2 inchNG ProvNnancN: thN eGHaHN of FrNd %anbNrry IlluGHraHNd: MichaNl %ond, Paddington at the Tower, London: (ollinG, 1975, PagN 9 exhibiHNd: ‘FrNd %anbNry and PaddingHon %Nar’, (hriG %NNHlNG GallNry, April-May 2000

8 Edward Ardizzone

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EDWARD ARDIZ ZONE

EdWA r d Ar d i z zo n E

ENwaMN AMNJ44KOe, CBE rA rdi (1900-1979) Highly observant and immensely humane, the work of Edward Ardizzone is in direct descent from the nest French and English illustrators of the nineteenth century. Developing as an artist from 1930, Ardizzone made his name as an illustrator through his contributions to The Radio Times and then with Little Tim and the Brave Sea Captain, which proved to be one of the most signi cant picture books published between the wars. Soon considered one

of the greatest illustrators of his generation, he also gained a reputation as an O cial War Artist. Versatile and productive, he produced paintings, sculptures, etchings and lithographs, and worked as a designer. FKM a bJKgMaphy Kf ENwaMN AMNJ44KOe, please MefeM tK The Illustrators, 2019, page 79.

The Ceremony of Crossing the Line The ceMemKOy Kf cMKssJOg the lJOe Js aO JOJtJatJKO MJte that cKmmemKMates a peMsKOâ&#x20AC;&#x2122;s cMKssJOg Kf the EquatKM. it has lKOg beeO cKmmKO JO OatJKOal aON meMchaOt OavJes, aON Js sKmetJmes caMMJeN Kut fKM passeOgeMsâ&#x20AC;&#x2122; eOteMtaJOmeOt KO cJvJlJaO KceaO lJOeMs aON cMuJse shJps. As JO ENwaMN AMNJ44KOeâ&#x20AC;&#x2122;s wateMcKlKuM, the ceMemKOy KfteO JOvKlves saJlKMs NMessJOg as KJOg neptuOe, QueeO AmphJtMJte aON theJM eOtKuMage, whK theO pMesJNe KveM such pMKceeNJOgs as the shavJOg, bathJOg aON beatJOg Kf JOJtJates. What shKulN be fuO caO KfteO get Kut Kf haON.

111 T@E CErE+on oF Cro>>in" T@E LinE >JgOeN wJth JOJtJals iOscMJbeN wJth tJtle KO MeveMse WateMcKlKuM sketch Kf â&#x20AC;&#x2DC;KJOg neptuOeâ&#x20AC;&#x2122; KO MeveMse WateMcKlKuM wJth peOcJl 15 Â¼ x 14 JOches

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Little Tim and Diana The sale Kf ENwaMN AMNJ44KOe’s KMJgJOal NMawJOgs tK Tim to the Rescue (1949) aON Diana and her Rhinoceros (1964) pMKvJNes a MaMe KppKMtuOJty tK KwO a pJece Kf the hJstKMy Kf JllustMatJKO. The aMtJst’s maOy skJlls came tKgetheM JO hJs KwO pJctuMe bKKks, bKth thKse that cKmpMJse the ‘LJttle TJm’ seMJes that cKO MmeN hJs MeputatJKO aON subsequeOt achJevemeOts. iO LJttle TJm, he JOveOteN KOe Kf the mKst JmmKMtal chaMacteMs Kf chJlNMeO’s lJteMatuMe, esseOtJally vJMtuKus but wJth a thJMst fKM aNveOtuMe. @KweveM, TJm Js almKst matcheN JO memKMabJlJty by the seOsJtJve aON sJOgle-mJONeN heMKJOe Kf Diana and her Rhinoceros. AON JO the pKMtMayal Kf chJlNMeO – theJM appeaMaOce, theJM pKstuMe, theJM mKvemeOt – Jt Js peMhaps KOly E @ >hepaMN whK MJvals the geOtle geOJus Kf AMNJ44KOe.

112 Ti+ To T@E rE>C2E PeO aON JOk female guMe KO MeveMse WateMcKlKuM wJth peOcJl, aON peO aON JOk KO tMaOsluceOt KveMlay 11 x 8 ¾ JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, FMKOt CKveM

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113 LiTTLE Ti+ WA> in @i> @o2>E B T@E >EA WateMcKlKuM aON peOcJl wJth peO aON JOk text, aON peO aON JOk KO tMaOsluceOt KveMlay 9 x 7 JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, [uOpagJOateN]

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114 ‘o@ dEAr’ >Aid Ti+ To @i+>ELF ‘i A+ BorEd WiT@ + >2+>, B2T i >2PPo>E i +2>T LEArn T@E+ iF i A+ To BECo+E A rEAL "roWn 2P >AiLor.’ PeO aON JOk 9 x 6 ¾ JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, [uOpagJOateN]

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115 "in"Er @Ad @i> @Air C2T, B2T ALA> To no A AiL WateMcKlKuM wJth peOcJl aON peO aON JOk text, aON peO aON JOk KO tMaOsluceOt KveMlay 9 x 13 JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, [uOpagJOateN]

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116 Ti+ Wo2Ld i>iT "in"Er A> oFTEn A> @E Co2Ld And Wo2Ld Brin" @i+ @i> dinnEr And C2T @i> @Air WateMcKlKuM wJth peOcJl aON peO aON JOk text, aON peO aON JOk KO tMaOsluceOt KveMlay 8 Â¾ x 14 JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, [uOpagJOateN]

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117 E En T@E >@iP’> CAT WA> P2T oFF @i> dinnEr PeO aON JOk 9 x 6 ¾ JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, [uOpagJOateN]

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123

118 T@E nE T FEW @o2r> WErE B2> onE> For T@E CrEW +AKin" E Er T@in" >EC2rE And >@iP>@APE on T@E dECK> WateMcKlKuM wJth peOcJl aON peO aON JOk text, aON peO aON JOk KO tMaOsluceOt KveMlay 9 x 14 JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, [uOpagJOateN]

124

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119 in>idE T@E BoAT WA> "in"Er. @E WA> CoLd, WET And Fri"@TEnEd And WA> @oLdin" T@E >@iP’> CAT in @i> Ar+> PeO aON JOk 9 x 13 ½ JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, [uOpagJOateN]

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125

120 ALA>KA PETE And oLd JoE >oon @Ad CArriEd ALL T@rEE oF T@E+ To >AFET PeO aON JOk 9 x 13 ¼ JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, [uOpagJOateN] A pMelJmJOaMy NMawJOg fKM the MJght-haON NMawJOg, ‘@Kw NaMe yKu NJsKbey my KMNeMs aON be KO Neck’, Js uONeMOeath the publJsheN veMsJKO.

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121 o2 CAn i+A"inE @oW PLEA>Ed And >2rPri>Ed "in"Er WA> To >EE @i> niCE >@orT @Air PeO aON JOk 9 x 13 Â¾ JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, [uOpagJOateN]

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122 Ti+’> Pro2dE>T +o+EnT CA+E W@En T@ErE Arri Ed B Po>T A BEA2TiF2L "oLd +EdAL And A roLL oF PArC@+EnT on W@iC@ WA> WriTTEn T@E >Tor oF @i> BrA E Ad EnT2rE PeO aON JOk 9 x 6 ¾ JOches illustMateN: ENwaMN AMNJ44KOe, Tim to the Rescue, LKONKO: oxfKMN 2OJveMsJty PMess, 1949, [uOpagJOateN]

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123 diAnA And @Er r@inoCEro> PeO JOk aON wateMcKlKuM 8 ¼ x 21 ½ JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, CKveM

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124 diAnA WA> >iTTin" in FronT oF T@E FirE +AKin" @oT B2TTErEd ToA>T, W@iC@ WA> +r EFFin"@A+-JonE>’> FA o2riTE Food PeO aON JOk 5 x 7 ½ JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, Page 4

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125 inTo T@E roo+ CA+E T@E @EAd oF An Enor+o2> r@inoCEro> WiT@ T@E BAB ’> JACKET ro2nd iT> @orn PeO JOk aON wateMcKlKuM 5 x 7 ½ JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, Page 6

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126 +r> EFFin"@A+-JonE> CriEd, ‘ooEE! ooEE! iT'> EATEn T@E BAB ’, And FELL on T@E FLoor in A dEAdL FAinT PeO JOk aON wateMcKlKuM 4 ¼ x 7 ¾ JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, Page 7

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127 diAnA WEnT on Po2rin" ALL T@E>E +EdiCinE> doWn T@E r@inoCEro>’> T@roAT PeO JOk aON wateMcKlKuM 4 ¼ x 8 JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, Page 10

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128 T@E door oPEnEd And T@ErE >Tood T@rEE +En WiT@ "2n> PeO JOk aON wateMcKlKuM wJth typeN text, JOcluNJOg tJtle, KO cKllageN papeM, KO twK jKJOeN sheets Kf papeM 5 Â½ x 16 JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, Pages 14-15

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129 T@E onL Tro2BLE WA> T@AT T@E r@inoCEro> WA> Er Fond oF EATin" dA@LiA> PeO JOk aON wateMcKlKuM 4 ½ x 8 ¼ JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, Page 19

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130 "roWn-2P> nE Er CEA>Ed To WondEr AT iT> TA+EnE>>, W@iLE C@iLdrEn Lo Ed To PLA WiT@ iT PeO JOk aON wateMcKlKuM KO twK jKJOeN sheets Kf papeM 5 x 17 JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, Pages 22-23

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131 diAnA FEd @i+ WiT@ >o +2C@ @oT B2TTErEd ToA>T T@AT @E WA> "ETTin" J2>T A LiTTLE Too FAT PeO JOk aON wateMcKlKuM 3 Â½ x 7 JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, Page 26

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132 iT WA> A rAT@Er "rEEd oLd BEA>T And iF diAnA did noT "i E iT T@E ToA>T FA>T Eno2"@ iT +AdE A noi>E W@iC@ >o2ndEd LiKE ‘@2rr 2PWiT@T@EToA>T’ PeO aON JOk 4 ½ x 8 JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, Page 28

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133 diAnA And @Er r@inoCEro> ArE WiT@ 2> >TiLL PeO aON JOk 5 x 6 JOches illustMateN: ENwaMN AMNJ44KOe, Diana and her Rhinoceros, LKONKO: The BKNley @eaN, 1964, Page 32

9 Ronald Searle

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RONALD SE ARLE

ron AL D Se A r L e

rRTald William fRQdham SVaQlV, CBe (1920-2011) Equally inspired by a wide range of experience and a great knowledge of the history of caricature, Ronald Searle honed an incisive graphic skill to develop an unparalleled graphic oeuvre, an oeuvre that has made him one of the most popular and in uential cartoonist-illustrators. fRQ a biRgQaphy R= rRTald SVaQlV, plVasV QV=VQ tR The Illustrators, 2018, pagV 94. fRQ Vssays RT vaQiRus aspVcts R= rRTald SVaQlVâ&#x20AC;&#x2122;s achiVvVmVTt, sVV The Illustrators, 1999, pagVs 228-230; aTd The Illustrators, 2000, pagVs 40-42. ChQis BVVtlVs Ltd publishVs russVll DaviVsâ&#x20AC;&#x2122;s Ronald Searle. IT thV 2003 VditiRT R= thV 1990 biRgQaphy, russVll DaviVs aTd rRTald SVaQlV havV addVd cRQQVctiRTs aTd bQRught up tR datV thV VxhibitiRTs list aTd bibliRgQaphy. ChQis BVVtlVs GallVQy alsR hVld thV majRQ tQibutV VxhibitiRT, â&#x20AC;&#x2DC;rRTald SVaQlV rVmVmbVQVdâ&#x20AC;&#x2122;, iT May-JuTV 2012. It was accRmpaTiVd by a 200 pagV =ully illustQatVd papVQback catalRguV, cRTtaiTiTg TVwly QVsVaQchVd Vssays aTd TRtVs.

134 An!one for ArA9e? SigTVd, iTscQibVd with titlV aTd datVd 1952 PVT aTd iTk 6 x 9 iTchVs IllustQatVd: rRTald SVaQlV, The Terror of St Trinianâ&#x20AC;&#x2122;s, LRTdRT: Max PaQQish, 1952, PagV 48; rRTald SVaQlV, The St Trinian's Story, LRTdRT: PVQpVtua BRRks, 1959, PagV 66

The Increasing Fame of St Trinianâ&#x20AC;&#x2122;s oQigiTally appVaQiTg iT Lilliput =QRm 1941, rRTald SVaQlVâ&#x20AC;&#x2122;s caQtRRTs abRut St 9QiTiaTâ&#x20AC;&#x2122;s giQlsâ&#x20AC;&#x2122; schRRl wVQV gathVQVd by MacdRTald & CR iT mixVd cRllVctiRTs R= caQtRRTs, bVgiTTiTg with Hurrah for St Trinianâ&#x20AC;&#x2122;s! and Other Lapses (1948). 9hRugh SVaQlV bVgaT tR tiQV R= his cQVatiRT by 1951, a yVaQ latVQ hV allRwVd his News Chronicle cRllVaguV, â&#x20AC;&#x2DC;9imRthy Shyâ&#x20AC;&#x2122; (D B WyTdham LVwis), tR wQitV a TaQQativV abRut thV schRRl, aTd illustQatVd thV QVsultiTg cRmic QRmaTcV, The Terror of St Trinianâ&#x20AC;&#x2122;s. 9hV gQVat succVss R= this jeu dâ&#x20AC;&#x2122;esprit â&#x20AC;&#x201C; publishVd by Max PaQQish â&#x20AC;&#x201C; was =uVllVd by a publicity stuTt iT which a gQRup R= yRuTg wRmVT, dQVssVd as schRRlgiQls, iTvadVd fRylVâ&#x20AC;&#x2122;s bRRkshRp. fQRm that pRiTt, SVaQlV attVmptVd tR bQiTg his iTvRlvVmVTt with St 9QiTiaTâ&#x20AC;&#x2122;s tR aT VTd, VvVT publishiTg Souls in Torment (1953) as â&#x20AC;&#x2DC;a =uTVQal QitVâ&#x20AC;&#x2122; (russVll DaviVs, PagV 101). HRwVvVQ, RTcV fQaTk LauTdVQ aTd SidTVy Gilliat wVQV allRwVd tR pQRducV a lm iTspiQVd by SVaQlVâ&#x20AC;&#x2122;s dQawiTgs, iT 1954, St 9QiTiaTâ&#x20AC;&#x2122;s dVvVlRpVd a li=V R= its RwT, makiTg it impRssiblV tR quash. StaQQiTg GVRQgV CRlV, JRycV GQVT=Vll aTd AlastaiQ Sim, The Belles of St Trinianâ&#x20AC;&#x2122;s immVdiatVly VTtVQVd thV pRpulaQ imagiTatiRT aTd, =RQ maTy pVRplV, QVmaiTs thV pRiTt R= VTtQy tR VxplRQiTg thV bVst-kTRwT giQlsâ&#x20AC;&#x2122; schRRl iT thV wRQld. fuQthVQmRQV, SVaQlV was diQVctly iTvRlvVd iT thV lm aTd its thQVV mRst immVdiatV sVquVls, pQRvidiTg dQawiTgs =RQ thViQ titlV sVquVTcVs aTd dVsigTiTg pRstVQs tR advVQtisV thVm.

RONALD SE ARLE

135 SAMe oLD S9 ff ... SigTVd ITscQibVd with titlV RT suppRQtiTg shVVt PVT aTd iTk 7 ¼ x 4 ¾ iTchVs IllustQatVd: Lilliput, 1946; rRTald SVaQlV, The Female Approach, nVw !RQk: TRp=, 1954, PagV 47; rRTald SVaQlV, St Trinian’s: The Entire Appalling Business, nVw !RQk: rRRkVQy PQVss, 2008

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136 PrePArInG 9o Be A BeA 9If L LAD!? SigTVd aTd iTscQibVd with titlV aTd ‘Lilliput MaQch 1947 issuV’ aTd ‘St 9QiTiaT's nR 8. HuQQah =RQ St 9QiTiaT’s 1948 (PagV 56)’ PVT aTd iTk with pVTcil 10 1 4 x 6 1 2 iTchVs IllustQatVd: Lilliput, MaQch 1947; rRTald SVaQlV, Hurrah for St Trinian’s, LRTdRT: MacdRTald's, 1948, PagV 56

RONALD SE ARLE

137 CA e! SigTVd aTd iTscQibVd with titlV aTd ‘Lilliput JaT 47’ aTd ‘HuQQah pagV 57 1948’ PVT aTd iTk with bRdycRlRuQ aTd pVTcil 10 ¼ x 7 ¼ iTchVs IllustQatVd: Lilliput, JaTuaQy 1947; rRTald SVaQlV, Hurrah for St Trinian’s, LRTdRT: MacdRTald, 1948, PagV 57

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The Punch Revue The Punch Revue RpVTVd at thV DukV R= !RQkâ&#x20AC;&#x2122;s 9hVatQV, iT St MaQtiTâ&#x20AC;&#x2122;s LaTV, LRTdRT, RT 28 SVptVmbVQ 1955. ITstigatVd by Punchâ&#x20AC;&#x2122;s Qadical TVw VditRQ, MalcRlm MuggVQidgV, it was dVvisVd aTd diQVctVd by ida HRpV, with a bRRk wQittVT by rRTald DuTcaT. othVQ cRTtQibutRQs iTcludVd W H AudVT, JRhT BVtjVmaT, 9 S eliRt aTd LRuis MacnVicV, aTd thV cRmpRsVQs, LaQQy AdlVQ, BVTjamiT BQittVT aTd DRTald SwaTT. 9wR R= eliRtâ&#x20AC;&#x2122;s pRVms =QRm Old Possumâ&#x20AC;&#x2122;s Book of Practical Cats wVQV dQamatisVd aTd pVQ=RQmVd a quaQtVQ R= a cVTtuQy bV=RQV ATdQVw LlRyd WVbbVQ cQVatVd Cats. HRwVvVQ, thV QVvuV was badly QVcVivVd â&#x20AC;&#x201C; bViTg bRRVd RT thV Qst Tight aTd cRTsidVQVd tR lack thV bitV R= thV magaziTV â&#x20AC;&#x201C; aTd it clRsVd a=tVQ a shRQt QuT.

138 9He P nCH re e SigTVd PVT iTk, watVQcRlRuQ aTd bRdycRlRuQ 19 Â¾ x 13 iTchVs DVsigT =RQ pRstVQ aTd pQRgQammV cRvVQ =RQ The Punch Revue, which RpVTVd at thV DukV R= !RQkâ&#x20AC;&#x2122;s 9hVatQV, LRTdRT, RT 28 SVptVmbVQ 1955

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139 If M SIC Be 9He fooD of Lo e ... SigTVd aTd datVd 1956 ITscQibVd with titlV aTd publishiTg dVtails, aTd datVd 1956 RT QVvVQsV PVT iTk aTd watVQcRlRuQ 11 x 12 Â½ iTchVs IllustQatVd: Punch, 14 MaQch 1956, PagV 314; rRTald SVaQlV, Merry England Etc, LRTdRT: PVQpVtua BRRks, 1957, PagV 100

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RONALD SE ARLE

140 HoW 9o 9A e AD An9AGe of I9ALIAn Men ITscQibVd with titlV aTd ‘HRliday’ PVT aTd iTk 15 ½ x 10 ¾ iTchVs IllustQatVd: Holiday, nVw !RQk

RONALD SE ARLE

141 9He AnGeL of InSPIrA9Ion SigTVd PVT iTk aTd watVQcRlRuQ with bRdycRlRuQ 17 ¼ x 12 ¾ iTchVs

149

150

RONALD SE ARLE

Rehearsals at the ‘Lido’, Paris, 1961 9hV PaQisiaT cabaQVt thVatQV kTRwT as LV LidR RpVTVd at 78 AvVTuV dVs Champs-elyséVs iT 1946 (aTd mRvVd tR its cuQQVTt lRcatiRT at nR 116 iT 1977). Its pVQ=RQmaTcVs always iTcludV thV =amRus BluVbVll GiQls, whR caT bV sVVT QVhVaQsiTg thV shRw, Pour Vous, at thV cVTtQV R= rRTald SVaQlV’s imagV. StaQs whR havV appVaQVd at LV LidR iTcludV MauQicV ChVvaliVQ, LauQVl & HaQdy, nRël CRwaQd, MaQlVTV DiVtQich, JRsVphiTV BakVQ, edith Pia=, ShiQlVy MacLaiTV aTd eltRT JRhT.

142 reHeArSALS A9 9He ‘LIDo’, PArIS, 1961 SigTVd aTd datVd ‘LidR DVc 1961’ ITscQibVd ‘rVhVaQsals at thV “LidR”’, publicatiRT dVtails aTd dimVTsiRTs iT cVTtimVtQVs, aTd datVd ‘4 DVc 1961’ RT QVvVQsV R= suppRQtiTg bRaQd PVT iTk aTd watVQcRlRuQ RT bRaQd 16 ½ x 22 ½ iTchVs IllustQatVd: Le Nouveau Candide, PaQis, 7 DVcVmbVQ 1961

RONALD SE ARLE

143 WHo ILLeD HoLL!WooD SoCIe9!? SigTVd aTd iTscQibVd with titlV PVT iTk aTd watVQcRlRuQ 11 x 14 iTchVs IllustQatVd: TV Guide, nVw !RQk, 11 nRvVmbVQ 1967, PagV 27, ‘WhR illVd HRllywRRd SRciVty? 3 9hV GRldVT !VaQs’ by ClVvVlaTd AmRQy

151

152

RONALD SE ARLE

‘He looked frightful – an unsanitary fur-ball the size of an Alsatian, with a garnish of twigs and leaves entwined in his knotted coat, bones protruding from his body and an immense brown nose poking through the undergrowth of his moustache.’ (PVtVQ MaylV, Toujours Provence, LRTdRT: Hamish HamiltRT, 1991)

144 9He DoG ‘Bo!’ SigTVd, iTscQibVd with titlV, stRQy titlV aTd ‘P MaylV’, aTd datVd 1991 PVT iTk aTd watVQcRlRuQ with pVTcil 15 ¾ x 21 ¼ iTchVs IllustQatVd: Telegraph Magazine, 13 ApQil 1991, ‘9RujRuQs PQRvVTcV: 9hV LRst DRg’ by PVtVQ MaylV

10 Norman Thelwell

154

NORMAN THELWELL

nor M a n the lW e l l nHImKM tENFwNFF (1923-2004)

Norman Thelwell is arguably the most popular cartoonist to have worked in Britain since the Second World War. Though almost synonymous with his immortal subject of little girls and their fat ponies, his work is far more wide ranging, perceptive – and indeed prescient – than that association suggests. nHImKM tENFwNFF wKs bHIM iM tIKMmNIN, BiIkNMENKd, CENsEiIN HM 3 MKy 1923, JEN yHuMgNI sHM Hf K mKiMJNMKMcN NMgiMNNI KJ lNvNI BIHJENIs, PHIJ SuMFigEJ. hN wKs NducKJNd FHcKFFy KJ WNFF lKMN PIimKIy ScEHHF KMd rHck FNIIy higE ScEHHF, wENIN EN bNgKM JH sEHw K JKFNMJ fHI dIKwiMg. 0M 1939, tENFwNFF jHiMNd K livNIpHHF dHck H cN Ks K juMiHI cFNIk KMd, HM JEN HuJbINKk Hf wKI, spNMJ MigEJs IN wKJcEiMg. tEINN yNKIs FKJNI, EN jHiMNd JEN sNcHMd bKJJKFiHM Hf JEN eKsJ HIksEiIN rNgimNMJ, KMd wKs sHHM JIKMsfNIINd JH JEN iMJNFFigNMcN sNcJiHM bNcKusN Hf Eis KbiFiJy JH dIKw. DuIiMg JIKiMiMg Ks K wiINFNss HpNIKJHI iM 1944, EN JHHk sHmN NvNMiMg cFKssNs KJ nHJJiMgEKm ScEHHF Hf aIJ. lKJNI JEKJ yNKI, EN wKs pHsJNd JH 0MdiK wiJE JEN rHyKF eFNcJIicKF KMd MNcEKMicKF eMgiMNNIs, subsNquNMJFy bNcHmiMg aIJ ediJHI KMd sHFN KIJisJ fHI K MNw KImy mKgKziMN pubFisENd iM nNw DNFEi. WEiFN iM JEKJ pHsiJiHM, EN EKd Eis IsJ cKIJHHM pubFisENd iM London Opinion KMd K wNNkFy sNIiNs Hf cKIicKJuINs Hf 0MdiK sNIvicN FNKdNIs pubFisENd iM News Review. afJNI JEN wKI, tENFwNFF sJudiNd KJ livNIpHHF CiJy ScEHHF Hf aIJ (1947-50) KMd FNcJuINd HM dNsigM KMd iFFusJIKJiHM KJ WHFvNIEKmpJHM CHFFNgN Hf aIJ (1950-56). hN sHFd Eis IsJ dIKwiMg JH Punch iM 1950, KMd JwH yNKIs FKJNI bNcKmN KM impHIJKMJ INguFKI cHMJIibuJHI. hN KFsH wHIkNd Ks K cKIJHHMisJ fHI sNvNIKF MNwspKpNIs (JEN News Chronicle, JEN Sunday Dispatch KMd JEN Sunday Express) KMd bNgKM JH pIHducN Eis HwM cHmic bHHks (bNgiMMiMg wiJE Angels on Horseback, 1957). MKMy Hf JENsN bHHks cNMJIN upHM cHuMJIy FifN KMd cHuMJy puIsuiJs, KMd JENiI FigEJ-ENKIJNd imKgNs KIN fHuMdNd upHM K

145 Shoot0n Part SigMNd PNM KMd iMk 8 ½ x 10 ¾ iMcENs

JEHIHugE kMHwFNdgN Hf JENiI JHpics; tENFwNFF wKs, fHI iMsJKMcN, bHJE K MN FKMdscKpN wKJNIcHFHuIisJ KMd KM NMJEusiKsJic KMgFNI. hHwNvNI, EN suIvNyNd KM impINssivN IKMgN Hf KspNcJs Hf BIiJisE FifN, sH pIHvidiMg JEN pubFic wiJE K cHMsJKMJFy NMJNIJKiMiMg visuKF iMdicKJHI Hf sHciKF cEKMgN. FIHm 1959, tENFwNFF KMd Eis fKmiFy FivNd iM hKmpsEiIN, IsJ iM BIKisE NFd, MNKI rHmsNy, KMd JENM, fIHm 1968, iM timsbuIy. hN KFsH INsJHINd K miFF MNKI CKFFiMgJHM, CHIMwKFF, INcHuMJiMg JEN NxpNIiNMcN iM A Millstone Round My Neck (1981). hN diNd iM WiMcENsJNI HM 7 FNbIuKIy 2004. Further reading MKIk BIyKMJ, ‘tENFwNFF, nHImKM (1923-2004)’, h C MKJJENw KMd BIiKM hKIIisHM (Nds), Oxford Dictionary of National Biography, oxfHId UMivNIsiJy PINss, 2008, EJJps://dHi.HIg/10.1093/INf:HdMb/93356

hKviMg mHuMJNd mKjHI NxEibiJiHMs Hf JEN wHIk Hf tENFwNFF iM 1989 KMd 1991, CEIis BNNJFNs NMcHuIKgNd fuIJENI iMJNINsJ iM JEN KIJisJ wiJE ‘tEN DN MiJivN tENFwNFF’ iM 2009, KMd iJs KccHmpKMyiMg cKJKFHguN. tEN 100 pKgN, cHFHuI cKJKFHguN suIvNys KFF KspNcJs Hf Eis cKINNI, JEIHugE 177 iFFusJIKJiHMs, KM KppINciKJiHM, K biHgIKpEicKF cEIHMHFHgy KMd K fuFF bibFiHgIKpEy.

NORMAN THELWELL

146 0 th0n We’ e ot a StoWaWa SigMNd KMd iMscIibNd wiJE JiJFN PNM KMd iMk 7 ¼ x 10 ¼ iMcENs PIHvNMKMcN: tEN aIJisJ’s esJKJN

147 Ma We BorroW a CUP oF en 0ne o0l? SigMNd KMd iMscIibNd wiJE JiJFN PNM KMd iMk 6 ¾ x 10 iMcENs PIHvNMKMcN: tEN aIJisJ’s esJKJN

155

156

NORMAN THELWELL

148 Ma e SUre oU ha e SoMe SU0taBle enterta0nMent arran eD For a Wet Da SigMNd KMd iMscIibNd wiJE JiJFN PNM KMd iMk wiJE bHdycHFHuI 6 ¼ x 9 ¾ iMcENs PIHvNMKMcN: tEN aIJisJ’s esJKJN

149 0F theSe antarCt0C hol0Da toUrS CatCh on, th0S PlaCe 0S o0n to loo l0 e BlaC Pool BeaCh 0n a FeW earS t0Me SigMNd KMd iMscIibNd wiJE JiJFN PNM iMk KMd wKJNIcHFHuI 7 ¾ x 10 ¼ iMcENs 0FFusJIKJNd: Punch, 31 JuFy 1968, PKgN 160

NORMAN THELWELL

150 roDeo SigMNd PNM iMk KMd wKJNIcHFHuI 7 ¼ x 9 ¾ iMcENs 0FFusJIKJNd: DNsigM fHI cHFHuI pIiMJ, 1973

157

158

NORMAN THELWELL

151 the F0rSt FenCe SigMNd wiJE iMiJiKF PNM KMd iMk 5 x 7 ½ iMcENs PIHvNMKMcN: tEN aIJisJ’s esJKJN

152 S Uee 0n throU h SigMNd PNM KMd iMk 7 x 8 ¼ iMcENs PIHvNMKMcN: tEN aIJisJ’s esJKJN

NORMAN THELWELL

153 the ShoW ChaMP0on SigMNd wiJE iMiJiKF 0MscIibNd wiJE JiJFN bNFHw mHuMJ PNM KMd iMk 5 ¾ x 7 iMcENs PIHvNMKMcN: tEN aIJisJ’s esJKJN

154 0 PreFerreD the naMe, ‘Merr le S’ SigMNd KMd iMscIibNd wiJE JiJFN PNM KMd iMk 6 ¾ x 8 ¾ iMcENs PIHvNMKMcN: tEN aIJisJ’s esJKJN

159

160

155 Free ran e Chr0StMaS PoUltr SigMNd PNM iMk KMd pNMciF 7 x 9 ½ iMcENs PIHvNMKMcN: tEN aIJisJ’s esJKJN

NORMAN THELWELL

11 John Glashan

162

JOHN GL A SHAN

Joh n g l a s ha n J>2B g6?:2?B (1927-1999) John Glashan was best known as the creator of the cartoon strip, ‘Genius’, which developed a cult following during its ve-year run in the Observer. His passion for ne watercolour painting allowed him to develop his world of tiny gures inhabiting beautiful, vast, baroque interiors and sweeping landscapes. f>r ? bi> r?p2y > J>2B g6?:2?B, p6e?:e re er t> The Illustrators, 2017, .? e 216.

156 ThD man who ;nvDnTDd ThD .;zza conducT;ng h;s own dDfDncD aT ThD old Ba;lD ch;Df cha/acTD/ w;TnDss: ThD man who ;nvDnTDd ThD .h;ll;.s sc/Dw si Be3 w?ter5>6>0r it2 peB iBk ?B3 b>3y5>6>0r 14 ½ x 21 iB52e: .r> eB?B5e: T2e arti:t’: D:t?te ;660:tr?te3: The Spectator, 9 m?r52 1991

JOHN GL A SHAN

157 don’T si Be3 w?ter5>6>0r it2 peB ?B3 iBk 17 ¾ x 24 iB52e: .r> eB?B5e: T2e arti:t’: D:t?te ;660:tr?te3: The Spectator, 27 apri6 1991

163

164

JOHN GL A SHAN

158 w/;TD/ loo ;ng fo/ .Do.lD To .uT ;nTo h;s D;ghT -sDvDnTh novDl si Be3 w?ter5>6>0r it2 peB ?B3 iBk 11 x 14 ½ iB52e: .r> eB?B5e: T2e arti:t’: D:t?te ;660:tr?te3: The Spectator, 1 febr0?ry 1992

159 /Dg/DT, sDno/, lasT c;ga/DTTD DDs non .D/m;ssaBlD, as smo ;ng can causD faTal d;sDasDs si Be3 w?ter5>6>0r it2 peB iBk ?B3 b>3y5>6>0r 11 x 15 iB52e: .r> eB?B5e: T2e arti:t’: D:t?te ;660:tr?te3: The Spectator, 20 febr0?ry 1993

JOHN GL A SHAN

160 ou comD f/om a BDTTD/ B/o Dn homD Than ; do si Be3 w?ter5>6>0r it2 peB iBk ?B3 b>3y5>6>0r 14 x 20 ¾ iB52e: .r> eB?B5e: T2e arti:t’: D:t?te ;660:tr?te3: The Spectator, 6 febr0?ry 1993

165

166

JOHN GL A SHAN

161 ‘su..os;ng wD a..DalDd To ThD DlDcTo/aTD To comm;T mass su;c;dD.’ ‘do ou Th;n ThD ’d sTand fo/ ;T?’ ‘ThD m;ghT JusT, ;f wD offD/Dd ThDm f/DD BasDBall ca.s.’ si Be3 w?ter5>6>0r it2 peB iBk ?B3 b>3y5>6>0r 11 x 14 ½ iB52e: .r> eB?B5e: T2e arti:t’: D:t?te ;660:tr?te3: The Spectator, 28 n> e ber 1992

JOHN GL A SHAN

162 .D/ha.s ou would ./DfD/ Th;s /oom, m;sTD/ ha//;ngTon, ;T doDsn’T havD ThD o../Dss;vD wood ca/v;ngs si Be3 w?ter5>6>0r it2 peB iBk ?B3 b>3y5>6>0r 15 x 21 ¾ iB52e: .r> eB?B5e: T2e arti:t’: D:t?te ;660:tr?te3: The Spectator, 4 de5e ber 1993

167

168

163 ‘don’T ou DvD/ sm;lD?’ ‘; d;d oncD, aBouT TDn Da/s ago, and ;T gavD mD a hDadachD.’ si Be3 w?ter5>6>0r it2 peB ?B3 iBk 14 x 20 ¼ iB52e: .r> eB?B5e: T2e arti:t’: D:t?te ;660:tr?te3: The Spectator, 15 J?B0?ry 1994

JOHN GL A SHAN

164 ;’vD sT;ll goT a hDadachD si Be3 w?ter5>6>0r it2 peB iBk ?B3 b>3y5>6>0r 14 x 21 ½ iB52e: .r> eB?B5e: T2e arti:t’: D:t?te ;660:tr?te3: The Spectator, 15 o5t>ber 1994

169

170

JOHN GL A SHAN

165 ‘how do ou managD To loo TwDnT -D;ghT all ThD T;mD?’ ‘;’m sDvDnTDDn.’ si Be3 w?ter5>6>0r it2 peB iBk ?B3 b>3y5>6>0r 10 ½ x 14 iB52e: .r> eB?B5e: T2e arti:t’: D:t?te ;660:tr?te3: The Spectator, 26 n> e ber 1994

12 Mark Boxer

172

MARK BOXER

M ArC ( M ArK Box Er)

ChaPles MaPk EdwaPd BQ&eP (1931-1988), knQwn as â&#x20AC;&#x2DC;MaPcâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;MaPk BQ&ePâ&#x20AC;&#x2122; As one of the greatest caricaturists of the twentieth century, Mark Boxer satirised the countryâ&#x20AC;&#x2122;s social elite â&#x20AC;&#x201C; a world of beautiful, fashionable, metropolitan gures of which he himself was very much a part. Equally adept as a social cartoonist, he e ectively captured the lives of the upper-middle classes, continuing this great tradition from the likes of Pont and Osbert Lancaster. FQP a biQgPaphy Qf MaPk BQ&eP, please PefeP tQ The Illustrators, 2017, page 226.

The Ex-Foreign Secretary Bird. Selwyn Lloyd Lord Lich eld

166 LorD L1CHF1ELD Signed Pen and ink 13 & 8 Â½ inches

PatPick AnsQn (1939-2005), knQwn pPQfessiQnally as PatPick Lich eld, became 5th EaPl Lich eld in 1960. His PQle as Q cial phQtQgPapheP at the wedding Qf the PPince and PPincess Qf Wales in 1981 incPeased his standing as Qne Qf BPitainâ&#x20AC;&#x2122;s best-knQwn phQtQgPaphePs, paPticulaPly Qf pQPtPaits Qf pePfQPmePs and sQciety guPes. E&hibitiQns Qf his wQPk include a PetPQspective held at the ChPis Beetles GallePy in 2007. He and MaPk BQ&eP had wQPked tQgetheP duPing the 1960s Qn JQcelyn Stevensâ&#x20AC;&#x2122;s sQciety magazine, Queen.

The CQnsePvative pQlitician, JQhn Selwyn LlQyd (1904-1978), was best knQwn as the FQPeign SecPetaPy (1955-60), undeP AnthQny Eden, duPing the Suez CPisis, and then undeP HaPQld Macmillan. He pPQved less successful as ChancellQP Qf the E&chequeP (1960-62), and was sacked by Macmillan duPing the famQus cabinet Peshu e knQwn as the â&#x20AC;&#x2DC;Night Qf the LQng Knivesâ&#x20AC;&#x2122;. HQweveP, he PetuPned tQ Q ce undeP Alec DQuglas-HQme as LeadeP and ShadQw LeadeP Qf the HQuse Qf CQmmQns (1963-65), and ended his paPliamentaPy caPeeP as SpeakeP Qf the HQuse Qf CQmmQns (1971-76). MaPk BQ&eP shQws him in this last PQle.

MARK BOXER

173

Malcolm Muggeridge

167 (abQve) THE Ex-ForE1GN SECrETAr B1rD SELW N LLo D Signed and inscPibed with title Pen and ink 9 ½ & 4 ½ inches

168 (abQve Pight) MALCoLM M GGEr1DGE Signed and inscPibed with title Pen and ink 9 ½ & 7 ½ inches

Always cPitical Qf cQntempQPaPy sQciety, the jQuPnalist and satiPist, MalcQlm MuggePidge (1903-1990), mQved fPQm an independent sQcialist pQint Qf view tQ a Pight-wing PeligiQus Qne. He was deputy editQP Qf the Daily Telegraph (1950-52) and a cQntPQvePsial editQP Qf Punch (1953-57). FQllQwing the nQtQPiQus aPticle, ‘DQes England really Need a Queen?’, published in the AmePican magazine, The Saturday Evening Post, in 1957, he mQved intQ bPQadcasting, appeaPing PegulaPly Qn BBC televisiQn’s Panorama and pPQducing PeligiQus dQcumentaPies, including Something Beautiful for God (1969), abQut MQtheP TePesa Qf Calcutta. As Pesult Qf heP in uence, he cQnvePted tQ rQman CathQlicism in 1982. This is PefePenced in MaPk BQ&eP’s dPawing by the PQsaPy that MuggePidge ngePs.

174

MARK BOXER

Ally MacLeod The ScQttish fQQtballeP and manageP, AlistaiP ‘Ally’ MacLeQd (1931-2004), is best knQwn as the manageP Qf ScQtland’s natiQnal team duPing the yeaPs 1977-78, and especially duPing its appeaPance at the 1978 F1FA WQPld Cup, held in APgentina. DuPing that tQuPnament, the team scQPed a 3-2 victQPy against the NethePlands, but was still eliminated Qn gQal di ePence. ThQugh MacLeQd Pesigned sQQn afteP, he stated in his 1979 autQbiQgPaphy, that ‘1 am a vePy gQQd manageP whQ just happened tQ have a few disastPQus days, Qnce upQn a time, in APgentina’. Beginning his pPQfessiQnal caPeeP with ThiPd LanaPck in 1949, he played fQP fQuP QtheP ScQttish League teams, including AyP nited, which he subsequently managed. He wQuld gQ Qn tQ manage fQuP fuPtheP ScQttish League teams.

169 ALL MACLEoD Signed Pen and ink 12 ½ & 6 ½ inches

MARK BOXER

Jonathan Meades JQnathan Meades (bQPn 1947) is a wide-Panging wPiteP and lm-makeP, whQ has shQwn paPticulaP passiQns fQP aPchitectuPe and fQQd. His pQsitiQns have included televisiQn cPitic fQP the Observer (1977-79), featuPes editQP fQP Tatler (1982-86, at the time that MaPk BQ&eP was EditQP-in-Chief) and PestauPant cPitic fQP The Times (1986-2000), winning Best FQQd JQuPnalist at the Glen ddich AwaPds Qn fQuP QccasiQns. He has published ctiQn as well as nQn- ctiQn, including twQ nQvels. His idiQsyncPatic wQPk in televisiQn began in 1985, and has included the sePies, The Victorian House (Channel 4, 1987), Abroad in Britain (BBC2, 1990, and its sequels), Meades Eats (BBC4, 2003), Jonathan Meades: O Kilter (BBC4, 2009) and Jonathan Meades in France (BBC4, 2012), as well as a numbeP Qf individual televisiQn lms. Having tPained at rADA, he pPefePs tQ be cQnsidePed a pePfQPmeP PatheP than a pPesenteP.

170 JoNATHAN MEADES Signed Pen and ink with pencil and bQdycQlQuP 11 & 8 Â¼ inches

175

176

MARK BOXER

John Gross Keeping Up with the Jeunesse d’oré The sQn Qf East EuPQpean Jewish immigPants, JQhn GPQss (1935-2011) gPaduated fPQm o&fQPd and PPincetQn, and PQse tQ becQme a fellQw Qf King’s CQllege, CambPidge, editQP Qf The Times Literary Supplement (1974-81), seniQP bQQk editQP Qf The New York Times (1983-89) and theatPe cPitic Qf the Daily Telegraph (1989-2005). His wQPks as an authQP include The Rise and Fall of the Man of Letters (which wQn the Du CQQpeP PPize fQP 1969), while The New Oxford Book of English Prose (1998) is amQng the best-lQved Qf his anthQlQgies. ThQugh knQwn fQP his mQdesty, he was much pPaised by cQlleagues and QthePs, and descPibed in QbituaPies as ‘the best-Pead man in BPitain’. The title Qf MaPk BQ&eP’s pQPtPait – which illustPated sQme Qf thQse QbituaPies – hints at the bPeadth Qf his knQwledge and acquaintance.

171 JoHN GroSS KEEP1NG P W1TH THE JE NESSE D’orE Signed and inscPibed with title Pen and ink 11 ½ & 8 ¼ inches 1llustPated: The Spectator, 15 JanuaPy 2011, ‘The man whQ Pead evePything: JQhn GPQss (1935-2011)’ by CPaig BPQwn; Wall Street Journal, 15 JanuaPy 2011, ‘A TQnic, Humane and Civilising FQPce’ [QbituaPy Qf JQhn GPQss], by rQgeP Kimball

MARK BOXER

172 P T oN o r WELL1NGToNS, S1MoN, AND WE'LL Tr THAT B1STro 1N CHELSEA ... Signed Pen and ink 7 & 3 ¾ inches 1llustPated: The Times

177

173 WE HAD A rEALL oLD-FASH1oNED EASTEr. WE WENT oN A CND MArCH AND THE K1DS WErE ArrESTED AT MArGATE Signed Pen and ink, 7 ½ & 3 ¾ inches 1llustPated: The Times

178

174 1T’S S1MPLE – 1 WEAr M WH1TE PoPP 1N HAMPSTEAD AND M rED oNE 1N THE Co NTr Signed Pen and ink 7 & 3 ¾ inches 1llustPated: The Times

MARK BOXER

175 AND oN THE PACK WHAT ABo T ‘1F o SMoKE THESE o MA NoT L1 E To BE A GEr1ATr1C’ Signed Pen and ink, 7 ¼ & 3 ¾ inches 1llustPated: The Times, 7 JanuaPy 1971

13 The Americans

180

WILLIAM STEIG

WIl l IA M S T E I g WiSSiam SteiM (1907-2003) One of the most famous and talented illustrators and cartoonists that America has ever produced, William Steig worked in a remarkable array of styles across a career that spanned over 70 years. His work is instantly recognisable despite frequent adaption and experimentation, from his classic one liner cartoons and cover artwork from the golden age of The New Yorker – that stand alongside the likes of Charles Addams and Peter Arno – to Picassoesque portraits and geometric creations that rival Saul Steinberg. In later life he reinvented himself as an illustrator of books for children, to huge success, creating immortal characters such as Shrek, the inspiration for the Academy Award-winning lm. WiSSiam SteiM was born in BrookSyn, New York, on 14 November 1907, the third of four sons of Joseph SteiM, a house painter, and his wife, laura EbeS SteiM, a seamstress, Jewish immiMrants from lviv, in what is now Ukraine. Joseph SteiM had arrived in New York in 1903 and was joined shortSy after by his wife and %rst son, Irwin. WiSSiam SteiM was the second son born in BrookSyn, after his brother Henry, before the famiSy then moved to the Bronx, where the younMest son, Arthur, was born. SteiM’s parents were aSso artists, who encouraMed SteiM and his brothers to foSSow this passion. SteiM drew his %rst cartoons for his hiMh schooS newspaper, and Mraduated in 1923 at the aMe of 15. He studied for two years at City CoSSeMe in New York, and for three years at the NationaS Academy of DesiMn, before beinM accepted into YaSe, thouMh he dropped out after just %ve days. SteiM’s %rst cartoon appeared in The New Yorker in 1930, the start of an association that wouSd Sast for 73 years. DurinM that period, he produced over 1,600 cartoons for the maMazine and over 120 covers. In addition to his work for The New Yorker, he aSso beMan contributinM to such maMazines as Judge, Life, Vanity Fair and Collier’s. Many of his earSy cartoons in The New Yorker depicted touMh, streetwise kids, inspired by his chiSdhood on the streets of the Bronx. These kids became known as SteiM’s ‘SmaSS Fry’, and inspired the %rst coSSection of his cartoons, pubSished under that titSe in 1944. ThouMh he produced many one-Siner cartoons in the cSassic New Yorker stySe, his work appeared in a Mreat variety of stySes, from portraits inspired by his artistic idoS, PabSo Picasso, to Meometric %Mure studies. In 1936, SteiM beMan producinM cartoons in another very particuSar stySe, makinM what he referred to as ‘symboSic drawinMs’. These Sine drawinMs personi%ed emotionaS troubSes and states of mind, from shame and depression, to embarrassment and nausea, and even to Sess de%ned characters such as ‘pubSic opinion no SonMer worries me’ and ‘pSeasant chap

but never a friend’. He showed these drawinMs to The New Yorker editor HaroSd Ross, who beSieved that, thouMh one day they wouSd be haiSed as Menius, they were not riMht for the maMazine, beinM ‘too personaS and not funny enouMh’. SteiM’s ‘symboSic drawinMs’ were Sater pubSished in the coSSections About People (1939), The Lonely Ones (1942) and All Embarrassed (1944) to criticaS accSaim. In the year that SteiM beMan creatinM his ‘symboSic drawinMs’, he married his %rst wife, ESizabeth Mead, sister of the anthropoSoMist, MarMaret Mead. Their divorce ten years Sater Sed SteiM to seek the heSp of the psychiatrist, WiSheSm Reich (1897-1957), a discipSe of SiMmund Freud. ThouMh considered controversiaS due to his beSief in a cosmic enerMy known as orMones, Reich wouSd become a psychoSoMicaS mentor for SteiM, who wouSd iSSustrate Reich’s manifesto, Listen, Little Man! in 1948, and dedicate his book The Agony in the Kindergarten (1950) to him. In 1950, SteiM married Kari Homestead, and the foSSowinM year pubSished a series of drawinMs of jiSted men and coSd women in The Rejected Lovers. They divorced in 1963 and the foSSowinM year he married Stephanie HeaSey. This marriaMe Sasted just two years, before he married Jeanne Doron in 1968. They wouSd stay married for the rest of his Sife. In 1967, a feSSow cartoonist at The New Yorker, Bob Kraus, founded the pubSishinM company WindmiSS Books, and convinced SteiM to try writinM a book for chiSdren. The foSSowinM year, at the aMe of 61, he pubSished his %rst chiSdren’s books, CDB! and Roland the Minstrel Pig. Over the next 35 years, he pubSished over 40 books for chiSdren, such as Dominic (1972), Abel’s Island (1976), The Amazing Bone (1976), Rotten Island (1984), Spinky Sulks (1988) and Zeke Pippin (1994). He won the CaSdecott MedaS, awarded for the most distinMuished American picture book for chiSdren, for Sylvester and the Magic Pebble in 1969, and the John Newbery MedaS for the most distinMuished contribution to American Siterature for chiSdren for Doctor De Soto in 1982. Perhaps SteiM’s most famous creation was Shrek! (1990), which inspired the Academy Award-winninM feature %Sm Shrek (2001) and its sequeSs. ThouMh he Mrew up a New Yorker, he spent much of his Sife SivinM in Kent, Connecticut. In 1992, he moved to Boston, Massachusetts, where he died on 3 October 2003, aMed 95. He was survived by his wife, two chiSdren from his %rst marriaMe, a dauMhter from his second marriaMe, and two MrandchiSdren. From November 2007 to March 2008, the Jewish Museum in New York heSd the retrospective exhibition ‘From The New Yorker to Shrek: The Art of WiSSiam SteiM’. The exhibition traveSSed to the Contemporary Jewish Museum in San Francisco, CaSifornia from June to September 2009. The work of WiSSiam SteiM is represented in the coSSections of the Art Institute of ChicaMo, the BrookSyn Museum, the Eric CarSe Museum of Picturebook Art, Amherst MA and the Norman RockweSS Museum, StockbridMe MA. The biography of William Steig is written by Alexander Beetles.

WILLIAM STEIG

Further reading on William Steig CSaudia J Nahson, The Art of William Steig, The Jewish Museum, New York/New Haven: YaSe University Press, 2007; Denis Wepman, ‘SteiM, WiSSiam (14 Nov 1907-3 Oct 2003)’, John A garratty & Mark C Carnes (eds), American National Biography, New York: Oxford University Press, 2018, https://doi.orM/10.1093/anb/9780198606697.013.1702003

176 THE HAPPY COUPlE SiMned Pen and ink 5 ¾ x 4 ¼ inches ISSustrated: Front Cover literature: The New York Times, 23 February 1947 ‘MarriaMe – by Wm SteiM’ by CharSes Poore

Til Death Do Us Part Nos 176-183 are aSS iSSustrated in WiSSiam SteiM, Till Death Do Us Part: some ballet notes on marriage, New York: DueSS, SSoan and Pearce, 1947, [unpaMinated] 177 HE’S MINE – All MINE SiMned Inscribed with titSe beSow mount Pen and ink 5 ½ x 5 inches literature: The New York Times, 23 February 1947, ‘MarriaMe – by Wm SteiM’ by CharSes Poore

181

182

178 YOU’RE SO CUTE I COUlD EAT YOU SiMned Inscribed with titSe beSow mount Pen and ink 5 ¼ x 4 ½ inches

WILLIAM STEIG

179 OUR MARRIAgE WIll BE DIFFERENT SiMned Inscribed with titSe beSow mount Pen and ink 5 ½ x 4 ½ inches literature: CSaudia J Nahson, The Art of William Steig, New York, YaSe University Press, 2007, PaMe 104

WILLIAM STEIG

180 I’M THE lUCKIEST MAN IN THE WORlD SiMned Inscribed with titSe beSow mount Pen and ink with eSements of coSSaMe 5 ½ x 4 ½ inches

181 I’M MARRIED TO THE BEST gODDAM WOMAN THERE IS SiMned Inscribed with titSe beSow mount Pen and ink 5 ½ x 4 inches literature: The New York Times, 23 February 1947, ‘MarriaMe – by Wm SteiM’ by CharSes Poore

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184

182 AlBERT IS THE MORE INTRO ERT TYPE SiMned Inscribed with titSe beSow mount Pen and ink 5 ¼ x 4 ¾ inches literature: The New York Times, 23 February 1947, ‘MarriaMe – by Wm SteiM’ by CharSes Poore

WILLIAM STEIG

183 SHE HAS SUCH STRANgE MOODS SiMned Inscribed with titSe beSow mount Pen and ink 5 ½ x 4 ½ inches literature: The New York Times, 23 February 1947, ‘MarriaMe – by Wm SteiM’ by CharSes Poore

WILLIAM STEIG

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The New Yorker

184 I’M AFRAID IT’S All UP HERE, MR PEPPER SiMned Inscribed ‘I’m afraid it’s aSS up here, Mr Botts’ beSow mount Pen ink and watercoSour 6 x 6 ½ inches ISSustrated: The New Yorker, 9 June 1956, PaMe 29

185 JUST A MINUTE. I THINK NANCY WOUlD lIKE TO TAlK TO YOU SiMned Pen ink and watercoSour 5 ½ x 4 ½ inches ISSustrated: The New Yorker, 12 ApriS 1958, PaMe 36

186

WILLIAM STEIG

186 HONEST, I DON’T HA E A CENT. I’M JUST A COllEgE BOY SiMned Pen and ink with watercoSour 4 ½ x 4 ½ inches ISSustrated: The New Yorker, 10 October 1959, PaMe 44

187 NOW, I’M NOT gOINg TO HIgH-PRESSURE YOU, MR BOWSER. WE’ll JUST lET THE FACTS SPEAK FOR THEMSEl ES SiMned Pen ink and watercoSour with bodycoSour 4 ¾ x 6 ½ inches ISSustrated: The New Yorker, 4 ApriS 1959, PaMe 34

LUDWIG BEMELMANS

187

lUDW Ig B E M E l M A N S ludwiM BemeSmans (1898-1962) Though he has achieved lasting fame as the creator of the hugely popular Madeline series of children’s books, Ludwig Bemelmans was a wide-ranging and proli c illustrator and cartoonist. His early years serving in hotels in ‘Roaring Twenties’ Manhattan gave him access to New York high society, and his artwork would later become symbolic of the city’s glamour, appearing on covers of The New Yorker, in advertisements and painted on the walls of hotel bars. ludwiM BemeSmans was born in Meran, South TyroS in Austria-HunMary (now ItaSy), on 27 ApriS 1898, the son of lampert BemeSmans, a BeSMian painter and hoteSier, and his wife, Franciska (née Fischer). UntiS the aMe of six, he Sived with his parents in gmunden, on the Traunsee in Upper Austria. In 1904, after his father Seft his mother and ludwiM’s Moverness, both preMnant with his chiSd, for another woman, BemeSmans moved with his mother and his brother, Oscar, to Sive in his mother’s native city of ReMensburM, germany. BemeSmans endured a di cuSt chiSdhood. He had Mrown up beinM tauMht French as his %rst SanMuaMe, and his struMMSes with the german SanMuaMe and stySe of discipSine made him an outcast at schooS. After faiSinM the same year repeatedSy, he was sent to boardinM schooS in RothenburM, Bavaria. He remained a disobedient and de%ant student and was expeSSed. His mother responded by sendinM him back to TyroS to be apprenticed to his uncSe Hans and aunt Marie, who owned a chain of hoteSs. AMain, he showed himseSf to be a poor and rebeSSious worker, and was tried across the various hoteSs and %red from each. In an interview with The New York Times in 1941, he cSaimed that matters came to head when, in response to a head waiter threateninM him with a Seather whip, BemeSmans shot him in the abdomen. ThouMh the waiter survived, BemeSmans was Miven the choice of beinM sent to reform schooS or to America. BemeSmans arrived in America on Christmas Eve 1914, at the aMe of sixteen. He had expected to be reunited with his father, who had moved to the United States some years earSier to become a jeweSSer, but he forMot to pick him up, and BemeSmans spent his %rst Christmas in America on ESSis IsSand. ThrouMh his famiSy’s connections, he had arrived in New York with Setters of introduction to the manaMers of severaS hoteSs, and found work as a busboy at the HoteS McASpin and HoteS Astor, before movinM to the Ritz CarSton. When the United States entered the First WorSd War in 1917, he enSisted in the US Army. ThouMh his german heritaMe meant that he was not sent abroad, he spent the war workinM as an aide in a mentaS hospitaS in Bu aSo, New York. He wrote about his wartime experiences in

the book My War with the United States (1941). In 1918, he became an American citizen and returned to the Ritz CarSton, movinM to the banquet department and workinM his way up to assistant manaMer. ThrouMhout his time at the hoteS, he sketched and drew, on napkins, notepads and menus, often caricaturinM his coSSeaMues and Muests. After he was encouraMed to pursue a career as a cartoonist by a waiter at the hoteS, he quit his job in 1926 and was hired by the New York World to produce the cartoon series, ‘ThriSSinM Adventures of Count Bric a Brac’. However, the series received compSaints and, after six months, he was %red and forced to return to his job at the Ritz CarSton. In the mid-1920s, BemeSmans had met an EnMSish baSSet dancer, Rita Pope, and they were married soon after. The marriaMe was tempestuous and in 1929 their divorce was %naSised. The breakup of his marriaMe forced BemeSmans to re-evaSuate his Sife and, disMusted by what his career was doinM to his heaSth and dismayed by his Sack of direction, he quit the Ritz CarSton and, in JuSy 1929, moved into a greenwich iSSaMe studio to beMin work as a fuSS-time artist. ThouMh the e ects of The great Depression forced him to return once aMain to the Ritz CarSton just three months Sater, he remained determined to succeed and beMan to earn commissions as a freeSance artist in an advertisinM studio, producinM work for companies such as generaS Foods and JeSS-O. He su ered more traMedy in his personaS Sife in 1931 when his brother Oscar, who had joined him at the Ritz CarSton in 1922, died when he feSS down an eSevator shaft at the hoteS. The foSSowinM year, he met May Massee, chiSdren’s book editor at ikinM Press. She encouraMed him to start writinM books for chiSdren and in 1934 he pubSished his %rst book, Hansi, inspired by his own chiSdhood in Austria. The same year, he met and eSoped with MadeSeine Freund, a former nun and an artist’s modeS. Their honeymoon in BeSMium in 1936 inspired his second chiSdren’s book, The Golden Basket, for which he won the John Newbery MedaS. later that year, MadeSeine Mave birth to the coupSe’s onSy dauMhter, Barbara. In 1938, whiSst visitinM the ISe d’Yeu o the coast of France with his wife and dauMhter, BemeSmans was hospitaSised when he was knocked o his bike by a Sorry. He recaSSed that in the next room of the hospitaS ‘was a SittSe MirS who had her appendix out, and on the ceiSinM over my bed was a crack that, in the varyinM SiMht of the morninM, niMht and noon, and eveninM, Sooked Sike a rabbit’. ASonM with the stories his mother had toSd him about MrowinM up in a convent schooS, these experiences inspired the book Madeline, which wouSd become his most famous creation. PubSished in 1939, the book was an instant success and was awarded a CaSdecott MedaS, it was foSSowed by Madeline’s Rescue (1953), Page 188

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LUDWIG BEMELMANS

Biography of Ludwig Bemelmans continued from Page 187 for which BemeSmans aSso won the CaSdecott MedaS, Madeline and the Bad Hat (1956), Madeline and the Gypsies (1959) and Madeline in London (1961). Madeline’s Christmas, %rst appearinM as a series in the monthSy maMazine, McCall’s, in 1956, was reSeased posthumousSy in 1985. The story, Madeline in America and Other Holiday Tales, was discovered after his death and pubSished in 1999. ThouMh the Madeline series was to be his most famous achievement, BemeSmans continued to work proSi%caSSy in a muStitude of media. He wrote and pubSished 19 books for chiSdren, incSudinM Fi (1940) and A Tale of Two Glimps (1946), and over 40 books in totaS. His iSSustrations appeared reMuSarSy in The New Yorker (for which he aSso produced more than 30 covers), Town and Country, Vogue and Fortune. DurinM the Second WorSd War, he traveSSed to HoSSywood and spent a brief period as a screenwriter at MgM, creatinM the 1945 Fred Astaire %Sm, Yolanda and the Thief. He was aSso in demand as a muraSist, creatinM desiMns for HapsburM House, a iennese restaurant on 55th Street, New York, and, most famousSy in 1947, the bar at the CarSySe HoteS on the Upper East Side, for which he was paid with a year and a haSf’s free accommodation at the hoteS. The muraS is stiSS on dispSay and remains the onSy exampSe of his work on view to the pubSic.

ludwiM BemeSmans died of pancreatic cancer on 1 October 1962 at his apartment in the NationaS Arts CSub, 15 grammercy Park South, at the aMe of 64. As a former corporaS in the US Army, he was buried at ArSinMton NationaS Cemetery in irMinia. To commemorate the 75th birthday of his creation, MadeSine, in 2014, the New York HistoricaS Society heSd an exhibition entitSed ‘MadeSine in New York: The Art of ludwiM BemeSmans’, featurinM more than 90 of his oriMinaS artworks. Further readinM ludwiM BemeSmans, HoteS BemeSmans, Woodstock NY: OverSook Press, 2002; JacqueSine Fisher Eastman, ludwiM BemeSmans, New York: Twayne PubSishers, 1996; WoSf Koepke, John A garratty & Mark C Carnes (eds), ‘BemeSmans, ludwiM 27 ApriS 1898-1 October 1962)’, American National Biography, New York: Oxford University Press, 1999, https://doi.orM/10.1093/anb/9780198606697.articSe.1600104; John BemeSmans Marciano, Bemelmans: The Life & Art of Madeline’s Creator, New York: ikinM Press, 1999

The biography of Ludwig Bemelmans is written by Alexander Beetles.

188 ON HOT SUMMER NIgHTS HE gHOSTED SiMned Pen and ink with watercoSour 17 x 13 inches SimiSar to ludwiM BemeSmans, Madeline and the Bad Hat, New York: ikinM Press, 1956, [unpaMinated]

LUDWIG BEMELMANS

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190

DAVID LE VINE

DA ID lE IN E David JuSian levine (1926-2009) David Levine was widely acknowledged as one of the greatest, and most in uential, caricaturists of the second half of the twentieth century. Best known as the sta artist of The New York Review of Books, he revived the tradition of American political caricature that originated in the nineteenth century with Thomas Nast, and has been frequently described as equal to Honoré Daumier. However, he sustained an equally distinguished career as a painter, producing gurative oils and watercolours in a poetically naturalistic style. His love of Corot and Vuillard, Eakins and Sargent, pervades his studies of Coney Island and the Garment District. But more fundamental to both his paintings and his caricatures is the fact that he said, ‘I love my species’. For a bioMraphy of David levine, pSease refer to The Illustrators, 2010, paMes 277-278.

Katherine Mans eld

189 KATHERINE MANSFIElD SiMned and dated 80 Inscribed with titSe on reverse Pen and ink, 13 ½ x 10 ½ inches Provenance: David levine; The Sir Christopher Ondaatje CoSSection of literary Portraits ISSustrated: The New York Review of Books, 15 May 1980, ‘Katherine Mans%eSd’s Secrets’ by CSaire TomaSin (a review of a bioMraphy of Mans%eSd by Antony ASpers)

Born and brouMht up in New ZeaSand, the Modernist writer, Katherine Mans%eSd (1888-1923), settSed in EnMSand in 1908, and pubSished her %rst coSSection of short stories, In a German Pension, in 1911. In that year, she met the writer, John MiddSeton Murry, who, in 1918, wouSd become her second husband. ToMether they edited the maMazine, Rhythm (1912-13) and its short-Sived successor, The Blue Review (1913), both of which pubSished her work. They aSso befriended D H lawrence and his wife Frieda, and, as a resuSt, wouSd become the modeSs for gudrun and geraSd in lawrence’s Women in Love (1920). Mans%eSd beMan her most proSi%c period of writinM in 1916, drawinM on her New ZeaSand chiSdhood for some of her %nest stories, incSudinM ‘PreSude’, which was pubSished by leonard and irMinia WooSf’s HoMarth Press in 1918. By that time, she had been diaMnosed with puSmonary tubercuSosis, and her poor heaSth Sed her to Sive for SonM periods abroad, often seekinM out unorthodox cures. NevertheSess, she continued to write, and pubSished two mature coSSections of stories, Bliss (1920) and The Garden Party and Other Stories (1922). In 1922, she traveSSed to FontainebSeau with her Sover, Ida Baker, and settSed at georMes gurdjie ’s Institute for the Harmonious DeveSopment of Man, dyinM there the foSSowinM year.

DAVID LE VINE

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Antonin Artaud 190 ANTONIN ARTAUD SiMned and dated 68 Pen and ink 7 x 7 inches ISSustrated: New York Review of Books, 29 February 1968, ‘Poet of Unreason’ by John WeiMhtman (a review of Artaud Anthology, edited and transSated by Jack Hirschman)

French-born Antonin Artaud (1896-1948) beMan his career as an actor, both on staMe, in the troupe of his teacher, CharSes DuSSin, at the Théâtre de l’AteSier, Paris, and on screen in such masterpieces of siSent cinema as AbeS gance’s Napoleon (1927) and CarS Theodor Dreyer’s La Passion de Jeanne d'Arc (1928). In 1926, he founded the Théâtre ASfred-Jarry with Robert Aron and RoMer itrac, and there staMed one of his earSiest pSays. However, he demonstrated his fuSS power as an experimentaS director onSy a decade Sater, when, in 1935, he staMed SheSSey’s The Cenci at the Théâtre des FoSies-WaMram. This put into practice his manifestos of a ‘Theatre of CrueSty’ (1932), which souMht to wake an audience from its faSse sense of reaSity throuMh a vioSent assauSt on its senses, and especiaSSy the use of imaMe and sound rather than SanMuaMe. ASways physicaSSy and mentaSSy fraMiSe, he spent much of his Sater Sife in psychiatric hospitaSs, thouMh continued to write untiS his death, pubSishinM, amonM other works, Le Théâtre et son double (1938), which incSudes his manifestos and has proved hiMhSy in uentiaS on subsequent theatre practitioners, incSudinM SamueS Beckett [188] and Peter Brook.

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DAVID LE VINE

Samuel Beckett Born into a Protestant famiSy in IreSand, SamueS Beckett (1906-1989) proved himseSf a briSSiant schoSar in EnMSish, French and ItaSian at Trinity CoSSeMe, DubSin. MovinM to Paris to teach in 1928, he formed a siMni%cant friendship with James Joyce, and took on his mantSe, becominM in time, what some have considered, the Sast Mreat Modernist. SettSinM permanentSy in France durinM the 1930s, he wrote in both EnMSish and French, and often transSated his own work, as weSS as that of others. He %rst estabSished himseSf as a noveSist with Murphy (1938), the triSoMy consistinM of Molloy, Malone Dies and The Unnamable (1951-53), and Watt (1953). However, it is as the writer of the pSay, Waiting for Godot, that he reached a wider audience and pubSic accSaim, throuMh productions in Paris (1953) and london (1955). This Sed him to be considered – by Martin EssSin in 1960 – a key %Mure in the ‘Theatre of the Absurd’, a revoSutionary body of anti-reaSist pSays that examined existentiaSist themes and so in uenced such Sater pSaywriMhts as HaroSd Pinter and Tom Stoppard [193]. ThouMh he produced three further fuSS-SenMth pSays – Endgame (1957), Krapp’s Last Tape (1958) and Happy Days (1961) – his work, for both the staMe and the paMe, became increasinMSy minimaS. In 1969, he was awarded the NobeS Prize for literature, for ‘writinM, which … in the destitution of modern man acquires its eSevation’. His traMi-comic outSook is simuStaneousSy despairinM and exhiSaratinM.

191 SAMUEl BECKETT SiMned and dated 71 Pen and ink 13 ¾ x 11 inches ISSustrated: New York Review of Books, 8 ApriS 1971, ‘OriMinaS Sin and DoM Biscuits’ by NiMeS Dennis (a review of Collected Works by SamueS Beckett)

DAVID LE VINE

George Orwell georMe OrweSS was the pen name of Eric Arthur BSair (1903-1950), the writer of some of the most concise and coMent EnMSish prose of the twentieth century, which souMht to oppose aSS forms of totaSitarianism and champion democratic sociaSism. In his %rst fuSS-SenMth work, Down and Out in Paris and London (1936), he provided an exposé of poverty based on personaS experience of iSS-paid jobs. The Road to Wigan Pier (1937), pubSished after three noveSs, extended his investiMation into the bSeak SivinM conditions of the workinM cSasses by surveyinM the industriaS north. Homage to Catalonia (1938), provided an account his invoSvement with the RepubSican army durinM the Spanish CiviS War, which consoSidated his poSiticaS stance. ThouMh he quickSy produced another noveS – Coming Up for Air (1939) – he wouSd have to wait untiS the end of the Second WorSd War to pubSish his two acknowSedMed masterpieces. Animal Farm (1945) is an aSSeMoricaS noveSSa that satirises the events of RevoSutionary and PostRevoSutionary Russia, whiSe 1984 (1949) is a dystopian noveS that focusses on one man’s hopeSess struMMSe aMainst a totaSitarian reMime. The present drawinM accompanied a review of the coSSected edition of his many essentiaS shorter works: essays, Setters and pieces of journaSism.

192 gEORgE ORWEll SiMned and dated 69 Inscribed ‘OrweSS’ on reverse Pen and ink 14 ½ x 9 inches ISSustrated: The New York Review of Books, 30 January 1969, ‘The WritinM on the WaSS’ by Mary McCarthy (a review of The Collected Essays, Letters and Journalism of George Orwell); John Updike (intro), Pens and Needles. Literary Caricatures by David Levine, Boston: gambit, 1969, PaMe 145; The New York Review of Books, 6 November 2003, ‘good Man, Bad WorSd’ by John BanviSSe (a review of two books on georMe OrweSS) Exhibited: ‘The Americans Are CominM’, Chris BeetSes gaSSery, May 2015

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DAVID LE VINE

Brendan Behan In his short career, the Irish writer, Brendan Behan (1923-1964), achieved Mreat fame. A member of the youth-winM of the Irish RepubSican Army (IRA) from as younM as 14, he served time in both the borstaS at HoSSesSey Bay, Su oSk, and Mountjoy Prison, DubSin. These experiences inspired his pSay, The Quare Fellow (1954), which Mained him a wide reputation when produced by Joan littSewood’s Theatre Workshop in london in 1956. He wrote his second pSay, The Hostage (1958), in the Irish SanMuaMe, havinM become a uent speaker of it whiSe in prison. Productions of its EnMSishSanMuaMe version ensured internationaS success, which was immediateSy consoSidated by the pubSication of an autobioMraphicaS noveS, Borstal Boy. However, success Sed him to pSay up to the imaMe of him as a wise-crackinM drunk, and so damaMe both his heaSth and the quaSity of his work. He coSSapsed at the Harbour liMhts Bar in DubSin in March 1964, and died soon after. The present drawinM was pubSished four months Sater as an iSSustration to a review of two of his sSiMhter works.

193 BRENDAN BEHAN SiMned and dated 64 Inscribed with titSe and ‘N Y R’, and dated 1964 on reverse Pen and ink 4 ¼ x 2 ¼ inches ISSustrated: New York Review of Books, 30 JuSy 1964, ‘Bee-Keeper’ by Christopher Ricks (a review of The Scarperer and Hold Your Hour and Have Another by Brendan Behan); John Updike (intro), Pens and Needles. Literary Caricatures by David Levine, Boston MA: gambit, 1969, PaMe 142

DAVID LE VINE

Muriel Spark Born and educated in EdinburMh, MurieS Spark (1918-2006) Sived in Rhodesia foSSowinM her marriaMe in 1937. However, in 1940, she came to reaSise that her husband was a manic depressive capabSe of vioSent outbursts, so she Seft him and temporariSy pSaced their son in a convent schooS. She returned to Britain in 1944 and, foSSowinM the end of the Second WorSd War, beMan to write poetry and Siterary criticism, becominM the editor of Poetry Review (1947-48). In 1954, she converted to Roman CathoSicism, which she considered to be a cruciaS step towards her becominM a noveSist. The Comforters (1957) was the %rst of 22 noveSs, the most siMni%cant of which incSude Memento Mori (1959), The Prime of Miss Jean Brodie (her best known work, 1961), The Mandelbaum Gate (winner of the James Tait BSack MemoriaS Prize, 1965) and The Driver’s Seat (1970). Most are short and eSeMant, with touches of perversity and bSack humour. In 1993, she became a Dame Commander of the Order of the British Empire for her services to Siterature. From the earSy 1970s, she Sived in the Tuscan viSSaMe of OSiveto with the artist, PeneSope Jardine.

194 MURIEl SPARK SiMned and dated 90 Inscribed with titSe on reverse Pen and ink 13 ¾ x 10 ½ inches Provenance: David levine; The Sir Christopher Ondaatje CoSSection of literary Portraits ISSustrated: The New York Review of Books, 20 December 1990, ‘SociabSe Murder’ by gabrieSe Annan (a review of Spark’s Symposium)

195

196

DAVID LE VINE

Woody Allen The muSti-award winninM American %Smmaker, Woody ASSen (born 1935), beMan his career in his teens by seSSinM jokes to Broadway writers, and was soon writinM scripts for teSevision shows. He aSso wrote short stories and cartoon captions for The New Yorker and other maMazines. DurinM the 1960s, he suppSemented his writinM by performinM stand-up comedy, deveSopinM the persona of an insecure, inteSSectuaS ‘nebbish’ throuMh a series of monoSoMues. TypicaSSy, this was the character that he pSayed when he appeared in own %Sms, the %rst of which were sSapstick comedies, incSudinM Take the Money and Run (1969) and Sleeper (1973). The romantic comedy, Annie Hall (1977) proved a major turninM point, introducinM a new SeveS of seriousness and, in the process, MarnerinM four Academy Awards. This was foSSowed by Interiors (1978) and Manhattan (1979), which reveaSed the in uence of European art cinema. ASSen’s %Sms of the 1980s are often considered the most deveSoped of his oeuvre and incSude the romantic comedy fantasy, The Purple Rose of Cairo (1985), and the comedy dramas, Hannah and Her Sisters (1986, winner of three Academy Awards), and Crimes and Misdemeanors (1989). However, ASSen himseSf thinks that the psychoSoMicaS thriSSer, Match Point (2005), which divided opinion, is possibSy his best %Sm.

195 WOODY AllEN SiMned and dated 79 Pen and ink 13 x 10 ¼ inches ISSustrated: New York Review of Books, 16 AuMust 1979, ‘letter from “Manhattan”’ by Joan Didion (a review of Manhattan, Interiors and Annie Hall)

DAVID LE VINE

Tom Stoppard Tom Stoppard (born 1937) ed his birthpSace of ZSin, in CzechosSovakia, in the wake of imminent Nazi occupation, and spent the Second WorSd War in SinMapore and India. He settSed with his famiSy in Britain in 1946, and took his stepfather’s surname. On SeavinM schooS, he became a journaSist and then a pSaywriMht. In 1966, he attracted much attention with his absurdist traMicomedy, Rosencrantz and Guildenstern Are Dead, which was in uenced by SamueS Beckett’s Waiting for Godot. This was foSSowed by many other inventive staMe pSays, incSudinM Travesties (1974), Every Good Boy Deserves Favour (1977, with music by André Previn), The Real ThinM (1982), Arcadia (1993) and The Invention of Love (1997). He has aSso written for teSevision, radio and %Sm, winninM an Academy Award for Best OriMinaS ScreenpSay for Shakespeare in Love (1998). His work often treats such themes as human riMhts and poSiticaS freedom with dazzSinM wit and a stronM sense of theatricaSity. He was kniMhted in 1997 and admitted to the Order of Merit in the year 2000.

196 TOM STOPPARD SiMned and dated 95 Inscribed with titSe on reverse Pen and ink 13 ¾ x 10 ¾ inches Provenance: David levine; The Sir Christopher Ondaatje CoSSection of literary Portraits ISSustrated: The New York Review of Books, 8 June 1995, ‘Twice Around the grounds’ by Anne Barton (a review of Stoppard’s Arcadia)

197

198

DAVID LE VINE

Margaret Atwood The accSaimed Canadian writer, MarMaret Atwood (born 1939), %rst received recoMnition as a poet, her %rst two coSSections – Double Persephone (1961) and The Circle Game (1966) – both winninM awards. However, whiSe she has continued to write and pubSish poetry that re ects her essentiaS preoccupations, she soon became better known as a noveSist. The %rst of her 18 noveSs, The Edible Woman, appeared in 1969, and set the tone for subsequent works in its expSoration of Mender and identity. She estabSished herseSf as an important voice in Canadian Siterature with her second noveS, Surfacing, and her %rst non-%ction work, Survival: A Thematic Guide to Canadian Literature (both 1972). Her reputation was con%rmed by the reception of her sixth noveS, the specuSative dystopian fabSe, The Handmaid’s Tale (1985), which won both the Arthur C CSarke Award and the governor generaS’s Award. As the resuSt of subsequent adaptations, notabSy the 2017 teSevision series, and a prize-winninM sequeS, The Testaments (2019), this has become her best known work. Other major noveSs incSude Cat’s Eye (1988), Alias Grace (1996), The Blind Assassin (2000) and Oryx and Crake (2003), the Sast siMnaSinM her increasinM concern for mankind’s e ect on the environment. She has aSso produced chiSdren’s books, Mraphic noveSs and many short stories. Her achievements outside of writinM incSude the invention of the remote siMnaSinM device, LongPen (2006), whiSe her many honours incSude the PEN Center USA's lifetime Achievement Award (2017). 197 MARgARET ATWOOD SiMned and dated 89 Inscribed with titSe on reverse Pen and ink 13 ½ x 10 ¾ inches Provenance: David levine; The Sir Christopher Ondaatje CoSSection of literary Portraits ISSustrated: The New York Review of Books, 27 ApriS 1989, ‘Mystery Women’ by Robert Towers (a review of Atwood’s Cat’s Eye and noveSs by SauS BeSSow and Susanna Moore)

ARNOLD ROTH

ARNO l D ROT H ArnoSd Roth (born 1929)

‘Arnold Roth is surely the most imaginative and humorous graphic artist of this or any other day. Even Max Beerbohm at his best would have to take a back seat.’ (George Plimpton, Paris Review) For a bioMraphy of ArnoSd Roth, pSease refer to The Illustrators, 2015, paMe 158.

199

198 OUR COTTONTAIl CORNUCOPIA RUNNETH O ER SiMned Pen ink and watercoSour with bodycoSour on board 18 x 20 ¾ inches ISSustrated: VIP: The Playboy Club Magazine: Tenth Anniversary Issue, SprinM 1970

200

ARNOLD ROTH

199 REMO E A CHAMPAgNE CORK WITH YOUR TEETH SiMned and inscribed with titSe Pen and ink 8 ½ x 11 inches ISSustrated: B l Andrews, Digging Your Own Grave, New York: St Martin’s Mass Market Paper, 1996 Exhibited: ‘The Americans Are CominM’, Chris BeetSes gaSSery, May 2015

200 TEll A FEMINIST THAT WHAT SHE REAllY NEEDS IS A MAN TO SlAP SOME SENSE INTO HER SiMned Inscribed with titSe beSow mount Pen and ink 6 ¾ x 9 ½ inches ISSustrated: B l Andrews, Digging Your Own Grave, New York: St Martin’s Mass Market Paper, 1996, PaMe 6 Exhibited: ‘The Americans Are CominM’, Chris BeetSes gaSSery, May 2015

ARNOLD ROTH

201 THE TENNIS gAME SiMned BodycoSour with watercoSour on tinted paper 18 ½ x 24 ½ inches

201

202

ED SOREL

ED SO R E l Edward SoreS (born 1929) Edward Sorel’s clever and unforgiving satire is the product of a lifetime spent observing and criticising the unpleasant reality of the American Dream. His experiences of recent history from the Great Depression to Al-Qaeda, and his disdain for the greasy politics in between, have lent his cartoons a formidable bite that those his junior rarely match. For a bioMraphy of Ed SoreS, pSease refer to The Illustrators, 2014, paMes 248-250.

202 lITERARY PORTRAITS (gEORgE ElIOT, MARCEl PROUST, NORMAN MAIlER , lEO TOlSTOY, lIllIAN HEllMAN , BERTOlT BRECHT, CARl JUNg , W B YEATS , AYN RAND , JEAN - PAUl SARTRE ) SiMned ChaSk 18 x 28 ½ inches Provenance: The Sir Christopher Ondatje literary Portrait CoSSection ISSustrated: Edward SoreS, Literary Lives, london: BSoomsbury, 2006, Dust Jacket

14 Contemporaries

204

MICHAEL FOREMAN

MICH A e l F OR e MA n MichaUM ForUmaT, RDI (borT 1938) While Michael Foreman is perhaps best known as one of the most outstanding contemporary creators of children’s books, he is a wide-ranging artist, illustrating literary classics and working as a painter. For a biography of MichaUM ForUmaT, pMUasU rUfUr to The Illustrators, 2018, pagUs 132-133.

MichaUM ForUmaT rUcUTtMy iMMustratUd his owT The Mermaid’s Christmas Adventure (MabUcroT Books, 2019) aTd MichaUM Morpurgo’s Boy Giant: Son of Gulliver (HarpUr CoMMiTs, 2019). Two furthUr books to his owT tUxts arU duU to bU pubMishUd: Happy Times (ATdUrsUT PrUss) aTd Noa and the Little Elephant (HarpUr CoMMiTs).

IT 2017, thU Chris BUUtMUs GaMMUry mouTtUd a major rUtrospUctivU, ‘MichaUM ForUmaT: TUMMiTg TaMUs’, which was accompaTiUd by a fuMMyiMMustratUd 140-pagU cataMoguU.

Michael Foreman introduces Soggy the Bear

‘PhiMip MoraT, author of thU Soggy the Bear books, was a MastUr MariTUr who

saiMUd thU ocUaTs of thU worMd uTtiM hU rUtirUd aTd rUturTUd to his TativU St IvUs aTd bUcamU a shUrmaT.

WhiMst out oT oTU of his shiTg trips oTU day, PhiM fouTd a watUrMoggUd tUddy bUar caught iT his TUts. HU took him homU, driUd him out aTd christUTUd him Soggy. OTU day, PhiM iTtroducUd Soggy to mU, his MoTg-timU friUTd, aTd I UTcouragUd him to writU thU story of thU rUscuU. A pMaT was hatchUd with our friUTd, RoT JohTs (who owTs thU MocaM bookshop iT St IvUs, togUthUr with sUvUraM othUr bookshops iT thU WUst CouTtry). RoT MikUd thU story, aTd I agrUUd to iMMustratU it, aTd so MabUcroT Books was borT aTd RoT bUcamU thU pubMishUr of thU Soggy SUriUs. Such was thU succUss of Soggy The Bear, that vU morU Soggy books havU foMMowUd iT his Soggy paw priTts.’

MICHAEL FOREMAN

203 (oppositU) SOGG' WO-lD lI e TO Tell THe lITTle GIRl He IS SAFe AnD HAPP' SigTUd WatUrcoMour with pUTciM 8 ¾ x 6 ¾ iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

205

204 THe lITTle GIRl B-IlT A SAnDCASTle AnD PlACeD HeR FA O-RITe TeDD' BeAR On TOP, SO He CO-lD lOO AT THe ROC S AnD THe Bl-e-GReen SeA SigTUd aTd iTscribUd with book titMU WatUrcoMour with pUTciM 11 ¼ x 17 ¼ iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

206

205 ‘THIS IS THe lIFe’, He THO-GHT. ‘I AM InG On M' eR' OWn CASTle.’ SigTUd aTd iTscribUd with book titMU WatUrcoMour with pUTciM 11 ¼ x 17 ¼ iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

MICHAEL FOREMAN

207

206 e eR' WA e TOO MORe OF THe SAnD BeneATH HIM AnD SlOWl' THe CASTle BeGAn TO CR-MBle SigTUd aTd iTscribUd with book titMU WatUrcoMour with bodycoMour aTd pUTciM 11 ½ x 17 ¼ iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

208

MICHAEL FOREMAN

207 He SAW THe Bl-e AnD SIl eR FISH DARTInG -nDeR HIM AS THe' WenT CRAz' ATTAC InG THe COlO-ReD FeATHeRS On THe FISHeRMen’S HOO S SigTUd aTd iTscribUd with book titMU WatUrcoMour with pUTciM 11 ½ x 17 iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

MICHAEL FOREMAN

209

208 GRABBInG THe GAFF He HOO eD THe lITTle BeAR B' THe SCARF ARO-nD HIS neC AnD HA-leD HIM InTO THe BOAT SigTUd aTd iTscribUd with book titMU WatUrcoMour with pUTciM 11 ¼ x 17 ¼ iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

210

MICHAEL FOREMAN

209 JAC AnD HIS GRAnDFATHeR TOO THe lITTle BeAR HOMe AnD GA e HIM A nICe WARM SOAP' BATH SigTUd WatUrcoMour with pUTciM 4 1 2 x 4 1 2 iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

210 THe nOISe THe BeAR HeARD WAS nOT HIS HeART B-T THe SlOW BeAT OF THe enGIne In THe WATeR SigTUd aTd iTscribUd with book titMU WatUrcoMour with bodycoMour aTd pUTciM 11 Â¼ x 17 Â¼ iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

MICHAEL FOREMAN

211 THe OlD FISHeRMAn CARRIeD SOGG' CAReF-ll' -P InTO HIS lI InG ROOM AnD PlACeD HIM In THe ReSC-e CHAIR WITH All THe OTHeR lITTle PeOPle AnD CReAT-ReS He HAD FO-nD AnD HelPeD O eR THe 'eARS SigTUd aTd iTscribUd with book titMU WatUrcoMour with pUTciM 11 Â¼ x 12 Â¾ iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

212 THen THe' PeGGeD HIM -P In THe BATHROOM B' HIS eARS, WHICH SOGG' THO-GHT WAS A BIT M-CH, -nTIl He HAD DRIeD RIGHT THRO-GH SigTUd WatUrcoMour with pUTciM 4 1 2 x 4 1 2 iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

211

212

MICHAEL FOREMAN

213 SOGG' nOW GOeS WITH JAC ’S GRAnDFATHeR TO SCHOOlS TO HelP HIM Tell CHIlDRen HOW DAnGeRO-S IT CAn Be IF 'O- ARe nOT CAReF-l On THe BeACH SigTUd aTd iTscribUd with book titMU WatUrcoMour with pUTciM 11 ½ x 11 ¾ iTchUs IMMustratUd: PhiMip MoraT, Soggy the Bear, PMymouth: MabUcroT Books, 2006, [uTpagiTatUd]

MICHAEL FOREMAN

214 TH-MBelInA SigTUd aTd iTscribUd with titMU ITscribUd ‘from, MichaUM ForUmaT’s CMassic Fairy TaMUs. 2005’ bUMow mouTt WatUrcoMour with pUTciM 13 ½ x 9 ¾ iTchUs IMMustratUd: MichaUM ForUmaT (rUtUMMUr), Classic Fairy Tales, loTdoT: ChrysaMis ChiMdrU’'s Books, 2005, PagU 173, ‘ThumbUMiTa’

215 THe CORn DOll' SigTUd twicU, iTscribUd with titMU aTd ‘TUrry JoTUs Fairy TaMUs’, aTd datUd 1981 CoMourUd iTks with pUTciM 12 ¾ x 9 ½ iTchUs IMMustratUd: TUrry JoTUs, Fairy Tales, loTdoT: PaviMioT Books, 1981, PagU 10, ‘ThU CorT DoMMy’

213

214

MICHAEL FOREMAN

216 THe e' SigTUd twicU, iTscribUd with titMU aTd ‘TUrry JoTUs Fairy TaMUs’, aTd datUd 81 CoMourUd iTks with pUTciM 13 x 9 ¾ iTchUs IMMustratUd: TUrry JoTUs, Fairy Tales, loTdoT: PaviMioT Books, 1981, PagU 100, ‘ThU Uy’

217 FAR AWA' CASTle SigTUd twicU, iTscribUd with titMU aTd datUd 81 ITscribUd ‘TUrry JoTUs Fairy TaMUs’ bUMow mouTt CoMourUd iTks with pUTciM 11 ¾ x 9 ½ iTchUs IMMustratUd: TUrry JoTUs, Fairy Tales, loTdoT: PaviMioT Books, 1981, PagU 117, ‘Far-Away CastMU’

MICHAEL FOREMAN

218 CAROl SInGeRS SigTUd, iTscribUd with titMU aTd datUd ’99 WatUrcoMour with bodycoMour aTd pUTciM 10 ¼ x 8 iTchUs IMMustratUd: MichaUM ForUmaT (Ud), Michael Foreman’s Christmas Treasury, loTdoT: PaviMioT ChiMdrUT’s Books, 1999, PagU 41, ‘CaroMs iT GMoucUstUrshirU’

215

216

219 WInTeR MORnInG SigTUd aTd iTscribUd with titMU SkUtch of boy oT rUvUrsU WatUrcoMour aTd pUTciM 9 ½ x 6 ½ iTchUs IMMustratUd: MichaUM ForUmaT (Ud), Michael Foreman’s Christmas Treasury, loTdoT: PaviMioT ChiMdrUT’s Books, 1999, PagU 53, ‘WiTtUr MorTiTg’

MICHAEL FOREMAN

220 THe DeCORATeD FOReST SigTUd, iTscribUd with titMU aTd datUd 1999 WatUrcoMour with bodycoMour aTd pUTciM 11 x 8 ½ iTchUs IMMustratUd: MichaUM ForUmaT (Ud), Michael Foreman’s Christmas Treasury, loTdoT: PaviMioT ChiMdrUT’s Books, 1999, PagU 51, ‘ThU DUcoratUd ForUst’

MICHAEL FOREMAN

221 MeRR' CHRISTMAS TO All AnD TO All A GOOD nIGHT! SigTUd aTd iTscribUd with titMU WatUrcoMour with bodycoMour aTd pUTciM 6 ½ x 8 ½ iTchUs IMMustratUd: MichaUM ForUmaT (Ud), Michael Foreman’s Christmas Treasury, loTdoT: PaviMioT ChiMdrUT’s Books, 1999, PagU 73, ‘ThU night BUforU Christmas’

217

218

MICHAEL FOREMAN

222 THRee SHIPS. ST I eS SigTUd aTd iTscribUd with titMU WatUrcoMour with bodycoMour 7 ¼ x 5 ¼ iTchUs IMMustratUd: MichaUM ForUmaT (Ud), Michael Foreman’s Christmas Treasury, loTdoT: PaviMioT ChiMdrUT’s Books, 1999, PagU 122

AL AN LEE

219

Al A n l e e

AMaT JohT lUU (borT 1947) Alan Lee is one of the foremost illustrators of myth and fantasy working today. Establishing his interests and his meticulous approach while still a student, he has carried the great British tradition of gift book illustration into the present, introducing it to a new audience. He has done this through both his own drawings and his designs for the phenomenally successful lm versions of J R R Tolkienâ&#x20AC;&#x2122;s The Lord of the Rings and The Hobbit. His many awards include an Academy Award for the Best Art Direction for The Lord of the Rings: The Return of the King. For a biography of AMaT lUU, pMUasU rUfUr to The Illustrators, 2017, pagU 75.

223 PeReD-R SigTUd oT back MabUM oT backboard WatUrcoMour 12 Â½ x 11 3 4 iTchUs IMMustratUd: The Mabinogion, HUTdrik-Ido-Ambacht, ThU nUthUrMaTds: DragoTâ&#x20AC;&#x2122;s DrUam, 1982, PagU 198, â&#x20AC;&#x2DC;ThU Proud OTU of thU CMUariTgâ&#x20AC;&#x2122;

Peredur PUrUdur is thU PUrcUvaM of thU ArthuriaT MUgUTds, aTd thU ParsifaM of WagTUrâ&#x20AC;&#x2122;s opUra of that TamU, famous for his iTvoMvUmUTt iT thU quUst for thU HoMy GraiM. The Mabinogion, iT which hU appUars, is a coMMUctioT of mUdiaUvaM WUMsh maTuscripts, mostMy of thU fourtUUTth cUTtury. First traTsMatUd by lady CharMottU GuUst, aTd pubMishUd bUtwUUT 1838 aTd 1849, it comprisUs potUTt TatioTaM mythoMogy, iTcMudiTg somU UarMy vUrsioTs of ArthuriaT storiUs.

220

PETER CROSS

Pe T e R C RO S S

PUtUr Cross (borT 1951) From 1975, Peter Cross began to emerge as an illustrator of great originality, making his name with books that continue to delight children and adults alike. Unwilling to restrict his fertile imagination to two dimensions, he also created a series of eccentric cabinets of curiosities. Such richness and variety were then directed towards advertising and, in particular, to delightful work for the company, Wine Rack. Cross’s dry, yet charming visual-verbal wit has reached a wide international public through designs for greetings cards, rst for Gordon Fraser (Hallmark 1995-2000) and then for The Great British Card Company. For a biography, pMUasU rUfUr to The Illustrators, 2018, PagU 150.

224 A WARM GlOW SigTUd with iTitiaMs PUT iTk aTd watUrcoMour 8 ½ x 6 ½ iTchUs IMMustratUd: DUsigT for a grUUtiTgs card for HaMMmark

225 M-ICeD B-nS SigTUd with iTitiaMs, iTscribUd with titMU aTd datUd 2020 PUT iTk aTd watUrcoMour 8 x 10 iTchUs

PETER CROSS

227 TOASTIe TOeS SigTUd with iTitiaMs aTd iTscribUd with titMU PUT iTk aTd watUrcoMour 5 x 4 ½ iTchUs IMMustratUd: DUsigT for a grUUtiTgs card for HaMMmark

228 CHRISTMAS nIGHT SigTUd with iTitiaMs WatUrcoMour with bodycoMour 9 x 13 ¼ iTchUs

226 (oppositU) zOOMInG SigTUd with iTitiaMs aTd datUd 2020 PUT iTk aTd watUrcoMour 3 ¾ x 4 ¼ iTchUs

221

229 A PReSenT e CHAnGe SigTUd with iTitiaMs WatUrcoMour aTd pUTciM 4 x 4 iTchUs IMMustratUd: DUsigT for a grUUtiTgs card for HaMMmark

222

SARA MIDDA

SAR A M I DDA

Sara Midda (borT 1951) Sara Midda has gained an international reputation for her illustrated books and her product designs. While her work is often enchantingly diminutive in scale, it ranges in character from delicate, jewel-like watercolours to sharply humorous, even surreal, pen and ink drawings. Handwritten words combine actively with the images, whether as speech emitting from the mouths of ever characterful gures or in longer texts. If humans and animals are revealed at both their most vulnerable and their most endearing, the world that they inhabit is essentially edenic, a veritable garden of delights. For a biography of Sara Midda, pMUasU rUfUr to The Illustrators, 2016, pagUs 118-119. nos 230-233 wUrU aMM drawT for aT AmUricaT tUMUvisioT MistiTgs maga iTU, circa 1970s

231 THe PAGeAnT lIne-P SigTUd PUT aTd iTk 2 ¾ x 3 ¼ iTchUs

230 THe Q-een AnD HeR SCePTRe SigTUd PUT aTd iTk 4 x 2 ½ iTchUs

232 THe Q-een On HeR lITTeR SigTUd PUT aTd iTk 2 ¼ x 3 ¾ iTchUs

SARA MIDDA

233 THe COROnATIOn SigTUd, PUT aTd iTk, 2 ½ x 2 iTchUs

223

234 THe HOll'WOOD HAT SigTUd PUT aTd iTk 3 ¼ x 3 iTchUs IMMustratUd: The New York Times

235 THe CAT DAnCInG On M' HAT SigTUd PUT aTd iTk with watUrcoMour 4 ¼ x 2 iTchUs

236 TA InG THe CATS FOR A WAl SigTUd PUT aTd iTk with watUrcoMour 4 ½ x 6 ¼ iTchUs

224

SARA MIDDA

nos 237-246 arU aMM iMMustratUd iT Sara Midda, In and Out of the Garden, nUw 'ork: WorkmaT PubMishiTg, 1981, [uTpagiTatUd]

237 (abovU right) DA'S OF RIPeneD FR-IT, WHeRe BeRRIeS H-nG In Cl-STeRS AnD THe FORBIDDen Pl-M PRO eD TOO TeMPTInG SigTUd PUT iTk aTd watUrcoMour 4 x 3 iTchUs

238 'O- WHO eMPlO' 'O-R TIMe TO C-lTI ATe 'O-R GARDenS, AnD TO MA e THeIR GlOR' GReAT SigTUd PUT iTk aTd watUrcoMour 4 x 1 Â¾ iTchUs

239 (bUMow right) C-STOMS OF lO e SigTUd PUT iTk aTd watUrcoMour 4 x 4 iTchUs

SARA MIDDA

225

240 eSPAlIeRS SigTUd WatUrcoMour with pUTciM 2 ¾ x 3 ¼ iTchUs

241 TOPIAR' SigTUd PUT aTd iTk with pUTciM 5 ¼ x 4 ¼ iTchUs

242 CHAMOMIle SigTUd WatUrcoMour with pUT aTd iTk 3 ¾ x 3 ¼ iTchUs

226

SARA MIDDA

243 MA e A lITTle SQ-ARe OR RO-nD HOle In A TRee OR In SOMe GReAT ARMe THeReOF SigTUd PUT iTk aTd watUrcoMour 5 ½ x 4 iTchUs

244 THe PleAS-ReS OF An ORCHARD SigTUd PUT iTk aTd watUrcoMour 4 x 3 ¼ iTchUs

SARA MIDDA

245 FAR BelOW WHeRe eARTH WORMS TOIl, RADISHeS, JeWel OF THe -nDeRWORlD, ARe Q-IC l' SWellInG SigTUd PUT iTk aTd watUrcoMour 5 x 3 ½ iTchUs

227

246 THe APPle SigTUd PUT iTk aTd watUrcoMour 5 ¼ x 3 iTchUs

228

SARA MIDDA

nos 247-262 arU aMM dUsigTs for statioTUry for Mitsukoshi, a JapaTUsU chaiT of dUpartmUTt storUs

247 An e CHAnGe OF BOneS SigTUd PUT iTk aTd watUrcoMour 2 ½ x 4 iTchUs

250 (bUMow) SHOeS FOR CATS SigTUd PUT iTk aTd watUrcoMour 1 x 2 iTchUs

248 THe DOG WITH THe CHRISTMAS TRee TAIl SigTUd PUT iTk aTd watUrcoMour 1 ¼ x 1 ¾ iTchUs 249 M' BeST FRIenD SigTUd aTd iTscribUd with titMU PUT iTk aTd watUrcoMour 1 ½ x 3 iTchUs 251 (bUMow right) e CHAnGInG GIFTS SigTUd PUT iTk aTd watUrcoMour 1 x 2 ¼ iTchUs

SARA MIDDA

252 THe CAnDleSTIC CAT SigTUd PUT iTk aTd watUrcoMour 2 ½ x 2 ¼ iTchUs

253 A DOG FOR THe WInTeR (COMeS eQ-IPPeD AS HOT WATeR BOTTle ) SigTUd PUT aTd iTk with watUrcoMour 3 x 3 ½ iTchUs

229

254 THe DOG WITH THe CAnDle TAIl SigTUd PUT iTk aTd watUrcoMour 1 ½ x 1 ¾ iTchUs 255 FOR 'OSigTUd PUT iTk aTd watUrcoMour 1 ¼ x 2 iTchUs

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SARA MIDDA

256 A GAMe OF CAT AnD MO-Se SigTUd PUT iTk aTd watUrcoMour 1 x 3 ¾ iTchUs

257 WHAT CO-lD IT Be? SigTUd PUT iTk aTd watUrcoMour 2 ¼ x 1 ¾ iTchUs

258 THe CAT GOlDFISH BOW SigTUdl PUT iTk aTd watUrcoMour 2 ¾ x 2 ½ iTchUs

259 THAn 'O- ... SigTUd PUT iTk aTd watUrcoMour 4 ¼ x 2 ¾ iTchUs

SARA MIDDA

260 M' CARROT CA e SigTUd PUT iTk aTd watUrcoMour 2 x 2 iTchUs

262 THe PeT RHInOCeROS SigTUd PUT iTk aTd watUrcoMour 2 ¼ x 4 iTchUs

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261 FROM Me SigTUd PUT iTk aTd watUrcoMour 1 ¼ x 1 ½ iTchUs

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SIMON DRE W

SIM O n DR e W

SimoT Brooksby DrUw (borT 1952) Simon Drew has combined his zoological training, his skill as a draughtsman, and his inventive approach to languages to create a unique and highly popular comic art.

For Uach of thU Mast Uight yUars, SimoT DrUw has producUd thU ‘Spot Pu MU’ iT thU Christmas issuU of The Spectator. This yUar, hU producUd thU doubMU pagU ‘lockdowT CoTuTdrum’ for thU Daily Mail aTd two morU for The Spectator.

For a biography of SimoT DrUw, pMUasU rUfUr to The Illustrators, 2018, PagU 157. nos 263-269 arU aMM dUsigTs for GrUUtiTgs Cards

263 THe HO-nD OF M-SIC SigTUd aTd iTscribUd with titMU PUT iTk aTd coMourUd pUTciM 7 ½ x 6 iTchUs IMMustratUd: Famous Phrases, SimoT DrUw’s CaMUTdar 2021, March

264 HIPPO CAMPeRS SigTUd aTd iTscribUd with titMU PUT iTk aTd coMourUd pUTciM 4 ¾ x 6 iTchUs

SIMON DRE W

265 M-SICAl MeDICIneS SigTUd aTd iTscribUd with titMU PUT iTk aTd coMourUd pUTciM 7 Â½ x 11 iTchUs

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234

266 GRO-P P-G SigTUd aTd iTscribUd with titMU PUT iTk aTd coMourUd pUTciM 7 x 5 ½ iTchUs

SIMON DRE W

267 CAT-O-PIllARS SigTUd aTd iTscribUd with titMU PUT iTk aTd coMourUd pUTciM 7 ½ x 6 iTchUs

SIMON DRE W

268 PIn FRe-D SigTUd aTd iTscribUd with titMU PUT iTk aTd coMourUd pUTciM 7 ¼ x 5 ½ iTchUs IMMustratUd: Famous Phrases, SimoT DrUw’s CaMUTdar 2021, JuMy

269 We B-' An' CAT.COM SigTUd aTd iTscribUd with titMU PUT iTk aTd coMourUd pUTciM 7 ½ x 6 iTchUs

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236

AMANDA HALL

AMA n DA H A l l AmaTda HaMM (borT 1956) Amanda Hall is an award-winning contemporary illustrator, particularly renowned for her wonderfully decorative and colourful children’s book illustrations, as well as her work for educational publications both in Britain and America. For a biography of AmaTda HaMM, pMUasU rUfUr to The Illustrators, 2011, pagU 356. nos 270-276 arU aMM iMMustratUd iT JamiMa GaviT, Tales from India, loTdoT: TUmpMar PubMishiTg, 2011 270 SO MAn- WenT All O eR THe WORlD SigTUd WatUrcoMour, iTk aTd bodycoMour 14 x 24 iTchUs IMMustratUd: PagUs 30-31, ‘MaTu, thU Fish aTd thU FMood’

DuriTg 2020, AmaTda has bUUT busy addiTg thU TaM touchUs to hUr TUw U-commUrcU wUbsitU www.amaTdahaMM-iMMustratioT.com, which is to bU MauTchUd shortMy. To hUar TUws aTd updatUs about AmaTda’s work, pUopMU wiMM bU wUMcomU to joiT hUr maiMiTg Mist via hUr TUw wUbsitU coTtact pagU. AmaTda is currUTtMy iMMustratiTg JUTTifUr BUrTU’s How the Sea Came to Be for eUrdmaTs Books for 'ouTg RUadUrs, which wiMM bU pubMishUd iT 2022. ShU is aMso MookiTg forward to pubMicatioT by Wisdom TaMUs iT UarMy 2022 of hUr book Little Bear. littMU BUar is AmaTda’s sUcoTd coMMaboratioT with chiMdrUT’s author DawT CasUy (foMMowiTg Babushka iT 2015). AmaTda’s books havU soMd ovUr 500,000 copiUs worMdwidU.

AMANDA HALL

271 THe MO-nTAIn CH-RneD THe SeA SigTUd WatUrcoMour, iTk aTd bodycoMour 12 x 9 ½ iTchUs IMMustratUd: PagU 13, ‘How thU WorMd BUgaT’

237

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AMANDA HALL

272 A BeA-TIF-l WHITe HORSe WAS TO Be SeT FRee SigTUd WatUrcoMour, iTk aTd bodycoMour 10 x 10 iTchUs IMMustratUd: PagUs 34-35, ‘How thU RivUr GaTga CamU to earth’

273 THe' MADe THeIR WA' THRO-GH THe FOReST SigTUd WatUrcoMour, iTk aTd bodycoMour 5 ¼ x 10 iTchUs IMMustratUd: PagU 65, ‘HaTumaT, thU GrUatUst’

AMANDA HALL

274 nOBel PRInCeSS, I COMe FROM RAMA SigTUd WatUrcoMour, iTk aTd bodycoMour 12 x 11 ¼ iTchUs IMMustratUd: PagU 62, ‘HaTumaT, thU GrUatUst’

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AMANDA HALL

275 WHO IS THIS M'STeRIO-S WARRIOR SigTUd WatUrcoMour, iTk aTd bodycoMour 7 ¼ x 8 iTchUs IMMustratUd: PagU 80, ‘ThU BattMU of eightUUT Days’

276 (oppositU) ARJ-nA leT Fl' HIS ARROW SigTUd WatUrcoMour, iTk aTd bodycoMour 12 ¼ x 12 ¼ iTchUs IMMustratUd: PagU 85, ‘ThU BattMU of eightUUT Days’

AMANDA HALL

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242

ED MCL ACHL AN

eD M C l AC Hl A n

edward RoMMaTd McMachMaT (borT 1940) Ed McLachlan’s cartoons o er a comical but often cutting commentary on modern life. From his gormless, baggy-suited businessmen to his ungainly bucktoothed women, his undeniably British sense of humour makes him a master of the macabre with an eye for the ridiculous. In every cleverly observed image, he takes the mundane and delivers the hilariously absurd. For a biography of ed McMachMaT, pMUasU rUfUr to The Illustrators, 2002, pagU 110.

277 M' H-SBAnD AlWA'S SA'S IF 'O- WAnT A GOOD JOB DOInG, THen DO IT 'O-RSelF SigTUd, iTscribUd with titMU aTd datUd 2020 PUT aTd iTk with watUrcoMour 10 x 14 ½ iTchUs IMMustratUd: RUdraw of a cartooT which origiTaMMy appUarUd iT Punch

ED MCL ACHL AN

278 A CAT HAS Been DIAGnOSeD WITH COROnA IR-S SigTUd, iTscribUd with titMU aTd datUd 12/9/20 PUT iTk aTd watUrcoMour 8 ¾ x 11 ¾ iTchUs

279 nOW IF 'O- See THe PeRSOn WHO ROBBeD 'O-, POInT HIM O-T SigTUd, iTscribUd with titMU aTd datUd 6/8/20 PUT aTd iTk with watUrcoMour 6 ½ x 14 ½ iTchUs IMMustratUd: RUdraw of a cartooT that origiTaMMy appUarUd iT Private Eye, 9 OctobUr 2020, PagU 25

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244

ED MCL ACHL AN

280 AS 'O- CAn See, FOl S, THeRe WAS OnCe A STROnG enGlISH InFl-enCe HeRe On eASTeR ISlAnD MAn' 'eARS AGO SigTUd aTd iTscribUd with titMU PUT iTk aTd watUrcoMour 12 ½ x 9 ¼ iTchUs IMMustratUd: The Oldie, May 2020, Arts SUctioT

ED MCL ACHL AN

281 I WISH I HADn’T ORDeReD THe SWORDFISH eBABS SigTUd aTd iTscribUd with titMU PUT iTk aTd watUrcoMour with bodycoMour 9 ½ x 14 iTchUs IMMustratUd: Private Eye, 31 JuMy 2020, PagU 38

282 CO ID & GOlIATH SigTUd aTd iTscribUd with titMU PUT iTk aTd watUrcoMour 12 ½ x 15 iTchUs

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ED MCL ACHL AN

283 THe DOCTOR WAS SO WORRIeD ABO-T M' PH'SICAl STATe, He TOO Me OFF STATInS AnD P-T Me On P-TInS InSTeAD SigTUd aTd iTscribUd with titMU PUT aTd iTk with watUrcoMour 9 ¼ x 11 iTchUs IMMustratUd: Salisbury Review

284 I J-ST CAn’T BelIe e SOMe OF THe ST-FF PeOPle P-T DOWn THeIR TOIleTS SigTUd aTd iTscribUd with titMU PUT iTk aTd watUrcoMour 9 ¼ x 14 ¾ iTchUs IMMustratUd: Private Eye

PETER BROOKES

Pe T eR B RO O e S

PUtUr DUrUk BrookUs, CBe FRSA RDI (borT 1943) Peter Brookes maintains the most consistently high standard of any editorial cartoonist working in Britain today. His daily political cartoons and regular ‘Nature Notes’, produced for The Times, are always inventive, incisive and con dently drawn. They are the fruit of wide experience as a cartoonist and illustrator, and of complete independence from editorial intrusion. For a biography of PUtUr BrookUs, pMUasU rUfUr to The Illustrators, 2009, pagU 164.

285 AMeRICA’S SHAMe SigTUd aTd datUd ‘1 x 20’ PUT iTk aTd watUrcoMour 7 ¾ x 10 ¾ iTchUs IMMustratUd: The Times, 1 OctobUr 2020

286 I’M All FOR FACeMAS S ... MA eS Me lOO lI e THe lOne RAnGeR! SigTUd aTd datUd ‘3 vii 20’ PUT iTk aTd watUrcoMour 8 x 11 iTchUs IMMustratUd: The Times, 3 JuMy 2020

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PETER BROOKES

287 OH, DO Be PATIenT, PHIlIP! One HAS TO -Se WHAT PROTeCTIOn One’S GOT! SigTUd aTd datUd ‘18 iv 20’ PUT iTk aTd watUrcoMour 7 ½ x 10 ¾ iTchUs IMMustratUd: The Times, 18 ApriM 2020

288 TeSTInG ISn’T WOR InG SigTUd, iTscribUd ‘AftUr thU Saatchi & Saatchi Tory Ad’, aTd datUd ‘17 ix 20’ PUT iTk aTd watUrcoMour 7 ½ x 10 ¾ iTchUs IMMustratUd: The Times, 17 SUptUmbUr 2020

PETER BROOKES

289 MAn' OF 'O- ARe OFFenDeD B' MOn-MenTS TO THe PAST ... SigTUd datUd ‘12 vi 20’ PUT iTk aTd watUrcoMour 7 ¾ x 10 ¾ iTchUs IMMustratUd: The Times, 12 JuTU 2020

290 I BelIe e In One CO-nTR', TWO S'STeMS ... SigTUd aTd datUd ‘23 v 20’ PUT iTk aTd watUrcoMour 7 ½ x 10 ¾ iTchUs IMMustratUd: The Times, 23 May 2020

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250

MAT T

MAT T MatthUw PritchUtt, MBe (borT 1964), kTowT as ‘Matt’

For a biography of thU day, pMUasU rUfUr to The Illustrators, 2009, pagU 185. nos 291-301 arU aMM sigTUd, iTscribUd with titMU, drawT iT pUT iTk aTd watUrcoMour, aTd iMMustratUd iT thU Daily Telegraph

‘His genius lies in being witty without being nasty’ (CharMUs MoorU, quotUd iT Max DavidsoT, Daily Telegraph, 17 OctobUr 2008)

Matt’s much-loved pocket cartoons for the Daily Telegraph provide a consistently original take on the big news stories of the day.

291 THeSe CO ID ReSTRICTIOnS ARe InF-RIATInG. I J-ST WAnT TO Be ABle TO HA e A BRe IT ROW WITH M' GRAnDCHIlDRen 4 x 3 ½ iTchUs IMMustratUd: WUdTUsday 9 SUptUmbUr 2020

‘The frustrations, isolation and spirit of the protected elderly was never better expressed.’

Matt was awardUd CartooTist of thU 'Uar iT thU SociUty of editors’ natioTaM PrUss Awards for 2019.

292 AnD THIS IS THe BenCH DOMInIC C-MMInGS SAT On 4 x 3 ½ iTchUs IMMustratUd: Daily Telegraph, Friday 29 May 2020; The Best of Matt 2020, loTdoT: SUvUT DiaMs, 2020; Telegraph Magazine, 10 OctobUr 2020, ‘Matt picks his 15 favouritU cartooTs of 2020’

In Matt’s words, ‘Of course, Dominic Cummings. When everyone is making jokes it is di cult to nd one. But I thought about Barnard Castle, and how now the most famous thing about it isn’t the ruins any more. It’s probably the fact that Dominic Cummings went there.’

MAT T

251

Chris Beetles provides a commentary on this year’s selection of cartoons by Matt

293 lABO-R FOR THe MAn' BRe IT POSITIOnS nOT THe FeW 4 x 3 ½ iTchUs IMMustratUd: Daily Telegraph, Thursday 19 SUptUmbUr 2019; The Best of Matt 2020, loTdoT: SUvUT DiaMs, 2020

‘Matt’s parody of the Labour Party nostrum "For the many, not the few" suggests that of more interest to the electorate was its indecisive position on Brexit, which would harm its chances in the General Election three months later on 12 December 2019.’

294 THIS M-ST Be THe PlACe ... 4 x 2 ¾ iTchUs IMMustratUd: Saturday 29 SUptUmbUr 2018

‘As Conservative Party members started their annual conference in Birmingham, they would recall the disaster the year before, on 4 October 2017, when Theresa May coughed her way through her keynote speech while letters fell o the board behind the podium – a metaphor for a failing Prime Minister in dissolution.’

295 THe OBAMAS HA e ReMO eD All THe HAIR DR'eRS 4 x 2 ¾ iTchUs IMMustratUd: SuTday 22 JaTuary 2017

‘Donald Trump succeeded Barack Obama and took o ce as the 45th President of the United States on 20 January 2017, bringing his hair with him, and so ensuring four years of memorable responses from the cartoon community.’

252

296 I’M e PeCTInG A S-RPRISe leA e, FOllOWeD B' A CAll FOR -nIT' 4 x 2 ¾ iTchUs IMMustratUd: SuTday 26 JuTU 2016

‘The unexpected result in the EU Referendum – three days before this cartoon was published – divided the nation as 52% voted to leave. Matt’s comedic ability to con ate two major but unrelated events is combined with a spooky prescience as England was surprisingly knocked out of the European Football Championships a day later by Iceland, losing 2-1.’

MAT T

297 CHeeR -P, l- , THe Se IST OBJeCTIF'InG OF WOMen IS COMInG TO An enD 3 ½ x 2 ¾ iTchUs IMMustratUd: WUdTUsday 21 JaTuary 2015

298 PleASe Tell Me He DIDn’T TR' TO eAT A 'OR SHIRe P-DDInG 3 ¾ x 3 ¾ iTchUs IMMustratUd: WUdTUsday 2 JuMy 2014, ITsidU cartooT

‘The tabloid newspaper, The Sun, started showing naked models on “Page 3” in 1969. This controversial but popular tradition continued until March 2017 when it was considered to be an outdated fashion. Here Matt has even persuaded a sca older to eschew his leery wolf whistles in favour of a more considered assessment of the Gender Debate.’

‘Ed Miliband’s elegant relationship with a bacon sandwich went before him ... all the way to the General Election on 7 May 2015, which he lost to David Cameron.’

MAT T

253

299 HA e 'O- nOTICeD HOW M-CH BeTTeR THe WeATHeR WAS BAC THen? 4 x 3 ½ iTchUs IMMustratUd: SuTday 14 ApriM 2013

300 I’M AFRAID THe Fl- ACCIne IS ReSeR eD FOR eSSenTIAl PeOPle – D-STBIn Men 5 x 4 iTchUs IMMustratUd: Thursday 6 JaTuary 2011

301 I’ll DRI e 'O- TO CAlAIS On COnDITIOn THAT 'O- DOn’T TAl ABO-T nIC CleGG 5 x 4 iTchUs IMMustratUd: WUdTUsday 21 ApriM 2010

Margaret Thatcher, the Prime Minister of the United Kingdom from 1979 to 1990, died on 8 April 2013. There followed a slew of memorial documentaries and some very bad weather.’

‘Matt’s crystal ball is in use again as we now experience, ten years on, that the problems of key workers and the allocation of vital resources have not gone away.’

‘Volcanic eruptions in Iceland in April 2010 halted air ights across Europe forcing desperate plans on to travellers. Matt can never be enticed to publicly state his personal views (“I am too shallow to have political opinions”) but his puzzlement over the Liberal Party is summed up by his enduring admiration for Nick Clegg. The result of the General Election on the 6 May was a hung Parliament producing a coalition government of the Conservatives and the Liberals.’

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SELEC T BIBLIOGRAPHY

SEL EC T B I B L I O G R A P HY Backemeyer 2005 Sylvia Backemeyer (ed), Picture This: The Artist as Illustrator, London: Herbert Press, 2005

Mallalieu 1976 Huon Mallalieu, The Dictionary of British Watercolour Artists up to 1920, Woodbridge: Antique Collectors’ Club, 1976

Baker 2002 Martin Baker, Artists of Radio Times. A Golden Age of British Illustration, Oxford: The Ashmolean Press & Chris Beetles Ltd, 2002

Martin 1989 Douglas Martin, The Telling Line. Essays on fifteen contemporary book illustrators, London: Julia MacRae Books, 1989

Bryant 2000 Mark Bryant, Dictionary of Twentieth-Century British Cartoonists and Caricaturists, London: Ashgate, 2000

Matthew and Harrison 2004 H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004 (61 vols)

Bryant and Heneage 1994 Mark Bryant and Simon Heneage, Dictionary of British Cartoonists and Caricaturists 1730-1980, Aldershot: Scolar Press, 1994

Peppin and Mickelthwait 1983 Brigid Peppin and Lucy Mickelthwait, The Dictionary of British Book Illustrators: The Twentieth Century, London: John Murray, 1983

Clark 1998 Alan Clark, Dictionary of British Comic Artists, Writer and Editors, London: The British Library, 1998

Price 1957 R G G Price, A History of Punch, London: Collins, 1957

Driver 1981 David Driver (compiler), The Art of Radio Times. The First Sixty Years, London: BBC, 1981 Feaver 1981+ William Feaver, Masters of Caricature. From Hogarth and Gillray to Scarfe and Levine, London: Weidenfeld and Nicolson, 1981 Horne 1994 Alan Horne, The Dictionary of 20th Century Book Illustrators, Woodbridge: Antique Collectors’ Club, 1994 Houfe 1996 Simon Houfe, The Dictionary of British Book Illustrators and Caricaturists 1800-1914, Woodbridge: Antique Collectors’ Club, 1996 (revised edition)

Ray 1976 Gordon Norton Ray, The Illustrator and the Book in England from 1790 to 1914, New York: Pierpoint Morgan Library, 1976 Reid 1928 Forrest Reid, Illustrators of the Sixties, London: Faber & Gwyer, 1928 Souter 2007 Nick and Tessa Souter, The Illustration Handbook. A Guide to the World’s Greatest Illustrators, Royston: Eagle Editions, 2007 Spalding 1990 Frances Spalding, 20th Century Painters and Sculptors, Woodbridge: Antique Collectors’ Club, 1990 Spielmann 1895 M H Spielmann, The History of ‘Punch’, London: Cassell and Company, 1895

Johnson and Gruetzner Jane Johnson and Anna Gruetzner, The Dictionary of British Artists, 1880-1940, Woodbridge: Antique Collectors’ Club, 1986 (reprint)

Suriano 2000 Gregory R Suriano, The Pre-Raphaelite Illustrators, New Castle: Oak Knoll Press/London: The British Library, 2000

Khoury 2004 George Khoury (ed), True Brit. A Celebration of the Great Comic Book Artists of the UK, Raleigh, NC: TwoMorrows Publishing, 2004

Turner 1996 Jane Turner (ed), The Dictionary of Art, London: Macmillan, 1996 (34 vols)

Lewis 1967 John Lewis, The 20th Century Book, London: Herbert Press, 1967

Wood 1995 Christopher Wood, The Dictionary of Victorian Painting, Woodbridge: Antique Collectors’ Club, 1995 (2 vols)

CUMUL ATIVE INDE X

255

C UM U L ATI V E I N D E X O F C ATA LO G U ES ( 1991-2020) Dates in bold indicate entire chapters devoted to single illustrators A Abbey, Edwin Austin: 1997 Adams, Christian: 2011 Adams, Frank: 2007 Addams, Charles: 1991, 2015 Ahlberg, Janet: 1992 Aldin, Cecil: 1991, 1992, 1997, 1999 Aldridge, Alan: 2011 Allen, Daphne: 2003 Allingham, Helen: 1996, 1997 Anderson, Anne: 1991, 1996, 2001, 2011, 2012, 2014, 2017 Anton (Beryl Antonia Thompson and Harold Underwood Yeoman Thompson): 1991 Appleby, Barry: 2010, 2014 Appleton, Honor: 1991, 1992, 1993, 1997, 1999, 2002, 2003, 2007, 2008, 2009, 2010, 2014, 2017, 2018 Ardizzone, Edward: 1991, 1992, 1993, 1997, 1999, 2001, 2002, 2003, 2007, 2008, 2011, 2012, 2014, 2015, 2017, 2018, 2019 Aris, Ernest: 2007, 2010, 2011, 2019, 2020 Armour, George Denholm: 2010 Arno, Peter: 2016, 2019 Atkinson, Maud Tyndal: 1997 Attwell, Mabel Lucie: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2012, 2014, 2015, 2017, 2018, 2020 Austen, John: 1991, 1996, 2012 Ayrton, Michael: 1993, 1997 B V A B: 1991 Bacon, John Henry Frederick: 2012 Badmin, Stanley Roy: 1993, 1997, 2015, 2017 Louis Bailly: 2000 Bairnsfather, Bruce: 1992, 1999, 2007, 2008, 2015 Ball, Wilfrid: 1997

Banbery, Fred: 1999, 2000, 2002, 2017, 2020 Barker, Cicely Mary: 1991, 1992, 1993, 1999, 2018 Barker, Kathleen Frances: 2020 Barrett, Angela: 1992, 1997, 1999 Bartlett, William: 1997 Barton, Rose: 1997 Bastien, A-T-J: 1992 Batchelor, Roland: 1993 Bateman, Henry Mayo: 1991, 1992, 1993, 1997, 1999, 2000, 2001, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2015, 2016, 2017, 2019, 2020 Batt (Oswald Barrett): 1997, 2011 Bauerle, Amelia: 1991 Baumer, Lewis: 1991, 1999, 2010 Bawden, Edward: 1993, 1997 Baxter, Doreen: 1992, 1997 Baxter, Glen: 1997, 2003 Baxter, William Giles: 1993, 1996, 1999, 2003 Beadle, James: 1997 Beardsley, Aubrey: 1999, 2000, 2008, 2010, 2015 Beardsley, Aubrey, follower of: 1999 Bedford, Francis Donkin: 1997 Beek, Harmsen van der: 1999 Beerbohm, Max: 1992, 1993, 1997, 1999, 2000, 2002, 2007, 2008, 2010, 2011, 2012, 2014, 2017, 2020 Begg, Samuel: 1992 Belcher, George: 1991, 1992, 1993, 1996, 1997, 1999, 2002, 2003, 2007, 2010, 2011, 2014 Bell, Robert Anning: 1993, 1996, 1999, 2003, 2007 Bemelmans, Ludwig: 2020 Bentley, Nicholas: 1991, 2007, 2017 Bérard, Christian: 2016 Bernard, C E B: 1999, 2002 Berndt, Walter: 2015 Bestall, Alfred: 1993, 1999, 2011 Biro, Val: 2002 Blackmore, Katie: 1997

Blair, Preston: 1993, 1999 Blake, Quentin: 1991, 1992, 1997, 1999, 2001, 2003, 2007, 2008, 2010, 2011, 2015, 2016 Blampied, Edmund: 1992, 1993 Blathwayt, Ben: 1992, 2000 Bliss, Douglas Percy: 1993, 1997 Bond, Simon: 1993, 1997, 2001 Bone, Muirhead: 1992 Bonnec, Alain: 2016 Boswell, James: 1997 Boucher, William Henry: 1993 Bowman, Peter: 1992 Boxer, Mark: 1991, 2017, 2018, 2019, 2020 Boyd, Tracey: 1992, 1993 Bradshaw, Percy: 1992 Brandt, Bill: 2011 Brangwyn, Frank: 1992, 1999, 2020 Brickdale, Eleanor Fortescue: 1991 Brierley, Louise: 1997 Briggs, Raymond: 1993, 2003 Brock, Charles Edmund: 1992, 1993, 1997, 1999, 2010, 2012 Brock, Henry Matthew: 1991, 1992, 1993, 1996, 1999, 2012 Brockbank, Russell: 2002, 2003, 2007 Brooke, Leslie: 2009 Brookes, Peter: 1993, 1997, 1999, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2015, 2018, 2019, 2020 Browne, Gordon: 2003, 2012 Browne, Tom: 1991, 1992, 1997, 1999 Bryan, Alfred: 1993, 1999, 2003 Bull, René: 1991, 1992, 1997, 2019 Bunbury, Henry William: 1993 Burke, Chris: 1993 Burningham, John: 1993, 2002, 2003, 2007, 2017, 2018, 2019 Butterworth, Nick: 2002, 2003, 2009, 2010 C Caldecott, Randolph: 1991, 1992, 1996, 1999, 2003

Cameron, John: 1992 Cameron, Katharine: 1993, 1997, 2009 Canziani, Estella: 1993, 1996, 1999 Caran d’Ache (Emmanuel Poiré): 1992, 1993, 1999 Carse, Duncan: 1992, 2001, 2010, 2015 Cartlidge, Michelle: 2003 Casson, Hugh: 1991, 1992, 2002, 2003 Cattermole, George: 2012 Chalon, Alfred Edward: 1993 Cham (Amédée Charles Henri de Noé): 1991 Chapman, Charles Henry: 1999, 2002 Chapman, June Crisfield: 2007 Chesterton, Gilbert Keith: 1991, 1993, 2012 Churcher, Walter: 1992 Clark, Emma Chichester: 1999, 2008, 2009, 2010, 2011, 2015, 2017 Clarke, Harry: 1991, 1996, 2007, 2011, 2019 Claxton, Adelaide: 2003 Cleaver, Reginald: 1991 Cloke, Rene: 1996, 1999 Cobb, Rebecca: 2012, 2014 Coïdé (James Tissot): 2009 Cole, Richard: 1992, 1993 Collier, Emily E: 1996 Collins, Clive: 1993 Conder, Charles, follower of: 1993, 1999 Corbould, Edward Henry: 2003 Corbould, Richard: 2003 Cowham, Hilda: 1993, 1999, 2012 Cox, Paul: 1993, 1997, 2003, 2007, 2009, 2010, 2011, 2014, 2015, 2016, 2018 Crane, Walter: 1996, 1997, 1999, 2002, 2007, 2008, 2009, 2011 Cross, Peter: 1991, 1992, 1993, 1996, 1997, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2011, 2015, 2018, 2019, 2020 Crowe, Derek: 2007 Crowquill, Alfred: 1993, 2003, 2009

256

Cruikshank jnr, George: 1997, 1999 Cruikshank, Isaac: 1991, 1993, 1996, 1999, 2003, 2014 Cruikshank, Robert: 1993 Cubie, Alex: 1993 Cummings, Michael: 1992, 1997, 1999 Cushing, Howard Gardiner: 1999 Cusick, Jonathan: 2010, 2011, 2012, 2014, 2015, 2018, 2019 D Dadd, Frank: 2015 Dadd, Philip: 1997 Dadd, Richard: 1997 Daley, Mike: 1992 Darrow, Whitney: 2019 Davidson, Victoria: 2003, 2011, 2014 Davis, Jon: 1991, 1992, 1993 Dawson, Eric: 1993 de Grineau, Bryan: 1992 De La Bere, Stephen Baghot: 1991, 1992, 1997, 2001, 2008 Dennis, Ada: 1996 Dickens, Frank: 1993, 1997, 1999, 2003, 2011, 2014, 2016 Dickinson, Geoffrey: 2011 Dighton, Richard: 2014 Dighton, Robert: 2014 Disney, Walt (and the Disney Studio): 1991, 1993, 1999, 2000, 2002, 2003, 2019 Dixon, Charles: 1992 Dobson, Austin: 1996 Donnison, Thomas Edward: 2011 Doré, Gustave: 1997, 1999, 2009 Douglas (Thomas Douglas England): 1992, 1993 Doyle, Charles: 1991, 1992, 1997, 1999, 2002, 2003, 2007, 2009, 2011, 2012 Doyle, Richard: 1991, 1993, 1996, 1997, 1999, 2002, 2010, 2011 Draner, Jules-Renard: 1993 Drew, Simon: 1991, 1992, 1993, 1997, 1999, 2001, 2002, 2003, 2007, 2008, 2010, 2018, 2020 Du Cane, Ella: 1997 Dulac, Edmund: 1991, 1993, 1996, 1997, 2001, 2003, 2007, 2009, 2010, 2012, 2014, 2015, 2017 Du Maurier, George: 1991, 1992,

CUMUL ATIVE INDE X

1996, 1997, 1999, 2003, 2007, 2009, 2010, 2011, 2012, 2015, 2016, 2017, 2019 Duncan, John: 1991 Duncan, Walter: 1996 Dunlop, Jessie: 2016 Dyson, Will: 1993, 1997, 1999 E Earnshaw, Harold: 1996 East, Alfred: 1997 Edwards, Lionel: 1992 Egan, Beresford: 1997 Elgood, George Samuel: 1997 Elliott, James: 1999 Embleton, Ron: 2012 Emett, Rowland: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2003, 2007, 2008, 2009, 2011, 2014, 2016, 2017, 2019, 2020 Emmwood (John Musgrave Wood): 1991, 1993, 1997, 2002, 2007, 2010, 2011, 2014 Evans, Treyer: 2007 F Fantoni, Barry: 2014, 2015 Ferguson, Norman: 1993, 1999, 2003 ffolkes, Michael: 1991, 1993, 1997, 1999, 2014 Fitzgerald, John Anster: 1991, 1997, 1999, 2012 Flagg, James Montgomery: 2015 Flanders, Dennis: 1992 Flather, Lisa: 1991 Fletcher, Geoffrey Scowcroft: 1993 Flint, Francis Russell: 1992 Flint, William Russell: 1993 Folkard, Charles: 1991, 1992, 1997, 2003, 2010, 2019 Ford, Henry Justice: 2002, 2003, 2007, 2008, 2009 Ford, Noel: 1993 Foreman, Michael: 1991, 1992, 1993, 1997, 1999, 2001, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2018, 2019, 2020 Foster, Myles Birket: 1991, 1999 Fougasse (Cyril Kenneth Bird): 1991, 1992, 1993, 1996, 1999, 2003, 2009, 2014, 2015, 2017, 2019

François, André: 2009, 2014, 2016, 2017 Fraser, Claude Lovat: 1993 Fraser, Eric: 1991, 1992, 1993, 1997, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2017 Fraser, Gordon: 2015 French, Annie: 1991, 1992, 1997, 2003 Frith, Michael: 2010 Frost, William Edward: 1997, 2011 Fulleylove, John: 1996, 1997 Fullwood, John: 1997 Furniss, Harry: 1991, 1992, 1996, 1999, 2003, 2009, 2012 G Gaffney, Michael: 1991 Gardiner, Gerald: 1992, 1997, 2011 Garstin, Norman: 2003 Gaze, Harold: 1999, 2007, 2017 Gerrard, Roy: 2010, 2014, 2015, 2017, 2019 Gibbard, Les: 2011 Gibson, Charles Dana: 1991, 1999, 2017 Gilbert, John: 1993, 1996 Giles, (Carl Ronald Giles): 1991, 1992, 1993, 1996, 1997, 1999, 2001, 2002, 2007, 2008, 2009, 2011 Gilliam, Terry: 1992 Gilroy, John: 1997 Ginger, Phyllis: 1991, 1992, 1993 Glaser, Milton: 2015 Glashan, John: 1993, 2014, 2017, 2018, 2019, 2020 Goble, Warwick: 1997, 2002, 2007, 2008, 2010, 2011 Godfrey, Bob: 1993 Goldsmith, Beatrice May: 1996 Goodall, John Strickland: 1991, 1996, 1997 Goodwin, Harry: 1992 Gould, Francis Carruthers: 1992, 1996, 1999, 2003, 2009, 2010, 2012 Gould, Rupert Thomas: 1996 Grant, Keith: 2017 Granville, Walter: 1992 Greeley, Valerie: 1992

Green, Charles: 1991, 1997, 1999, 2012 Green, John Kenneth: 1993 Green, Winifred: 1996, 1999 Greenaway, Kate: 1991, 1992, 1996, 1997, 1999, 2000, 2001, 2003, 2007, 2010, 2012 Gruelle, Johnny: 2015 Guthrie, Thomas Anstey: 1997 H I C H: 1997 Haité, George: 1997 Hale, Kathleen: 1991, 1996, 2003, 2007, 2008, 2009, 2010, 2011, 2020 Hall, Amanda: 2011, 2012, 2014, 2015, 2017, 2019, 2020 Hall, Sidney Prior: 1991 Halswelle, Keeley: 1997 Hammond, Roy: 2017 Hampson, Frank: 2002, 2003, 2008 Hancock, John: 1999 Hankey, William Lee: 1992, 1999 Hardy, Dorothy: 1991 Hardy, Dudley: 1991, 1992, 1997, 1999, 2014 Hardy, Evelyn Stuart: 1993 Hargreaves, Harry: 2015 Haro (Haro Hodson): 1991 Harris, Herbert H: 2003 Harrison, Florence: 2007, 2008, 2011, 2014, 2015, 2017, 2019 Harrold, John: 1993 Hartrick, Archibald Standish: 1999 Harvey, William: 2014 Haselden, William Kerridge: 2010 Hassall, Ian: 1992, 1997 Hassall, Joan: 1992, 2011 Hassall, John: 1991, 1992, 1993, 1997, 1999, 2003, 2011, 2017 Hatherell, William: 1991, 2003 Hawkins, Colin: 1999 Hay, James Hamilton: 1997 Hayes, Claude: 1997 Haywood, Leslie: 1992 Heath, Michael: 1993 Henderson, Keith: 1992, 2015 Hennell, Thomas: 1991 Hennessy, William John: 2019 Henry, Thomas: 1999 Herbert, Susan: 1996

CUMUL ATIVE INDE X

HergĂŠ (Georges Remi): 1991 Hewison, Bill: 2007 Hickson, Joan: 1993 Hilder, Rowland: 1997 Hirschfeld, Al: 2007, 2015, 2016 Hodges, Cyril Walter: 1991, 1993, 1997, 2011, 2017 Hoffnung, Gerard: 1991, 1992, 1996, 1997, 1999, 2007, 2009, 2010, 2011, 2014, 2015, 2017, 2019, 2020 Honeysett, Martin: 1999 Hopkins, Arthur: 1996 Hopwood, Henry: 1997 Houghton, Arthur Boyd: 2002 Housman, Laurence: 1991, 2010 Howitt, Samuel: 1993 Hughes, Arthur: 2003 Hughes, Shirley: 2003 Hughes, Talbot: 1997 Hughes-Stanton, Herbert: 1997 Hunt, William Henry: 1996 Hunt, William Henry, follower of: 1997 Husband, Tony: 2003, 2007 I Illingworth, Leslie: 1992, 1997 Ivory, Lesley Anne: 1993, 1996 J Jacobs, Helen: 1992, 1996, 1997, 1999, 2002, 2007, 2008, 2009, 2010, 2011, 2014, 2015, 2016, 2017, 2018, 2020 Jacques, Robin: 1991, 1992, 1997 Jak (Raymond Allen Jackson): 1991, 1993, 1997, 1999 Jalland, G H: 1997 Janny, Georg: 1992, 2020 Jaques, Faith: 1991, 2009 Jeffers, Oliver: 2009, 2010, 2011, 2017 Jensen, John: 1991, 1993, 1997, 2008, 2009, 2011 Johnson, Jane: 1991, 1992, 1999, 2007, 2009 Johnstone, Anne Grahame: 1992, 1997, 1999, 2007 Johnstone, Janet Grahame: 1999, 2007 Jon (William John Philpin Jones): 1991 Jones, Jonah: 2014

K Kal (Kevin Kallaugher): 1991, 1992, 2014, 2015 Kapp, Edmond Xavier: 1999, 2007, 2011 Keene, Charles: 1991, 1992, 1993, 1997, 1999, 2003, 2007, 2009, 2010, 2011, 2012, 2014, 2015 Keeping, Charles: 1997, 2012 Kelly, Walt: 2003 Kimball, Ward: 1993, 2003 King, Jessie Marion: 1997, 1999, 2003 Kliros, Thea: 2003 Knight, Laura: 1993 Koren, Edward: 2015, 2019 L Lamb, Lynton: 1993, 1997, 2007, 2010, 2017 Lancaster, Osbert: 1991, 1993, 1997, 1999, 2003, 2008, 2009, 2011 Langdon, David: 1991, 1993, 1997 Langley, Jonathan: 1999, 2000, 2007, 2010 Langley, Walter: 1997 Lantoine, Fernand: 1992 Larcombe, Ethel: 1999 Larry (Terence Parkes): 1991, 1992, 1993, 1997, 1999, 2003, 2007, 2010, 2011, 2014, 2015, 2019 Lawson, John: 2015 Lear, Edward: 1993, 1996, 2002, 2003, 2012 Le Cain, Errol: 1997 Lee, Alan: 1991 (insert), 2010, 2017, 2020 Lee, Joseph: 2007, 2015 Leech, John: 1991, 1992, 1993, 1996, 2003, 2007, 2012, 2014 Leete, Alfred: 2014 Leighton, John: 2003 Leith, Barry: 2015 Leman, Martin: 1993 Leonard, Michael: 1991 Leslie, Charles Robert: 1993, 1996 Levine, David: 2008, 2010, 2014, 2015, 2016, 2019, 2020 Lewis, John Frederick: 1991

Linton, James Drogmole: 1997 Lodge, G B: 1991 Low, David: 1991, 1993, 1997, 1999, 2001, 2007, 2008, 2011, 2012, 2014, 2016, 2018 Lucas, John Seymour: 1997 Lucas, Sydney Seymour: 1993 Lusk, Don: 2003 Lynch, Bohun: 2007 Lynch, Patrick James: 1992 M Mac (Stanley McMurtry): 2007 Macbeth-Raeburn, Henry: 1997 Macdonald, Alister K: 1999, 2003, 2017 McDonald, Atholl: 2003, 2007, 2011 Macdonald, R J: 2002 McGill, Donald: 1991, 1992, 1997, 1999, 2010, 2011 Mackenzie, Thomas: 2020 McLachlan, Edward: 1997, 2002, 2003, 2007, 2008, 2010, 2014, 2015, 2018, 2019 MacWhirter, John: 1997 Maddocks, Peter: 1993, 1997 Magerl, Caroline: 2014, 2018, 2019 Mak, Paul: 2016 Mallet, Dennis: 1991, 2010 Mansbridge, Norman: 1991 Marc: see Boxer, Mark Marks, Henry Stacy: 1991, 1997 Marshall, Herbert Menzies: 1997 Marwood, Timothy: 1999 Matania, Fortunio: 1992 Matt (Matt Pritchett): 2007, 2009, 2010, 2011, 2012, 2014, 2015, 2016, 2018, 2019, 2020 Matthews, Rodney: 1991, 1993 Mavrogordato, Alexander: 1997 May, Phil: 1991, 1992, 1993, 1996, 1997, 1999, 2003, 2007, 2009, 2011, 2012, 2015, 2017, 2019, 2020 Mays, Douglas Lionel: 1997, 1999, 2007, 2008 Menpes, Mortimer: 1997, 1999 Meredith, Norman: 1991, 1992, 1993, 1997, 1999 Meugens, Sibyl: 1993 Meyrick, Kathryn: 1991 Midda, Sara: 1991, 1992, 1993,

257

2003, 2016, 2017, 2020 Mill, W: 1999 Millais, John Everett: 2002 Minnitt, Frank J: 2002 Minton, John: 2003 Moira, Gerald: 1997 Monsell, John Robert: 2003 Moore, Fred: 1993, 1999, 2003 Morrow, Edwin: 1993 Morton-Sale, Isobel: 1999, 2002, 2003, 2007 Morton-Sale, John: 1997, 1999, 2002, 2003, 2007, 2017 Munnings, Alfred: 1991 N Nash, Paul: 1993, 1997 Neasom, Norman: 2014 Nevinson, Christopher Richard Wynne: 2003 Newman, Henry Roderick: 1996 Newman, Nick: 2007 Nibs (Frederick Drummond Niblett): 2008, 2014, 2015 Nichols, Charles: 1993 Nicholson, William: 1992, 1999 Nielsen, Kay: 1993, 2001, 2007 Nixon, John: 1999, 2007 Nixon, Kay: 1997 O Odle, Alan: 1991, 1996, 2007, 2010 Oppenheimer, Joseph: 1997 Orrock, James: 1997 Ospovat, Henry: 2002 Outhwaite, Ida Rentoul: 1991, 1999, 2003, 2007, 2008, 2020 Overend, William Heysham: 2014 Oxenbury, Helen: 2003, 2007, 2008, 2009 P Paget, Wal: 2012 Palmer, Harry Sutton: 1991 Papas, William: 2007, 2014 Park, Bertram: 2011 Parsons, Alfred: 1992, 1997 Partridge, Bernard: 1997, 1999, 2002, 2014 Paton, Joseph Noel: 2003, 2015 Payne, David: 1992

258

Peake, Mervyn: 1997, 2002, 2003, 2007, 2008, 2010, 2012, 2016, 2018 Pears, Charles: 1991 Pearse, Susan Beatrice: 1996, 2003, 2014 Pegram, Frederick: 1993 Peploe, William Watson: 1996 Peto, Gladys: 1993, 2007 Phiz (Hablot Knight Browne): 1993, 1999, 2003, 2012 Pickersgill, Frederick Richard: 1997 Pinkney, Jane: 2011, 2012, 2014, 2015, 2016 Pisa, Alberto: 1997 Plauen, E O: 2016 Pogany, Willy: 1992 Pollard, N: 1991, 1996 Pont (Graham Laidler): 1991, 1992, 1993, 1996, 1999, 2014, 2016, 2017, 2018, 2019, 2020 Potter, Beatrix: 1991, 2002, 2007, 2010, 2011, 2020 Poy (Percy Hutton Fearon): 1999, 2007, 2009, 2010, 2011, 2014 Prance, Bertram: 2003 Preston, ChloĂŤ: 1999, 2007 Protheroe, Thomas: 1992 Pullen, Alison: 1993 Purton, William, 2015 Pyne, Ken: 1993

CUMUL ATIVE INDE X

Q Quiz (Powys Evans): 1993, 2007

RĂŠthi, Lili: 2007 Reynolds, Frank: 1991, 1992, 1993, 1996, 1997, 1999, 2001, 2002, 2003, 2007, 2008, 2010, 2011, 2015, 2020 Richards, Frank: 1992 Ricketts, Charles: 1993, 2009 Ridegewell, William Leigh: 2003 Rimington, Alexander: 1997 Ritchie, Alick: 1992 Roberson, Peter: 1992 Robertson, Henry: 1997 Robinson, Charles: 1992, 1993, 1996, 1997, 1999, 2003, 2007, 2010, 2011, 2014, 2015, 2017 Robinson, Thomas Heath: 2003, 2011, 2017 Robinson, William Heath: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2015, 2016, 2017, 2018, 2019, 2020 Rosoman, Leonard: 1997, 2011, 2018 Ross, Tony: 1999 Roth, Arnold: 2015, 2016, 2020 Rothenstein, William: 1997 Rountree, Harry: 1991, 1992, 1993, 1997, 1999, 2001, 2003, 2007, 2010 Rowlandson, Thomas: 1991, 1993, 1996, 1999, 2003, 2007, 2014 Rushton, William: 2003 Rutherston, Albert: 1992

R Rackham, Arthur: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2015, 2017, 2018, 2019, 2020 Raemaekers, Louis: 1992, 1999 Ralston, William: 2015 Raven-Hill, Leonard: 1992, 1997, 1999, 2003, 2007, 2010, 2012, 2015 Reed, Edward Tennyson: 1993, 1996, 1999, 2003, 2007, 2011, 2012, 2014, 2015 Reid, Stephen: 2003, 2012 Reitherman, Wolfgang: 1993, 1999, 2003

S Sainton, Charles Prosper: 1997 Salaman, F J B: 1999 Salmon, J M Balliol: 1999 Sambourne, Linley: 1996, 2003, 2007, 2010, 2015 Sandy, H C: 1991 Saul, Isabel: 1997 Scarfe, Gerald: 1991, 1992, 1993 Schulz, Charles Monroe: 1991, 1992, 1997, 2019 Schwabe, Randolph: 1997, 2016 Searle, Ronald: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2002, 2007, 2008, 2010, 2011, 2012, 2014, 2015, 2016, 2017, 2018, 2019, 2020

Severn, Arthur: 1996 Shackleton, William: 2007 Shannon, Charles: 1999 Sheldon, Charles Mill: 1999 Shaw, Byam: 1991, 1997, 2014 Shepard, Ernest Howard: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2015, 2016, 2017, 2018, 2019, 2020 Shepard, Mary: 2014 Shepherd, Thomas Hosmer: 2014 Shepherd, William James Affleck: 1993 Shepperson, Claude: 1997, 2007, 2010, 2012 Sheringham, George: 1992, 1997, 2007 Sherriffs, Robert Stewart: 1997, 2007, 2009, 2010, 2011, 2014 Sillince, William: 1991, 2003, 2014 Sime, Sidney Herbert: 1991, 1996, 1999, 2009, 2011, 2017 Simmons, John: 1997 Simmons, W St Clair: 1999 Simpson, Joseph W: 1993, 2007 Slater, Paul: 1999 Slocombe, Edward: 1997 Slocombe, Frederick: 1997 Small, William: 1999 Smith, Jessie Wilcox: 2007 Smythe, Reg: 1993, 1999 Soper, Eileen: 1991, 1997, 1999, 2003, 2008 Soper, George: 1991, 1997 Sorel, Ed: 2007, 2008, 2011, 2014, 2015, 2016, 2020 Sowerby, Millicent: 1991, 1992 Spare, Austin Osman: 1991, 1996 Sprod, George: 1997, 1999, 2010 Spurrier, Steven: 1992, 1999 Spy (Leslie Ward): 2009, 2010, 2011, 2012 Stacey, Walter Sydney: 2009 Stampa, George Loraine: 1991, 1992, 1993, 1997, 1999, 2003, 2007, 2010, 2012, 2014 Staniforth, Joseph Morewood: 2010 Staniland, Charles Joseph: 2014 Stanton, Charles Rebel: 2020

Steadman, Ralph: 1991, 1992, 1996, 1997 Steig, William: 2020 Stokes, Adrian: 1997 Stokes, Marianne: 1997 Stothard, Thomas: 1999 Stott, Bill: 2014, 2015 Strang, William: 2007 Strube, Sidney: 1999, 2003, 2007, 2014 Studdy, George Ernest: 1991, 1992, 1997, 1999, 2007, 2010, 2011 Sullivan, Edmund Joseph: 1991, 1992, 1997, 1999, 2009, 2010, 2012, 2016, 2018, 2019, 2020 Sullivan, James Frank: 2014 Swamy, S N: 2012 Swan, John Macallan: 1997 Swanwick, Betty: 1991, 1993, 1997, 2008, 2011, 2017 Szyk, Arthur: 2003 T Tansend: 1999 Tarrant, Margaret: 1992, 1993, 1996, 1997, 1999, 2002, 2003, 2007, 2008, 2010, 2012, 2014, 2015, 2017, 2018 Tarrant, Percy: 1991 Taylor, John Whitfield: 2003 Tennant, Stephen: 2003 Tenniel, John: 1991, 1992, 1993, 1996, 1997, 1999, 2003, 2007, 2009, 2010, 2011, 2012, 2014, 2015, 2019 Thackeray, Lance: 1992, 1997 Thelwell, Norman: 1991, 1992, 1993, 1997, 1999, 2002, 2007, 2009, 2010, 2011, 2014, 2015, 2017, 2019, 2020 Thomas, Bert: 1991, 1997, 1999, 2003, 2011, 2015 Thomas, Frank: 1993, 1999, 2003 Thomas, William Fletcher: 1993, 1996, 2003, 2014 Thomson, Hugh: 1991, 1997, 1999, 2015 Thorpe, James: 1991 Thurber, James: 1991 Tidy, Bill: 1993, 2014, 2015 Timlin, William Mitcheson: 1996, 1999 Titcombe, Bill: 1999

CUMUL ATIVE INDE X & INDE X

Topolski, Feliks: 1991, 2011, 2020 Tourtel, Mary: 1993, 1997, 2000, 2011 Townsend, Frederick Henry: 1999, 2010 Tunnicliffe, Charles Frederick: 2018, 2019 Tyler, Gillian: 2012, 2014, 2015, 2017 Tyndale, Walter: 1997 Tyndall, Robert: 1999 Tytla, Bill: 1993, 1999, 2003 U Umbstaetter, Nelly: 2007 Underhill, Liz: 1992 V Van AbbĂŠ, Salomon: 1997, 1999, 2011, 2014 Van der Weyden, Harry: 1992 Vaughan, Keith: 1991 Vicky (Victor Weisz): 1991, 1992, 1993, 1997, 1999, 2001, 2002, 2003, 2007, 2010, 2011, 2015 W Wain, Louis: 1996, 2007, 2010, 2017 Wainwright, Francis: 1991, 1997 Walker, Frederick: 1991, 1999 Walker, John Cuthbert: 2014 Walker, William Henry Romaine: 1993, 1996, 1999, 2010, 2014 Waller, Pickford: 2010 Ward, John: 2010 Ward, William: 1996 Waterman, Julian: 1993 Wateridge, Jonathan: 2002 Watts, Arthur: 2007 Webb, Clifford: 1993

Webster, Tom: 1992 Weedon, Augustus: 1997 Wehrschmidt, Daniel: 1997 Welch, Patrick: 1991 Wells, Rosemary: 1993 Wheeler, Dorothy: 1991 Wheelhouse, Mary Vermuyden: 2015, 2017 Whistler, Rex: 1991, 2003, 2008, 2009 Whitelaw, George: 2007, 2014 Wilkie, David: 1991 Wilkinson, Thomas: 1993 Williams, Kipper: 2007 Williams, Mike: 1999, 2002, 2003, 2007, 2010, 2014, 2015, 2019 Wilson, Thomas Walter: 2014 Wimbush, Henry: 1997 Wood, John Norris: 2012 Wood, Lawson: 1991, 1992, 1993, 1997, 1999, 2002, 2007, 2008, 2009, 2010, 2011, 2014 Wood, Starr: 1992, 1997, 1999, 2003, 2007, 2020 Woodward, George Murgatroyd: 2007 Wootton, Reg: 1991, 2003, 2011 Wright, Alan: 1991, 1996, 1997, 2011, 2012, 2017 Wright, John Masey: 1996 Wright, Patrick: 1993, 1997, 1999 Wyllie, William Lionel: 1997 Wysard, Tony: 2015 Y Yeats, Jack Butler: 1993 Z Zinkeisen, Anna: 1993, 2007 Zinkeisen, Doris: 2007, 2008

(Detail of 114)

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IN D E X Ardizzone, Edward Attwell, Mabel Lucie Banbery, Fred Barker, K F Bateman, H M Beerbohm, Max Bemelmans, Ludwig Boxer, Mark Brangwyn, Frank Brookes, Peter Cross, Peter Drew, Simon Emett, Rowland Foreman, Michael Glashan, John Hale, Kathleen Hall, Amanda Ho nung, Gerard Jacobs, Helen Janny, Georg Lee, Alan Levine, David Mackenzie, Thomas Matt (Matt Pritchett) May, Phil McLachlan, Ed Midda, Sara Outhwaite, Ida Rentoul Pont (Graham Laidler) Potter, Beatrix Rackham, Arthur Reynolds, Frank Robinson, William Heath Roth, Arnold Searle, Ronald Shepard, E H Sorel, Ed Stanton, Charles Rebel Steig, William Sullivan, E J Thelwell, Norman Topolski, Feliks Wood, Lawson

116-140 88-94 114 96-102 56-61 30-45 187-189 172-178 19 247-249 220-221 232-235 108-109 204-218 162-170 110-113 236-241 107 22-24 13-15 219 190-198 16-18 250-253 28-29 242-246 222-231 25-26 62 5-9 2-4 12 64-78 199-201 142-152 80-86 202 20-21 180-186 10-11 154-160 104-106 46-55

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