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Full text of "Book-plates of to-day"

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=, BOOK-PLATES OF TO-DAY 

11 Edited by WILBUR MACEY STONE 




THE LIBRARY 

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THE UNIVERSITY 

OF CALIFORNIA 

LOS ANGELES 



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BOOK-PLATES of TO-DAY 




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BOOK-PLATES of TO-DAY 

Edited By WILBUR MACEY STONE 



NEW YORK 

TONNELK & COMPANY 

1902 



Copyrighted 1902 by Tonnele & Co. 



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TABLE OF CONTENTS 



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Book-plate of Mrs. Amy Ivers Truesdell, in colors. De- 
signed by Jay Chambers. .... 

Book-plate of Arnold William Brunner, in colors. Designed 
by Thomas Tryon. .... 

American Designers of Book-plates : William Kdgar Fisher. 
By W. G. Bowdoin. .... 

Book-plate of William Frederick Havemeyer, from the cop- 
per. Designed by Thomas Tryon, engraved by E. D. 
French. ...... 

Nineteen Book-plates by British Designers. 

Book-plate of T. Henry Foster, in colors. Designed by Jay 
Chambers. ..... 

The Artistic Book-plate. By Temple Scott. 

Book-plate of Miss Henrietta M. Cox, in colors. Designed 
by Thomas Tryon. .... 

Thirty-two book-plates from various sources 

Book-plate of Robert Fletcher Rogers, in colors. Designed 
by Homer W. Colbv. .... 

Book-plates and the Nude. By Wilbur Macey Stone. 

Book-plate of Willis Steell, in colors. Designed by Thomas 
Tryon. ...... 

The Architect as a Book-plate Designer. By Willis Steell. 

Book-plate of William A. Boland, in colors. Designed by 

Homer W. Colby. .... Facing 45 

A Check-list of the Work of Twenty-three Book-plate De- 
signers of Prominence. Compiled by Wilbur Macey 
Stone. ...... 45 



Frontispiece 


Facing 


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3 


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19 


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23 




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33 


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39 




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AMERICAN DESIGNERS ^/BOOK- 
PLATES : WM. EDGAR FISHER 

By W. G. BOWDOIN 

THE book-plate designers of to-day are legion 
because they are many. Almost every one 
who can draw, and many who cannot, have 
ventured into the field of book-plate designing ; 
and the result has been that many of the book- 
plates that are current have little to commend them 
to critical observers. The present increasing in- 
terest in these little bits of the graver's art has 
greatly encouraged the production of them, and 
new ones arise daily. It is desirable, therefore, if 
we are to have book-plates at all, that they shall 
be as artistic as may be ; and it is important, from 
an art standpoint, to all those who are ab'out to 
adopt the use of these marks of ownership that 
By Wm. Edgar Fisher they shall have, as 

they may have, 
the artistic flavor about them. 

Most of our leading designers have 
hitherto been grouped in the eastern sec- 
tion of our country, or at least not much 
further west than Chicago. Some few 
designs, it is true, have been produced in 
California, but for the most part the book- 
plates of note have been marked with an 
eastern geographical origin. 

In William Edgar Fisher we have a 
designer who has strikingly departed from 
geographical conditions of book-plate de- 
signing heretofore prevailing, and in far- 
away Fargo, North Dakota, has set up his 
studio from whence have come designs that 
arc fresh, original and very pleasing. Mr. 
Fisher loves to work in a pictorial field. 
He makes a plate that tells a story, and in 
his best plates there is artfully placed 
something bookish that harmonizes with the 
design-form selected ; and, because of art 
coherence and harmony in design that go By wm. Edgar Fisher 



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WINIFRED 
KNIGHT 





By Wm. Edgar Fisher 



hand in hand, his plates are more than satisfactory. The general eastern 
notion in regard to North Dakota is that nothing artistic can come out of 
the State, but the work done there by Mr. Fisher quickly dispels such an 
idea. The plates he has drawn are acknowledged as highly meritorious by 
the best American masters of book-plate designing. In all the plates from 
the hand of this artist that are here grouped, and which may be regarded as 
quite typical of him, there are only two that do not contain a book as a de- 
tail somewhere in the finished plate. 

One of the exceptions is the plate of the Studio Club that gains infin- 
itely by the omission of a book in the plate as produced. The grouping of 
the five observers (symbolic of the members of the Studio Club) around 
the feminine portrait is most charming, and to the writer it appears one of 
the happiest of recent productions in appropriate book-plates. 

Mr. Fisher's feminine figures that he introduces into many of his 
plates are likewise exceedingly effective. This is particularly the case when 
to the charms of femininity he has added those of symbolism, as in the case 
of the plate for Miss Winifred Knight, in which the graceful female masker 
appears at the shrine of the idealized god Pan, who writes, it may be some- 
thing oracular, in her proffered album. The figure is gracefully posed and 
the lines of the arms and neck are marked by pleasant curves. 

In the plate of Maie Bruce Douglas, Mr. Fisher may have been influ- 
enced by Hans Christian Andersen. At any rate, whether or not this is so, 



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3ohn Charles 05agt 






Gjiza^^lftnoiloh, 



By Wm. Edgar Fisher 

5 



he has neatly and most effectively grouped the old-time jester with his cap 
and bells, the pointed shoes from whence came our modern samples, and the 
maiden with the quaintness of head-dress and drapery, that at least suggests 
the fairy and the incidental sacred stork, making this plate with its shelf of 
books and the panel of repeated heraldic shields very attractive even to 
the chance observer. 

In the plates for the Misses Mary N. Lewis, Elizabeth Langdon, Leila 
H. Cole and Elizabeth Allen there are several diverse methods shown in 
which convention has been pleasingly utilized. The vine and tree forms that 
are motifs are very effective, and in all of these we see suggestions of treat- 
ment similar to that which stands out perhaps a little more pronouncedly 
in the plate of Miss Douglas. Costume quaintness, charm of pose, graceful 
outline, the tendency toward lecturn detail and delicacy of touch, are in each 
instance here seen to be characteristic of the artist. 

The plate of John Charles Gage has in it the atmosphere of the mon- 
astery. Two friars are busy with a folio manuscript that has been beauti- 
fully illuminated. The one reads the lessons for the day from the book of 
hours. The other has a pleasing bit of gossip that he is telling to his 
brother friar as he reads, and the reader hears with eagerness with his ears 
while he reads without absorption with his eyes. 

Into the plate of Samuel H. Hudson the atmosphere of the monastery 
is also introduced. The cordelier sits absorbedly reading his matins. 
Through the open window of the monkish cell is seen the morning medieval 
landscape whose charms exercise no influence upon the solitary recluse, soli- 
tary save for the monkey who plays sad havoc with the vellum volume that 





By Wm. Edgar Fisher 
6 



lies upon the cell floor and the destruction 
of which the Franciscan is too absorbed to 
notice. The monkey as a foil for the as- 
cetic in this plate shows that Mr. Fisher has 
a strong appreciation of the most delicate 
humor, which here crops out most delight- 
fully. The border makes the plate a trifle 
heavy, but this can easily be excused because 
of the charm of the plate otherwise. 

The dog is given a prominent place in 
the plate of Miss Lula Thomas Wear. He 
dominates even the books, and it may be 
that the owner prefers her dachshund to her 
library, although it is evident that her books 
have some place in her esteem. 

The design on the plate of Stanley 
Shepard suggests a derivation from an old 
print. The caravel rides upon the waves 
according to the conception of the old-time 
engravers. The anchor, the sword fish of 
the deep sea, and the sea-stars all suggest the 



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By Wm. Edgar Fisher 



By Wm. Edgar Fisher 

ocean voyager who has 
deep down in his heart a love of books. 

In contrast with the plate of Mr. 
Shepard's appears that bearing the name 
of Silvanus Macy, Jr. The love of hunt- 
ing stands out right boldly here, and in the 
fox hunt does Mr. Macy undoubtedly 
revel. He could not have such a book- 
plate otherwise, and live with it every day, 
let it be in all his books and have it stand 
for him as it does, unless it was fairly rep- 
resentative of the man's personality. That 
is what makes a book-plate so eminently 
interesting, aside from the art work put 
upon it. Books appeal to all sorts and 
conditions of men, as the work of Mr. 
Fisher's here grouped clearly indicates. 

The plate from the books of Miss 
Edna B. Stockhouse is a trifle shadowy in 
motif notwithstanding which there can be 
no doubt the owner loves books. The 
face in the book-plate reads. There is 
also a love of the beautiful in ceramics in- 
dicated as an incident in the plate. No 
wonder the head wears an aureole. 



The " Bi Lauda " plate is that of a secret society at Wellsville, N. Y., 
and we, therefore, forgive if we cannot forget its poverty of bookish design. 

In the personal plate of the designer, of all those here reproduced, we 
catch glimpses of the artist's own personality. We see him as a book-lover 
and something of his inspiration is spread out before us. He goes reading 
along, carrying reserve 
that engages his atten- 
is happily finished, 
producing book-plates 
which time he has to 
examples of work in 
haps happiest in his 
pictorial, and he has 
plates most charmingly. 
Cornell at Phillips 
Mass. At Cornell he 
two years, with especial 
He also studied, for 
Institute, Chicago, 
from Cornell. He has 
in the matter of design- 
cates that his teacher 
has privately but care- 
of the best modern 




volumes in case the one 
tion in the portraiture 
Mr. Fisher has been 
only since 1898, since 
his credit some forty 
this field. He is per- 
rendition of the plate 
sometimes tinted his 
Mr. Fisher prepared for 
Academy, Andover, 
studied architecture for 
attention to drawing, 
six months, at the Art 
111., whither he went 
been largely self-taught 
ing, but his work indi- 
was a good one. He 



By Wm. Edgar Fisher 



fully studied the work 
pen-and-ink draughts- 
men, and from this he has formed his personal style. The methods and 
craftsmanship of reproduction were the subject of special study on his part 
while he was with one of the large Chicago engraving houses. Anything 
that comes from his hand will be sure of the most kindly reception, so long 
as his work is maintained at the present high standard. 





By Wm. Edgar Fisher 



NINETEEN EXAMPLES OF DEC- 
ORATIVE BOOK-PLATES BY 
MODERN BRITISH DESIGNERS 

From THE LONDON "STUDIO" 




CHACLCS 

hOLrAE 



By J. W. Simpcon 
9 




By Byam Shaw 



10 




By R. Aiming Bell 



■<2 

DC \MJ 




By Walter Essie 




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JWSIMPSON 
HIS BOOK 



EX LIBRIS 




Tjt/ngddwe 



EDWARD 
MORTON 



By E. H. New 



By J. W. Simpeon 






Four Designs by 
Gordon Craig 




>3 




By J. Williams 




By J. Williams 
*4 




By W. B. Pearson 



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'nessqfthcland- 








By S. A. Lindsey 



By Enid M. Jackson 



'5 




By Anna Dixon 




By Arthur H. Verstage 
16 




From Drawing after Etching 
By D. Y. Cameron 



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EX** 
LIBRtf 



EDITH A 

KING5' 
FORD 




MN 



By Harold Nelson 



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THE ARTISTIC BOOK-PLATE 

By TEMPLE SCOTT 

BOOK-PLATE, in its simplest expression, is a 
printed indication of the ownership of a book. 
It may take the form of the unadorned visiting 
card, or it may be embellished with heraldic and 
other designs explanatory of the owner's name, 
ancestry, tastes, or predilections. Primarily, 
however, it is intended to fix ownership. How 
far it satisfactorily serves its purpose, is, perhaps, 
of little moment to the average book-collector ; 
for the book-plate has emerged from the stage 
of practical utility and become a thing in itself, 
so to speak. It has taken its place beside the many articles de veriu which 
are godsends to the weary of brain and heart, inasmuch as they become the 
objects of a passion so delightful in its experience, as to make us forget the 
little trials and worries of life that make pessimists of us in this " bleak 
Aceldama of sorrow." Nay, they may even become the one sun, shining 
and irradiating for us all the dark places of our wanderings, and cheer us 
with the hopes for newer and finer acquisitions than we already have. 

When, however, we come to a consideration of the artistic book-plate, 
we enter upon a new field of enquiry entirely. It indicates that a simple 
usage of a necessary and harmless convention has developed into a complex 
expression — an expression not merely of the individual to whom the book 
belongs, but also of the artist whose business it is to give pictorial form to 
the desires and wishes and tastes of his patron. 

From the crude, if sufficient, paste-board stuck on the end-paper, to 
the heraldic display, was, surely, no very far cry. In the countries of the 
Old World, where pride of ancestry touches the worthy and unworthy alike, 
it was to be expected that so valuable an opportunity for flaunting the deeds 
of " derring do " of one's forefathers as a sign of one's own distinction, such 
as the book-plate offers, was certainly not to be neglected. So we find that 
the coats of arms which once served as inspirations, and which once had a 
genuine meaning to their owners and retainers, now do service in the more 
peaceful realms of Booktand. And, assuredly, there are certain books in 
a library, which are more worthily acknowledged after this ancient and mar- 
tial fashion. We cannot but believe that a Froissart from the press of 
Caxton or Wynkyn de Worde, would be handled with more reverence if one 
saw on the verso of its front cover a glorious display of the arcana of her- 
aldry, in all its magnificence of mysterious meaning. This feeling would 
also be aroused in turning the leaves of, say, Philippe le Noir's edition of 
the "Gesta Romanorum " (1532), or of Hayton's " Lytell Cronycle " from 

19 



the shop of Richard Pynson, or of Mandeville's " Voyages and Travailles," 
issued by T. Snodham in 1625, or of Pliny's " Historia Natural is " from 
the Venetian press of Nic. Jenson in 1472, or of Rastell's " Pastyme of 
People," "emprynted in Chepesyde at the Sygne of the Mermayd" in 1529. 
To these and their like a book-plate of heraldic story comes as a fitting and 
graceful complement. 

But the average mortal of this work-a-day world and age has not the 
means wherewith to acquire such treasures of the bibliophile. Nor, per- 
haps, has he the necessary pedigree with which to adorn them, if acquired ; 
though on this latter consideration, we suspect that the Herald's College in 
the purlieus of Doctors' Commons, and the more amenable, though not less 
expensive Tiffany on this side of the Atlantic, would, no doubt, prove 
excellent aids to a full satisfaction. 

But we are not here dealing with the pomp and glorious circumstance 
of Heraldry. In dealing with the artistic book-plate, we are considering a 
matter which concerns itself not with past stories or past individuals, but 
with the present tale and the particular living personage who has the laudable 
and humble ambition to distinguish his copy of a book from his friend's copy 
of the same book. A taste in books may be easily whitewashed, but a 
taste in a book-plate flares its owner's heart right into the eyes of the 
demurest damsel or the simplest swain. It may be that our collection is 
but a series of Tauchnitz editions carefully garnered on a European tour, or 
a handful or two of Bohn's Library, accumulated from our more studious 
days, or a treatise on golf, chess, gardening and photography, or a history of 
the state or town in which we live — it matters little what — these are the 
treasures we most prize, and we wish to hold them. Now, how best shall 
the collector mark them as his own ? 

He writes his name on the title-page. Ugh! What a vandal's act ! 
The man who could so disfigure a book deserves to have it taken from him, 
and his name obliterated. He who could find it in his heart to write on 
title-pages could surely commit a murder. We'd much rather he turned a 
leaf down to mark the place where he had left off in his reading; though to 
do that is bad enough, in all conscience. Nor does he save his soul by 
writing on the fly-title, or even end-paper. Moreover, this will not save 
his book either. A visiting card can easily be taken out — it looks too 
formal, nondescript, meaningless, common, to inspire any respect in a would- 
be thief. But an artistic book-plate ! Ah ! that's another thing altogether. 

An artistic book-plate is the expression in decorative illustration of the 
proprietor's tastes, made by an artist who has sympathetically realized the 
feeling intended. It should objectify one, and only one, salient characteristic, 
either of temperament, habit, disposition, or pleasure, of its owner. If it 
does less, it is not individual ; if it does more, it is not satisfying. 

Now each one of us has some characteristic trait that is not common to 
us all — then let that be the aim of the artist to embody in decorative form. 
And let that embodiment be simple and direct — the simpler and more direct 



it is, the more will it appear; and the more beautiful it is the more will it 
soften the kleptomaniacal tendencies of the ghoulish book-hunter. For nothing 
touches him so nearly to the finer impulses of nature than the contemplation 
of beauty ; and he would be less than human did he fail to respond. We 
would even go to the length of giving as an admirable test of the book-plate 
artist's powers, the lending of a book (whose loss would give no qualms) 
containing the plate. If it come not back, there's something the matter 
with your plate ; or, you can libel your friend as a beast of low degree, 
which suggests a good way of finding out your friend's true character. But 
then, there's no limit to the powers of a beautiful book-plate. 

Now there are a great many coy people who don't care to wear their 
hearts on their sleeves; these would naturally feel indisposed to post them- 
selves thus before the public eye, be the book-plate never so beautiful. 
To these we would say: Give us what you prize best — your home, your 
wife, your sweetheart, your motto (though that's giving yourself away too), 
your baby, anything that is truly yours. (Babies are quite a propos, and 
should be characteristic, though it does not always follow. Some babies 
have a habit of taking after quite other people.) The idea is, to embody 
something individual, something special and particular. 

If he can afford a large library, or is a collector of the works of one or 
two authors, there's a way out of the difficulty for the coy person, by having 
the book-plate represent the characteristic of the author and have his name 
as an addition. That may be taking a liberty — but authors are accustomed 
to that ; and, besides, you are appreciating them, and that should exorcise 
the spirit of an indignant " classic " from the four walls of your library. 
Have the original of the design framed on the wall ; it may save you a lot 
of explanation should the spook even get " mad." You can always lay the 
blame on the artist. Of course, this means a book-plate for each author; 
but as book-plates are not, after all, such very expensive luxuries, this con- 
sideration need be a matter of but small moment. 

Yet another idea is to have an artistic treatment of a representation of 
your library, your " den." That sounds very inviting and certainly can 
hurt no one's feelings. If you don't happen to possess a special apartment, 
give an apartment such as you would like to possess. Or show your 
favorite chair, or nook, or greenwood tree, or running brook, or garden 
plot. There are thousands of ways in which to fashion a book-plate, and an 
artistic book-plate, too. We thus can see what an advance the modern 
artistic book-plate is on the old style article — so formal, so characterless, so 
inchoate and so amorphous. 

Indeed the artistic book-plate is a genuine inspiration, or it may be 
made so. How charming, or delight-giving, or valuable, or intoxicating it 
is, depends largely on the artist. But it also depends on the individual who 
desires it. It should be planned with care and executed with feeling. It 
should be like no other book-plate in the sense that it possesses some flavor 
that is private and personal. It should be as much an indication of the 



owner's taste as is his library — and no man can hide his nature from the 
friend who has had access to that. There are many things a book-plate 
should not be — but these may be summed up in the advice — it should not 
be a mask. You may order your books by the hundredweight from your 
bookseller, but that won't stand you in any stead when your friend handles 
them and turns to you for a criticism, or an opinion. You may also com- 
mission your artist for a book-plate ; but you are in a worse plight if you 
fail in the more direct explanation you will be required to make to the 
insistent inquiries as to its meaning or appositeness. No ! Be it ever so 
humble, let it be yours. It may be a poor thing, but it is your own; but 
it may be also a very rich thing, and your own also. 





JAAE5 

V\CK 




By J. W. Simpson 



THIRTY-TWO EXAMPLES OF 
BOOK-PLATES from PRIVATE 
COLLECTIONS and Other Sources 




From Steel Engraving 
By E. D. French 



»3 





By Geo. Wharton Edwards 



By T. B. Hapgood, Jr. 





TBHapgoodJr Mdtcoccv-a 

By T. B. Hapgood, Jr. 



04 




By Louis H. Rhead 



25 




By B. G. Goodhue 




By W. S. Hadaway 




16 








From Steel Engraving 
By E. D. French 





By H. E. Goodhue 



By B. G. Goodhue 



*7 




BARR-EAU-"; 

BRUXLLLES 



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By Femand Khnopff 




By Hans Thoma 






© 



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eilitzsd) ]) 




By Bernard Wenig 



By Juliue Dice 




By Charles E. Eldred, of English Navy 




%irfyi£&]Btt£&f &*mpr. 




29 







From Steel Engravings by Wm. Phillips Barrett 



30 







GLADYS DE GREY" 

From Steel Engravings by Wm. Phillips Barrett 
31 







mm 




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Four designs by Thomas M. Cleland 
1* 



BOOK-PLATES AND THE NUDE 



By WILBUR MACEY STONE 




E 



OVERS of the beautiful have been 
burdened with endless talk and 
writing and many quarrels on the 
nude in art, and now I have the temerity 
to open a new field of battle and throw 
down the gauntlet for strife. The Eter- 
nal Feminine is a prominent factor in the 
picture book-plates of the day, and she 
is showing some tendencies to appear 
minus her apparel. Question: is it wise 
and in good taste ? 

Of course, to start with, I am quite 
free to admit that good taste is a movable 
feast and is much influenced by the point 
of view. Your taste is good if it agrees 
with mine ; otherwise it is bad taste or no 
taste. At any rate, there are a few things 
we can agree upon, I think. For instance, 
that there is a wide distinction between 
the nude and the naked. Also, that the 
human form divine is most beautiful, but 
that to remain most beautiful it must 
deviate not one jot or tittle from the 
divine, for any deviation is to tend to the earthy and gross, which is vulgar 
and — bad taste. We can also agree, I think, that partially draped figures 
can be, and often are, sensual and repulsive beyond the frankly nude, and 
this without the direct intent or knowledge of the artist. 

" A hair perhaps divides the false and true, 
Yes ; and a single slip were the clue — ' ' 

But above all things a nude figure should never carry the idea of a con- 
sciousness of its nudity ! Also, clothing or drapery used simply to hide 
portions of the figure is execrable and more suggestive than any entire 
absence of clothing; while to add, as I have seen done, a hat and French- 
heeled shoes to a nude figure is abominable beyond condemnation. 

But all this is of broad application and is sawing upon the same old and 
frayed strings. Abstractly, a beautiful nude is as beautiful on a book-plate 
as in a portfolio or in a frame, and some of the most beautiful book-plates I 
have ever seen have been nudes. Nevertheless, to me the nude seems out 
of place and in questionable taste on a book-plate ; the simple matter of 
repetition is enough to condemn it. 



Book-Plate of Mr. Carl Schur 



31 



The partially draped figures by 
R. Anning Bell are chaste and beau- 
tiful, and one never thinks of them 
other than as clothed; so they can 
hardly be considered in this discus- 
sion. Many of the book-plates by 
Henry Ospovat contain partly draped 
figures which are always beautifully 
drawn, pure and a constant delight. 
But really, I think it would jar me to 
meet even an angel — the same one, 
mind you — in each of a thousand 
volumes. Emil Orlak, in Austria, 
has made some fairly pleasing nudes, 
but they lack that purity of concep- 
tion without which they are common. 
Armand Rassenfosse, of Belgium, 
has etched a number of dainty, fault- 
lessly drawn and really most beautiful 
nudes, but many of them have been 
ruined by the needless addition of 
shoes and fancy head-dresses. Pal 
de Mont, of Antwerp, has a plate by 
Edmond van Oppel which he prob- 
ably thinks a work of art, but which 
is surely the height of vulgarity; 
while in "Composite Book- Plates" 
is a design by Theodore Simson 
containing a large figure of a nude 
woman with her hair done in a pug, 
seated in a grove amid dandelions 
and poppies, and diligently reading a book. The figure is treated in broad 
outline, which is ill adapted to the subject, and it lacks that refinement with- 
out which nothing is beautiful. She is absolutely at variance with her 
environment, and the whole is a tour de force quite unforgivable. 

Miss Labouchere, in her volume on ladies' plates, shows a rather 
amusing pair of designs for Miss Nellie Heaton. These plates both bear 
the legend, " Gather ye roses while ye may." In the first, the designer, Mrs. 
Baker, has a fair creature in all the glory of entire nudity plucking blossoms 
from a rose-vine. In the other, she used the same design throughout, but 
has fully clothed the figure. Evidently Miss Heaton protested. 

These designs by a woman call to mind the fact that among the 
book-plates of over one hundred and fifty women designers with which I 
am familiar, I know of but one other nude. This other is by Miss Mary 
Florence, and is of a large full-length angel entirely undraped. 




By H. Nelson 



34 




M O/f °^Al jt 



By H. Ospovat 



35 




Fritz Erler, a German designer 
of much strength, has made a number 
of symbolic book-plates. All, I be- 
lieve, have the feminine as motif, and 
in several the figures are nude. The 
design for Emil Gerhaeuser is inoffen- 
sive and well-drawn, but surely is not 
beautiful, and lacks a good excuse for 
existence. In a generally pleasing dec- 
orative arrangement for Robert H. 
Smith, Harold Nelson, an English 
designer, shows a rather attenuated 
nude maiden looking with envy at a 
gorgeous peacock on the opposite 
side of the design ; while the peacock 
in turn seems to say, "Why don't you 
grow some feathers ? " 

We naturally expect to find well- 
drawn, if not always pleasing, nudes 
in the French school. Henry Andre, 
one of the best known French design- 
ers of book-plates, uses the nude quite 
freely in his work ; in some instances pleasingly, but in one or two with 

marked vulgarity. Octave Uzanne has 
the most pleasing nude plate that I have 
ever seen. It is designed by Guerin, 
and represents a tortoise bearing the im- 
plements of the artist, and coaxed along by 
the hot torch of knowledge in the hand 
of a light-winged cupid. By Sherborn, 
the great, I have seen but one nude in a 
book-plate, and that a poor thing but 
innocuous, for Mr. Harris Fahnestock 
of New York. Mr. E. D. French has 
made but one nude that I have seen, 
that for Mr. E. H. Bierstadt; the design 
shows a nude shepherd boy piping 
to his flock. The plate Mr. French 
engraved for Mr. De Vinne, from the 
design by Geo. Fletcher Babb, has nude 
termini for bearers, and is elegant and 
beautiful, an ideal plate. 

American artists have essayed the 

nude but little in book-plate design, per- 

By h. Ospovat haps through wisdom, perhaps through 




vj&w 



36 




BSC U&R0 8 



From Drawing after Etching 
by A. Rassenfo8se 



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L'ART R'AMRE LCr-BX5..S£»v ^^^^TRAWE ET CL'OPINE 




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After Etching by Guerin 

37 



fear ; but the fact remains that they have thereby avoided the perpetration 
of at least some crimes. Judging by the examples we have been able to cite, 
and they are representative, it would seem that the best advice we can give 
those tempted to use the undraped beautiful in their book-plates is — don't. 



ffllBMMK 




By Fritz Erler 



3« 



THE ARCHITECT AS A BOOK- 
PLATE DESIGNER: Br WILLIS STEELL 




-m 



fFRANK- JEAN -POOL- 



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A" 



By Thomas Tryon 



MONG the book-plate designers 
of the present day the architect 
may, if he choose, take a high 
place. He is one whose studies have 
led him through the paths of artistic 
training where his eye and hand have 
learned to see color and form and bal- 
ance of parts, and while the usual media 
of his profession are wood, stone, terra 
cotta and iron, there are many by-paths 
through which he must travel to appre- 
ciate the value of his pencil lines upon 
the flat. 

No more delightful by-way than 
the book-plate route will open before 
him, hedged in as it is by purely artistic 
shrubbery and leading constantly to 
pretty and even beautiful designs in 
which the genius of architecture has 

played a great part. Moreover, all his preceding journey through the hard 

conventional country to which architecture at first seems limited, has 

equipped him thoroughly to give expression to his fancy. That the gift of 

imagination is among his endowments should be taken for granted, however, 

if the architect is to succeed in the line 

of drawing book-plates. 

Fancy and imagination being in his 

mental equipment the architect can 

" rest " his mind in no more delightful 

fashion than by giving them full scope in 

this gem-like art. His experience, his 

collections of drawings, the work of 

others of his craft which he has studied, 

all tend to render his fund of information 

large, and if he has the key to book- 
plate art, inexhaustible, since nothing 

comes amiss to the pen of one whose 

facile fancy can grasp a good motive and 

direct it to a purpose other than that 

originally intended. 

In the early days of art the architect 




JAMES SEYMOUR TRYON 
By Thomas Tryon 



39 



was not only a designer of buildings but was also a sculptor and sometimes 
a decorative painter. He was called upon by his patrons to design whatever 
was needed at the moment, and these men were " all-round " artists, the day 
of specialization and the speculator not having dawned. 

Buonarotti is an awesome name to call up, but this great painter, 
sculptor, architect and builder touched nothing that he did not adorn, and in 
many of the hundreds of crayon sketches and cartoons that he left behind 
him, the feeling of the book-plate artist is clear. Had Lorenzo the Mag- 
nificent wanted a book-plate for use in his library, the great Michael Angelo 
could have filled the want from his own notes, with very little of either sup- 
pression or expansion. It may seem strange to think of this Titan of art, 

the creator of the sweeping " Last 
Judgment " turning his pencil to the 
delicate lines, the imperceptible nuan- 
ces demanded by a book-plate, yet it 
may be repeated, in his work may be 
found a myriad of suggestions for 
these gem-like products. 

Buonarotti was not, however, 
first and last an architect. Painter 
and sculptor also, these sides of his 
artist soul would have been drawn on 
for the book-plate. Therefore the 
statement that not every architect can 
design so fanciful and dainty a work 
as a book-plate becomes a truism 
patent to everybody. The architect's 
profession calls for a two-fold nature, 
the one side tending toward that of 
the engineer with its eminently prac- 
tical and very necessary tables of 
stress and strain, its mathematical 
calculations for loads and disposition 
of carrying walls, while the other side 
leans to a nice discernment of color and proportion. The laying out of 
vistas and the arrangement of surfaces and lines, so that the eye is aided in 
receiving the best impression from all points of view. Of this turn of mind 
is the one who can and does design book-plates. The very practical archi- 
tect, if he wishes the glory, which is doubtful, has one of his draftsmen make 
the design and then signs the drawing and gets the glory. It would be 
amusing if such an one through some luck charm received constant application 
for such work. His draftsmen would change and his drawings be as dissimi- 
lar as the men who drew them. Possibly the signature would lead the 
long-suffering public to think him very versatile. 

It is not of this class of architect that we write. It is of him who is half 




By Thomas Tryon 



40 



painter or sculptor, and who loves his pen and pencil and delights in the 
personal expression of his ideals. He finds that his way of seeing things is 
more to his liking than any way of any other man. He sees the infinite 
beauty of nature and loves her shifting pictures in the clouds. Then too, he 
must have the ability to clearly comprehend the half-formed ideas of him 
whose plate he undertakes to draw. This is not always an easy matter. 
There are but few in the world who can formulate their ideas, much less 
invent a picture without first seeing it. Here the architect has, perhaps, an 
advantage over the purely imaginative artist, since the average man does not 
know the difference between the Classic period and the Gothic, the Napoleon 
era and the modern German renaissance. 

Of the architects who have obtained unquestioned recognition in this 
exquisite art, Thomas Tryon is among those whose work is especially 
prized. His adaptation of architectural forms to the confined space of the 
book-plate shows the work of a man who has command of his tools and 
knowledge, and despite the narrow confines of the field his work is not at all 
" cabined or cribbed." The illustrations accompanying this essay are taken 
rather at random from among Mr. Tryon's designs, but they will convey to 
those unfamiliar with his work, a fair idea of its scope and treatment. His 
first design was a plate for his father, an ornate armorial design, the name 
being set up in type at the base. The plate for Miss Annah M. Fellowes 
is quite elaborate. A long-haired and bewhiskered knight stands before us in 
a suit of rich armor, his right hand bearing his sword and helmet, and his left 
resting upon his shield. His helmet is surmounted by a pair of spreading 
wings. The design is backed by a rambling rose bush on which is hung the 
motto ribbon. 

Mr. Frank Pool is obviously a lover of the drama. In an oval window 
set in masonry, is a Roman gentleman, laurel crowned, reading from a 





By Thomas Tryon 



by Thomas Tryon 



41 




By Thomas Tryon 



large volume, while at the upper right and left 
sides are comedy and tragedy masks from which 
hang a gracefully festooned wreath. Palms, 
ribbon and name plate finish the design. For 
Mr. Farragut, the son of our old admiral, Mr. 
Tryon has made a very " salt water " arrange- 
ment of arms. The shield is surmounted by a 
quaint ship and the bearers are dolphins, which 
on one side encircle a trident and on the other 
a sword. The conventional acanthus leaves 
give body and decoration to the whole. Per- 
haps one of the most distinctively beautiful of 
Mr. Tryon's designs is the fleur-de-lis for Mr. 
Marcus. In this the artist has blended most 
delightfully the natural and the heraldic flower 
and has produced a gem of which one never tires. For his sister and her 
children Mr. Tryon has made a light and airy design, distinctively feminine 
and graceful. The main feature of the design is an ornate cypher of the 
letters S T. On the ribbon below the name is shown. This is changed to 
the names of Mrs. Stone's three daughters for their individual use. The 
plate reproduced here is that of one of Mrs. Stone's daughters. The design 
for " The Boys Club " is surmounted by the American eagle perched upon 
the globe, and the flag of our country is 
draped over the tablet bearing the let- 
tering. This plate has been reproduced 
both by photo-process and copper plate. 
Of the three color plates repro- 
duced the first was made for Mr. A. W. 
Brunner, and has for " piece de resist- 
ence " a very ingenious monogram set 
in an oval frame. For bearers there are 
two graceful palms and the keystone is 
surmounted by a pile of books and a 
classic student's lamp. The base of the 
design is relieved by a pleasing arrange- 
ment of acanthus leaves. The plate for 
Miss Cox is a seal-like design, dignified 
yet dainty, and would be entirely in 
place in all kinds of volumes. The 
plate for Mr. Steell quite speaks for 
itself and makes the sportsman feel 
wildly for the trigger of his gun. The 
buck and doe silhouetted against the 
yellow of evening and the reflection in 
the stream are a delight. By Thomas Tryon 




42 



Three of Mr. Tryon's designs have been engraved by Mr. E. D. 
French. The famous Sovereign plates being two, and one for Mr. 
Havemeyer being the third. This plate for Mr. Havemeyer is indicative of 
the owner's collection of Washingtoniana, and is surrounded by several of the 
well-known portraits of the father of his country, while at the top is a small 
view of Mount Vernon. The portaits and view are interwoven with foliage 
and ribbon and form a frame in which Mr. Havemeyer's arms are displayed. 
The "Sovereign" plates, which were made in 1895 f° r t ^ ie library of Mr. 
M. C. D. Borden's yacht, are of great richness, the first or " crown " design 
being especially so. This one did not please the owner, who had a second 
one made surmounted by an eagle instead of a crown. This is simpler in 
treatment and not so decorative as the earlier design. These plates were 
both cut on the copper by Mr. French who treated them in a very sympa- 
thetic manner and brought out in clear relief the ideas of the designer. 

Mr. Tryon's production has not been great, reckoned by the number of 
plates made, but as his work is never done hurriedly or slightingly it carries 
an air of finished dignity and worth that gives it lasting qualities. As he 
usually has one or two plates in hand to which he adds a few lines and a few 
thoughts from time to time, we may still expect pleasant surprises in this 
miniature art from his workshop. 



J*J* 




WsMmmi 



43 




Bv B. G. Goodhue 




By B. D. French 



UBeft is tuftfigate lik^ a 'Boof^ 
Uobeafus Lands away 




EX-LIBRIS 
MADE WOLFEHOWE 



Bv B. G. Goodhue 



mrft-tpiflg'tji 






.■L Ji".:. ' fjl'y P 



*KwiV#icm€(a 



By B. G. Goodhue 



44 



TON A. NY 

NEW YORK 



EXLIBRIS*NO. 




WILLIAM ~A 
BOLAND ISOl 



A CHECK-LIST of the WORK of 
TWENTY-THREE BOOK-PLATE 
DESIGNERS of PROMINENCE 

Compiled by WILBUR MACEY STONE 



T WAS thought that interest and value would be 
added to this book by the inclusion of lists of the 
book-plates made by the more prominent artists whose 
work is reproduced here. These lists are the nearest 
complete of any that have ever been published, and as 
they have been verified in many instances by the 
artists themselves, and in others carefully collated 
from the actual book-plates, they may be relied upon 
as highly accurate. The sundry notes, bibliographical 
and otherwise, by which the individual lists are 
prefaced, are in no way exhaustive, but just a cursory gathering to relieve 
the bareness of the lists and to give some little additional assistance to the 
amateur. The lists are arranged alphabetically under the artists' names as 
follows : 




William Phillips Barrett 

Robert Anning Bell 

D. Y. Cameron 

Thomas Maitland Cleland 

Gordon Craig 

Julius Diez 

George Wharton Edwards 

Fritz Erler 

William Edgar Fisher 

Edwin Davis French 

Bertram G. Goodhue 

Harry E. Goodhue 



T. B. Hapgood, Jr. 
Harold E. Nelson 
Edmund H. New 
Henry Ospovat 
Armand Rassenfosse 
Louis Rhead 
Byam Shaw 
Joseph W. Simpson 
Hans Thoma 
Thomas Tryon 
Bernard Wenig 



WILLIAM PHILLIPS BARRETT 

In Great Britain every family of rank has its arms suitably emblazoned 
on its harnesses, carriages, table-plate, dining-chairs, and, of course, in its 
library. When a new coach is ordered, or a new set of harnesses, the 

45 



coach-builder or the harness-maker furnish the proper trimmings. So 
milord's stationer fixes up the family letter-paper and the family book-plate. 
Somebody has to lick into some semblance of artistic unity the records of 
prowess of our medieval ancestors. In the workshops of Messrs. "Bumpus 
Limited," Mr. William Phillips Barrett performs this more or less genial 
task. He has signed some ninety to one hundred designs, which were 
cut by the workmen in the Bumpus establishment. Mr. Barrett's designs 
are not wholly without merit, but they so apparently lack the spark of 
vitality and their execution is in many cases so hard and mechanical that one 
is inclined more to pity than to praise. In the pages of the London 
Ex Libris Journal, that industrious encourager of the ordinary and banal in 
book-plate design, Mr. Barrett's work is exploited at length. Vol. II., 
page 8 1, et seq. 



1896 

Lady Gerard 
Hon. E. Byng 
Mr. Jack Cummings 
Lord Manners 
Lady Sarah Wilson 
Lady Charles Bentinck 
H. Somers Somerset, Esq. 
Lady K. Somerset 

1897 

J. Watson Armstrong, Esq. 
Lady Angela Forbes 
Mrs. Panmure Gordon 
Hon. Mrs. Charles Harbord 
Miss Beatrice Dudley Smith 
The Marchioness of Headfort 
Miss Audrey Battye 
Lady Beatrix Taylour 
Miss Rachel Duncombe 
J. S. Forbes, Esq. 

1898 

Lady Maud Warrender 

Lady de Trafford 

Hon. Marie Hay 

The Countess Mar and Kellie 

Mrs. Brocklebank 

The Viscountess Wolseley 

Robertson Lawson, Esq. 



1898 

Baron Konigswarter 
Baroness Konigswarter 
Miss Van Wart 
Reginald Nicholson, Esq. 
Lady Sybil Carden 
The Countess of Lathom 

1899 

The Duchess of Bedford 

Miss Eadith Walker (Australia) 

The Countess of Wilton 

The Viscountess Chelsea 

Mrs. Duff 

J. E. Bailie, Esq. 

Lord Bolton 

Lady Margaret Levett 

Miss Howell 

Basil Levett, Esq. 

Mrs. Harcourt Powell 

Lady Ampthill 

J. & E. (Mr. and Mrs. Muller) 

Bishop Lefroy of Lahore 

Mrs. McCalmont 

Miss Gabrielle de Montgeon 

1900 

Her Royal Highness Princess Victoria 

of Great Britain 
The Earl of Lathom 



46 



1900 

The Duke of Beaufort 

Hon. Mrs. Gervase Beckett 

The Countess of Gosford 

The Marchioness of Bath 

Mrs. Lee Pilkington 

Freda and Winifreda Armstrong 

Mrs. Wernher 

Miss Freda Villiers 

Miss Muriel Dudley Smith 

Lord Kenyon 

Lady Savile Crossley 

Hon. Hilda Chichester 

Lady Dickson-Poynder 

Sir John Dickson-Poynder 

Gervase Beckett, Esq. 

Canon Stanton 

The Duke of Portland 

Mrs. Alfred Harmsworth 

Mrs. Arthur Wilson 

J. Hutchinson, Esq. 

Hon. Mrs. G. Kenyon 

Captain Noble 

Edward Hubbuck, Esq. 



1900 

R. L. Foster, Esq. 
Royal Naval and Military 
Will Watson Armstrong 
Masonic Supreme Council, 33 

(Large and small) 
The Earl of Shaftesbury 
Miss Barclay (Wood block Armorial) 
H. A. Harben, Esq. 

1901 

Ivor Fergusson, Esq. 

Harold Harmsworth, Esq. 

Lord Haddo 

Lady Mary Cayley 

Mrs. Sheridan (Frampton Court) 

The Marchioness Anglesey 

Sir Charles Cust 

The Countess of Derby 

Lady Hillingdon 

Lady Alice Stanley 

Lady Clementine Walsh 

R. C. Donaldson-Hudson, Esq. 



ROBERT ANNING BELL 



Robert Anning Bell, Director of the Art School of the Liverpool 
University, is the most prolific designer of artistic picture-plates in Great 
Britain. His work has long been the envy of amateurs, and no collection 
can claim to be representative without some examples of his work. His 
book-plates have been reproduced and commented on in almost all pub- 
lished articles on the general subject. The book-plate number of the 
"Studio," Simpson's Book of Book-plates, Bowdoin's "Rise of the Book- 
plate," Zur Westen's "Ex Libris" (Leipzig, 1901), all show examples. 
His work is characterized by dignity and grace, is in good drawing, and has 
an average of excellence unsurpassed. The list is complete to July 1, 1902. 



Walter George Bell 
Rainald William Knightley 

Goddard 
G. R. Dennis 
Barry Eric Odell Pain 
Jane Patterson (circular) 



6 Jane Patterson (rectangular) 

7 Christabel A. Frampton 

8 Frederick Brown 

9 Matt. Gossett 

10 Arthur Trevithin Nowell 

1 1 Edward Priolean Warren 



12 Frederick Leighton (small) 

13 Frederick Leighton (large) 

14 Arthur Melbourne Sutthery 

15 Juliet Caroline Fox Pym 

16 Yolande Sylvia Mina Noble Pym 

17 Florence and William Parkinson 

18 Nora Beatrice Dicksee 

19 Felsted School 

20 Arthur E. Bartlett 

21 The Hon. Mabel de Grey 

22 Geraldine, Countess of Mayo 

23 Walter E. Lloyd 

24 George Benjamin Bullock-Barker 

25 George Benjamin Bullock-Barker 

26 Thomas Elsley 

27 University College, Liverpool 

28 Rowland Plumbe 

29 Rennell Rodd 

30 Alicia, Lady Glomis 

31 H. E. John Browne 

32 Barham House 
^ Cecil Rhodes 

34 Mander Bros. 

35 Hon. Harriet Borthwick 

36 Beatrice Patterson 

37 Walter Drew 

38 Walter Raleigh 

39 Theodule, Comte de Grammont 

40 Joshua Sing 

41 Alice Emma Wilkinson 

42 James Easterbrook 



48 

49 

5 1 
52 



43 Theodore Mander 

44 W. H. Booth 

45 Hector Munro, 1897 

46 Margaret Wilton 

47 L. and M. S. 
Gardner S. Bazley 
Ex Libris Sodalium Academi- 

corum Apud Lyrpul 
Roberti A. S. Macfie 
Richard T. Beckett 
Edmund Rathbone, 1898 

53 Croy Grammont, 1898 

54 A. J. Stratton 

55 John Duncan 

56 Helen Woollgar de Gaudrion 

Verrall 
C. Kohn 

C. J. R. Armandale 
Wm. Renton Prior 
H. and O. Lewis 
Herbert Lyndon 

62 Johanna Birkenruth 

63 Fanny Dove Harriet Lister 

64 Mary Josephine Stratton 

65 Louise Frances Foster 

66 Caleb Margerison 

67 Ellis Roberts 

68 Marie Clay 

69 Fanny Nicholson 

70 L. and E. Stokes 

71 Alfred Cecil Gathorne Hardy 



57 
58 

59 
60 

61 



D. Y. CAMERON 

D. Y. Cameron is one of the most prominent artists in the so-called 
"Glasgow School of Designers." His plates are nearly all etchings and are 
decidedly his own in subjects and treatment. They are most excellent 
productions. His work has been most fully exploited in Simpson's 
"Book of Book-plates," Vol. I., No. 4. There are eleven designs 
listed in Fincham, and the "Studio" Book-plate number reproduces 
four. 



Donald & Grace Cameron Swan 
Robert M. Mann 
John Roberton 



John Maclaren 

Roberta Elliot S. Paterson 

Joanna Cameron 



48 



Jeanie Ure MacLaurin 
Katherine Cameron 
J. Craig Annan 
James Arthur 
John Macartney Wilson 
James Henry Todd 
James J. Maclehose 



Robert G. Paterson 

R. Y. Pickering, 1895 

R. Y. Pickering (another design) 

John A. Downie 

Beatrice H. MacLaurin 

Sir James Bell, Bart. 



THOMAS MAITLAND CLELAND 

Mr. Cleland is a young man who has an innate appreciation for 
decorative effect and, what is more to the purpose, an ability to apply it. 
For some years past his skill in typographic arrangement has added much 
to the products of several of our more advanced publishers; by more 
advanced I mean those with a knowledge and belief that it is good business 
to offer to the public books that delight the eye as well as the mind. Mr. 
Cleland has done many decorative bits by way of head- and tail-pieces and 
initials. There are also to his credit a baker's dozen of book-plates. These 
last are intensely decorative, and to class them as pictorial really does them 
injustice. They are thoroughly conventional and quite medieval in feeling. 

Sara Stockwell Clark 
Herbert Wood Adams 
Laura Gaston Finley 
Elmer Bragg Adams 
Lewis W. Hatch 
Angus Frederick Mackay 
Julian Pierce Smith 



Irving and Sissie Lehman 
Louis and Bertha Stillings 
Alice and Arthur Cahn 
Rubie La Lande de Ferriere 
Maurice M. Sternberger 
George Louis Beer 



GORDON CRAIG 

"The Page" has been so much exploited in the public press that it 
seems supererogation to write anything more about it or Gordon Craig, one 
the embodiment of the other. Mr. Craig is very much of an all-round 
young man; brought up in the atmosphere of the theater and of books 
and pictures, he has dabbled in all to some purpose. He has a clear-cut 
individuality that differentiates him and his — work, I was going say, but 
perhaps play would be better, for Mr. Craig is one of those inconsequential 
chaps that seem to take things as they come and be chipper and happy and 
youthful-hearted with all. His book-plate work is of the meat-ax variety 
and inspired by the rough wood-cuts of the early engravers. His work has 
the air of the poseur that is as balm to the heart of the dilettante. 



James Pryde, 1898 

M. P. (Margaret Palgrave) 

Ellen Terry (large), map 



Ellen Terry (small), map 

K. D. (Mrs. Kitty Downing), 1900 

Katie Black 



49 



E. T., 1899 (Ellen Terry) 

James Corbet 

V. C. (Vincent Corbet) 

R. C. (Robin Craig) 

H. F. (Helen Fox) 

C. M. (Carl Michaelis) 

Nina (Lady Corbet) 

B. (Beatrice Irwin) 

C. D. (Charles Dalmon) 
W. H. Downing 

M. M. (Maud Meredith) 

A. L. (Aimee Lowther) 

William Winter 

Roche (Charles E. Roche), 1900 

S. B. B. (S. B. Brereton) 

C. (Christopher St. John) 

G. C. (Gordon Craig) 

Edy (Edith Craig) 

J. D. (John Drew) 

L. W., 1897 (Lucy Wilson) 

Oliver Bath, 1899 

E. D. L. (monogram) (Edie Lane) 

G. C, 1898 (Gordon Craig) 

Martin Shaw 

Miss Norman 

Lucy Wilson 

E. C. (Edith Craig) 



Ellen Terry 

Ellen Terry 

Marion Terry 

Cissie Loftus 

Evelyn Sm alley 

Edith Craig 

C. B. P. (Mrs. Brown-Potter) 

Tommy Norman 

Jess Dorynne 

Jess Dorynne 

Rosie Craig 

G. C. (Gordon Craig) 

Gordon Craig 

Gordon Craig 

Gordon Craig 

Mrs. Enthoven 

Audrey Campbell 

M. Tolemache 

G. Tolemache 

J. B. R. (Madam Bell-Rauche) 

M. Fox 

Anna Held 

Pamela Colman Smith 

Katie Dunham 

Haldone McFall 

N. F. D. (Mrs. Dryhurst) 



JULIUS DIEZ 

The work of Julius Diez is rich with the flavor of medievalism and 
full decorative effect. The example shown in this book, the plate for Max 
Ostenrieder, is a little masterpiece and an ideal book-plate. Mr. Diez has 
done others much more elaborate, and with well-drawn and well thought- 
out motifs, but none to excel the bit referred to. 



Bayerischer Kunstgewerbe-Verein 

Gustav Euprius 

Max Ostenrieder 

Gustav Wolff 

Richard Hildebrandt 

August Drumm 

Luise Riggaur 

Joseph Flokmann 

Dr. Jul. Fekler 



Julie von Boschinger 
Georg Hirth 
Adolf Beermann 
Julius Diez 
Paul Scharff 
Elise Diez 
Georg Buchner 
Franz Langheinrich 
Paul Meyer 



5° 



GEORGE WHARTON EDWARDS 



Mr. Edwards has made a large number of very excellent book-cover 
designs and has decorated several volumes throughout. One of the most 
beautiful of the latter is Spenser's Epithalamion, published by Dodd, 
Mead & Company. Mr. Edwards has done a few other book-plates in 
addition to those listed here, but these are all he wishes to stand sponsor for. 



Harvard University, Arnold Arbor- 
etum, 1892 
Grolier Club 
Author's Club Library 



George Washington Cram 
Tudor Jenks 
G. W. Drake 



FRITZ ERLER 

Fritz Erler has been one of the leading contributors to that prince of 
German art periodicals, "Jugend," since its beginning. His book-plates are 
characterized by the same imaginative spirit and weirdness that appear in all 
his work. His work is often reproduced in soft tints with excellent effect. 
In the third volume of "Jugend" there was a double page given to prints 
of Mr. Erler's book-plates. 



Carl Mayr 
Arthur Scott 
T. Neisser 
Hugo Wolf 
C. Schoenfield 
Stgmund Schott 
M. Souchon 
S. Fuld 
Albert Schott 



Ulrich Putze 

Max Mayr 

Toni Neisser 

M. von B. 

M. von B. 

F. Gerhauser 

H. Marx 

Gustav Eberius Liebermann 



WILLIAM EDGAR FISHER 

Mr. Fisher's work is fully described in the leading article in this book 
by Mr. Bowdoin. The list of plates is in chronological order and is 
complete to July 1, 1902. 



1 William Edgar Fisher 

2 William Edgar Fisher 

3 William Edgar Fisher 

4 Winifred Knight 

5 William Lincoln Ballenger 

6 Stanley Shepard 

7 William A. Brodie 

8 Silvanus Macy 



9 Edna B. Stockhouse 

10 Leila H. Cole 

11 C. A. W. (C. A. Wheelock) 

12 Lulu Thomas Wear 

13 Gertrude T. Wheeler 

14 Guild of the Holy Child, Peeks- 
kill, N. Y. 

15 Elizabeth Langdon 



51 



1 6 John Charles Gage 

17 Sallie A. Richards 

18 Albert Edgar Hodgkinson 

19 Samuel N. Hudson 

20 John Elliot Richards 

21 Ellen E. Langdon 

22 Maria Page Barnes 

23 Maie Bruce Douglas 

24 Sara Grace Bell 
Edward A. Wilson 
Peyton C. Crenshaw 
Marion Maude Lindsey 

28 Chauncey E. Wheeler 

29 Bi Lauda (secret society) 

30 Mary N. Lewis 

31 Elizabeth Allen 

32 The Studio Club 
S3 (Dr.) I. N. Wear 

34 William Chauncey Langdon 

35 Charles S. Young 

36 Frederic H. Church 



25 
26 

27 



37 John M. Harrison 

38 Les Chats Noirs 

39 George H. Phelps 

40 Mary Speer 

41 Julia Locke Frame 

42 John D. Farrand 

43 Lucy P. Winton 

44 Winifred Knight 

45 Mary Cheney Elwood 

46 Ernest Orchard 
Reta L. Adams 
Edward C. Brown 
Adeline Cameron 
T. Frank Fisher 
Edna B. Stockhouse 
John Le Droit Langdon 
W. J. Awty 

54 Henry McLallen 

55 William Edward Ramsay 

56 David S. Calhoun 

57 Walter W. Wait 



47 
48 

49 
5° 
5 1 
52 
53 



EDWIN DAVIS FRENCH 

The book-plates of Edwin Davis French are the most esteemed of 
those of our present American engravers. His work is decidedly the 
vogue among those who can afford the best, and is much prized by collect- 
ors. There has rarely been an article on book-plates published in the 
past five years or more that has not contained a eulogy of his work, and 
there have been reproductions galore, both from the original coppers and 
by half-tone. There is no American designer whose work is so eagerly 
sought by the collector or for which larger returns are asked in exchanges. 
Mr. French usually designs the work he engraves, but in several instances 
he has cut plates from the designs of others. Such instances are noted in 
the list. Mr. French's work is characterized by daintiness of design and 
great beauty of execution. He is unquestionably a master of the graver 
in decorative work. In the following list those numbered 133 and below 
are from Mr. Lemperly's well-known list, and credit is hereby rendered him 
therefor. The rest of the list is made up from various sources and has 
been very carefully compared and is believed to be accurate and complete, 
with the few exceptions noted, to July 1, 1902. 

174 Adams, Ruth 
141 Allen, Charles Dexter, 1899 
a with portrait 



b with book-case 
c with one club emblem 
changed 



52 



170 Alexander, Amy B. 
187 Adams, Frances Amelia, 1901 
199 Adams, Edward Dean, 1902 
207 Adams, Ernest Kempton, 1902 
44 Alexander, Charles B., 1895 
11 Andrews, William Loring, 1894 
76 Andrews, William Loring, Com- 
pliments of, 1896 
195 Adriance Memorial Library, 

Poughkeepsie, 1902 
in Armour, George Allison, 1898 
98 Author's Club (designed by 
Geo. Wharton Edwards), 
1897 
10 Avery, In Memoriam, Ellen 
Walters, 1894 
142 Bakewell, Allan C. 
43 Bakewell, A. C, 1895 
36 Bates, James Hale, 1894 
53 Barger, Samuel F., 1895 
17 Baillie, W. E., 1894 
20 Blackwell, Henry, 1894 
16 Bierstadt, Edward Hale, 1894 
42 Bernheim, A. C, 1895 
60 Biltmoris, Ex Libris (designed 
by owner, George W. Van- 
derbilt), 1895 
67 Bar of the City of New York, 
Association of the (Chas. H. 
Woodbury's library, 1895), 
1896 

118 Bar of the City of New York, 

Association of the (the John 
E. Burrill Fund, 1897), 
1896 

119 Bar of the City of New York, 

Association of the (Gift of 
James C. Carter) 
69 Biltmoris, Ex Libris (like 60, 

but smaller), 1896 
87 Bliss, Catherine A., 1896 
104 Burke, Edward F., 1897 
133 Bradshaw, Sidney Ernest, 1898 
1 Brainerd, Helen Elvira, i8q^ 
4 Brainerd, Helen Elvira, 1894 



124 



176 
177 

139 
80 

166 

171 
180 

65 
H7 

150 

9i 

96 

7 
47 
41 
59 



28 
66 

83 

97 
100 

125 

5 1 

156 

167 

H5 
22 

M 1 



70 



Brown, Georgette (adapted 
from Parisian trade-card 18th 
century) 

a with border 
b without border 

Borden, M. C. D. 

Borden, M. C. D. (small) 

Boas, Emil L. 

Borland, Harriet Blair, 1896 

Buck, John H. (designed by 
Miss Marion Buck) 

Bullock, James Wilson, 1900 

Barnes, John Sanford 

Bull, William Lanman, 1895 

Blackwell, Henry (monogram), 
1899 

Blackwell, Henry, Compliments 
of, 1900 

Carnegie, Lucy Coleman, 1897 

Candidati, 1897 

Chew, Beverly, 1894 

Chew, Beverly, 1895 

Church, E. D., 1895 

Champaign Public Library, 1895 

Clark, Charles E., M. D., 1894 

Clark, Charles E., M. D. 
(smaller), 1894 

Colonial Dames of America 

Coutant (Dr.), Richard B., 1894 

Clough, Micajah Pratt, 1896 

The John Crerar Library, Chi- 
cago, 1896 

Connell, William, 1897 

Child Memorial Library (Har- 
vard), 1897 

Cox, Jennings Stockton, 1898 

Clough, Micajah P. 

Cheney, Alice S., 1900 

Chamberlain, Elizabeth (The 
Orchards), 1900 

Cushing 

Deats, Hiram Edmund, 1894 

Dana, Charles A. (designed by 
A. Kay Womrath), 1898 

Dows, Tracy, 1896 



53 



56 De Vinne, Theo. L. (designed by 106 
George Fletcher Babb), 1895 

84 Denver Club, The (designed by 

Cora E. Sargent), 1896 55 

143 Duryee, George Van Wagenen 
and Margaret Van Nest, 1899 

46 Ellsworth, James William, 1895 73 

88 Emmet, The Collection of Thos. 

Addis, M. D., New York 149 
Public Library, 1896 155 

2 French, Mary Brainerd, 1893 23 

3 French, Edwin Davis (Vola- 24 

piik), 1893 61 

5 E. D. F. (French, Edwin Da- 25 

vis), 1893 2 ^ 

a E. D. F., without en- 164 

closing frame 33 

b with frame 

c Edwin Davis French 90 

19 Foote, Charles B., 1894 94 

168 Foot, Margaret H., 1900 
198 Furman, Dorothy, 1902 
21 Grolier Club, The, 1894 113 

29 Goodwin, James J., 1894 85 

30 Goodwin, Francis, 1894 
32 Godfrey, Jonathan, 1894 

64 Goodrich, J. King, 1895 173 

89 Gray, Adelle Webber, 1897 . 35 
no Goldsmith, Abraham, 1898 6 
121 Goldsmith, James A., 1898 15 

49 Goodwin, James J., 1895 39 

136 Gale, Edward Courtland, 1899 105 

185 Gage, Mabel Carleton (design 102 

by owner), 1901 169 

202 Gray, John Chipman, 1902 
181 Harvard, Society of the Signet 159 

(designed by B. G. Goodhue) 172 

186 Harvard Union (designed by 192 

B. G. Goodhue), 1901 
a 1901 

b In Memoriam Henry 
Baldwin Hyde 
184 Harbor Hill (Mrs. Clarence 148 

McKay) 
38 Haber, Louis I., 1894 

54 



Hartshorn, Mary Minturn (de- 
signed by Miss E. Brown), 

l8 97 
Havemeyer, William Frederick 

(designed by Thomas Tryon), 
1895 ■ 
Herter, Christian Archibald, 

1896 
Horsford, Cornelia 
Hopkins (Maj.), Robert Emmet 
Holden, Edwin B., 1894 
Holden, Edwin B. (smaller) 
H(olden), E(mily), (Miss), 1895 
Holden, Alice C, 1894 
Holden, Edwin R., 1894 
James, Walter B., M. D. 
Kalbfleish, Charles Conover, 

1894 
O. A. K(ahn), 1897 
Kingsbury, Edith Davies (de- 
signed by Lilian C. Westcott), 
1897 
Lambert, Samuel W., 1898 
Lamson, Edwin Ruthven (de- 
signed by E. H. Garrett), 
1896 
Larner, John B. 
Lawrence, Emily Hoe, 1894 
Leggett, Cora Artemisia, 1894 
Lefferts, Marshall Clifford, 1894 
L. B. L(owenstein), 1895 
Lefferts, Mollie Cozine, 1897 
Lemperly, Paul, 1897 
Loveland, John W. and Lee 

Partridge 
Livermore, John R. 
Little, Arthur West 
Long Island Historical Society, 
1900 
a Storrs Memorial Fund, 

1900 
b Ecclesiastical History 
K. D. M. (Mackay, Mrs. Clar- 
ence) (small monogram with 
crest) 



58 Marshall, Frank Evans, 1895 108 

37 Mausergh, Richard Southcote, 

1895 132 

95 Marshall, Julian, 1897 160 

188 Merriman, Roger Bigelow 189 

40 Metropolitan Museum of Art, 
1895 

a Cruger mansion 
b new building 14 

54 Messenger, Maria Gerard, 1895 34 
85 Messenger, Maria Gerard, 1896 103 
a gift-plate with book-pile 
b with view of Pleasantville 191 
library 
74 Morgan, A. J., 1896 158 

92 McCarter, Robert H., 1896 99 

115 Medicis, Ex Libris (Cushing), 109 

1898 
45 McKee, Thomas Jefferson 52 

151 Messenger, Maria Gerard and 77 
Elizabeth Chamberlain (The 82 
Orchards), 1899 
68 V. E. M(acy) 117 

a V. E. M. 129 

b Macy, Valentine Everit and 101 
Edith Carpenter, 1896 134 

140 Moore, Louise Taylor Harts- 

horne 112 

128 Nimick, Florence Coleman, 93 
1898 71 

163 New York Yacht Club, The 

(after sketch by the late Wal- 79 
ter B. Owen) 

12 Oxford Club, The, Lynn, 1894 193 
57 Osborne, Thomas Mott and 

Agnes Devens, 1895 179 

62 Odd Volumes, The Club of, 

1895 . 78 

13 Players, The (designed by How- 

ard Pyle), 1894 135 

50 Pyne, M. Taylor, 1895 152 

63 Pine, Percy Rivington, 1895 
81 Plummer, Mary Emma, 1896 

107 Pyne, M. Taylor, 1897 I2 7 

204 Pyne, R. Stockton, 1902 

55 



Princeton University, Library 
of, 1897 

Prescott, Eva Snow Smith, 1898 

Porter, Nathan T., 1900 

Phillips, William (design ar- 
ranged from 1 6th century ar- 
morial by P. de Chaignon 
la Rose), 1901 

Reid, Whitelaw, 1894 

Rowe, Henry Sherburne, 1894 

Ranney, Henry Clay and Hel- 
en Burgess, 1897 

Richards, Walter Davis, 1825- 
1877, 1901 

Robinson, C. L. F. 

Sabin, Ruth Mary, 1897 

Sampson, Florence de Wolfe 
1898 

Sherwin, Henry A., 1895 

Sedgwick, Robert, 1896 

Sherwin, Henry A. (similar to 
52, but smaller), 1896 

Sherwood, Samuel Smith, 1898 

Scripps, James Edmund, 1898 

Skinner, Mark, Library 

Stickney, Edward Swan (Chi- 
cago Historical Society), 1898 

Stratton, A. Dwight, 1898 

Stearns, John Lloyd, 1897 

Sovereign (designed by Thomas 
Tryon) (crown), 1896 

Sovereign (designed by Thomas 
Tryon) (eagle), 1896 

Society of Colonial Wars, Con- 
necticut, 1901 

Sherman, William Watts (de- 
sign by B. G. Goodhue), 1901 

Taylor, Chas. H., Jr. (designed 
by E. B. Bird), 1896 

Talmage, John F. 

Treadwell Library (Mass. Gen- 
eral Hospital) (designed by 
B. G. Goodhue) 

Thorne, Katherine Cecil San- 
ford, 1898 



122 Twentieth Century Club (de- 
signed by Mrs. Evelyn Rum- 
sey Carey), 1898 

157 Union League Club 

154 University Club, Cleveland 
48 Vail, Henry H., 1895 

116 Vassar Alumnae Historical As- 
sociation, 1898 

196 Varnum (Gen.), James M. 

128 Van Wagenen, Frederick W., 

1898 
31 Warner, Beverly, M. A., 1894 

114 Wendell, Barrett, 1898 

126 Williams, E. P., 1898 



130 Wood, Arnold, 1898 
137 Wood, Ethel Hartshorne 
182 Worcester Art Museum, 1901 
144 A. W. (Arnold Wood), 1899 
146 Williams, John Skelton 
161 Wodell, Silas 
175 Woodward, S. Walter, 1900 
178 Whitin, Sarah Elizabeth 
120 Winthrop, Henry Rogers, 1898 
75 Willets, Howard, 1896 
27 Woodbury, John Page, 1894 
72 (Yale) The Edward Tompkins 
McLaughlin Memorial Prize 
in English Composition, 1896 



BERTRAM G. GOODHUE 

Bertram Grosvenor Goodhue is a Boston architect who has made 
several book-plates of merit. One made for a department of Harvard 
University is particularly rich in decorative effect, and a design of which 
one would not grow weary. Others of Mr. Goodhue's designs are -treated 
in broad line and might have been reproduced very effectively by wood 
engraving. 



A. Squire 

Udolpho Snead 

Rachel Norton 

Harvard University Library, Lowell 

Memorial Library of Romance 

Literature 
H. I. K. (H. I. Kimball) 



Library of the Harvard Union 
Society of the Signet, Harvard 
Treadwell Library, Mass. General 

Hospital 
M. A. de Wolfe Howe 
William Watts Sherman 



HARRY E. GOODHUE 

The few book-plates designed by Harry E. Goodhue are mostly of the 
"girl and book" type. In the plate for Jessy McClellan the young 
woman appears to be sorry she "done it," or else is quite discouraged at the 
idea of lifting her folio romance into her lap. Mr. Goodhue's most pleasing 
design is that for Constance Alexander, shown on page 27. 



Amy M. Sacker 

Constance Grosvenor Alexander 

Jessy Trumbull McClellan 



June Eldredge 

Juliet Armstrong Collins 



56 



T. B. HAPGOOD, Jr. 

Mr. Hapgood is a decorative designer in Boston, and his work on the 
covers of various periodicals and catalogs is well known. Plate No. 5 
was submitted in competition and took second prize. It has never been 
reproduced. No. 1 was reproduced in "The Red Letter," No. 2 in the 
book-plate number of "The Studio," as was also No. 4. No. 14 has not 
been reproduced. No. 15 was originally made as a printer's mark and was 
so used. It was later altered to serve as a book-plate. 

1 Rev. George Fred Daniels, 1896 8 Andrew C. Wheelwright, 1898 

2 Norris Hastings Laughton, 1897 9 Andrew C. Wheelwright, 1898 



3 A. F. Skenkelberger, 1897 

4 Theodore Brown Hapgood, Jr., 

1897 

5 Society of Mayflower Descend- 

ants in Mass., 1897 

6 Rufus William Sprague, Jr., 1898 

7 Frances Louise Allen, i8q8 



10 Richard Gorham Badger, 1898 

11 Thursday Club, 1899 

12 North Brookfield Free Public 

Library, 1900 

13 Edwin Osgood Grover, 1900 

14 Harriet Manning Whitcomb, 1900 

15 Carl Heintzemann 



HAROLD E. NELSON 

Many of the figures in the book-plates by Harold Nelson are of the 
attenuated pre-Raphaelite type, but there are others one can believe 
really once lived. The frontispiece to the book-plate number of "The 
Studio" is a beautiful decorative bit by Mr. Nelson, and makes us quite 
willing to forgive him some of his more eccentric designs. The plate 
referred to is enhanced in beauty by a few lines of gold judiciously used. 
The musical plate on page 18 of this volume is a pleasing one. 



Mary L. Oldfield 

Edith A. Kingsford 

Robert H. Smith 

Fanny Nelson 

Ellen Maguire 

Edward Lomax 

Ernest Scott Fardell, M.A. 

Ernest Scott Fardell, M.A. 

GeofFery Parkyn 

A. Ludlow 

James Wilmar 

Bedford College Library 



Horace Shaw 

Harold Edward Hughes Nelson 

Lady Literary Society 

Mark Nelson 

Evelyn Wynne Parton 

A. A. Wood 

Maude Burton 

Marion H. Spielmann 

Alfred Anteshed 

Jane Nelson 

Leopold d'Estreville Lenfestey 



EDMUND H. NEW 

The book-plate designs by Mr. New are in a class by themselves. No 
one else has worked quite the field occupied by this artist. Mr. New has 

57 



used architecture for the motifs of a series of unusually pleasing plates. He 
has treated in a most decorative way whole buildings as well as details, door- 
ways, and so forth. His plates are particularly adapted to the dignified 
old houses that contain the libraries for which they were made. Mr. 
New has not limited himself to this field, as he has done a number 
of designs with no architectural suggestion. His work in book illustra- 
tion and decoration is of a most delightful quality, and is well known to all 
lovers of black and white. A number of his book-plate designs were 
reproduced and commented upon in Simpson's Book of Book-plates, Vol. 
II., No. I. The book-plate number of "The Studio" also showed some 
of his designs. The list is in chronological order and complete. 



Herbert New 

Rev. Richard R. Philpots 

Rees Price (wood cut) 

Montague Fordham (wood cut) 

C. Elkin Mathews 

Dr. Edmundi Atkinson 

Edward Morton 

Frederic Chapman 

William and Catherine Childs 

Beatrice Alcock 

Arthur Fowler 

No. I Highbury Terrace 

Julia Sharpe 

Herbert B. Pollard 



William Malin Roscoe (three sizes), 

1897 
Edward Evershed Dendy 
J. G. Gardner-Brown 
Phil. Norman 
Edward Le Breton Martin 
Roberti Saundby, M. D., LL. D. 

(two sizes), 1900 
George Lewis Burton 
George Cave, 1900 
Alexander Millington Sing (two 

sizes) 
Peter Jones 
Edward Alfred Cockayne 



HENRY OSPOVAT 

Henry Ospovat is a young Russian artist residing in London. He 
has done some superb decorative work for the sonnets and poems of 
Shakespeare published by John Lane. His book-plates are precious bits of 
decoration worthy the adoration of all lovers of the beautiful. There have 
been only a few reproductions of them. The book-plate number of "The 
Studio" shows several and Fincham's "Artists and Engravers" lists two. 



Arthur and Jessie Guthrie, 1898 
James and Maud Robertson, 1898 
John and Jessie Hoy, 1898 
Arthur Guthrie, 1898 
Walter Crane 
Charles Rowley 
James Hoy 
Jomes Hoy 



Frank Iliffe Hoy 

John and Jessie Hoy (second design) 

George Moore 

A. Emrys Jones 

Fred Beech 

J. H. Reynolds 

T. C. Abbott 

Frank and Marie Hoy 



58 



ARMAND RASSENFOSSE 

Armand Rassenfosse is a resident of Liege, therefore, presumably, a 
Belgian and a subject of the German Empire. But as stone walls do not 
always a prison make, so frontiers do not always mark the nationality of art 
and letters. Mr. Rassenfosse is distinctly French in his feeling and artistic 
point of view. Perhaps I should rather say Parisian, for it is of the Latin 
Quartier and the Beaux Arts that his work breathes. His designs are almost 
entirely of nude femininity and his method of expression the etching. He 
has made some eight or ten charming bits, full of life and chic — I was 
going to say, frou-frou, but that would be a misnomer, for his models are 
innocent of gowns or lingerie. Their spirit and beauty of execution is high, 
but as book-plate designs — well, it's a bit like champagne for breakfast. 



Alex, von Winiwarter 
Alfred Lavachery, 1890 
M. R. (Marie Rassenfosse) 
A. R. (Armand Rassenfosse) 



•Alb. Mockel 

H. v. W. (Hans von Winiwarter) 
Three designs without names 
D'Alb. Neuville 



LOUIS RHEAD 

The illustrator of "Pilgrim's Progress" and the "Idylls of the King" 
needs no introduction to the average book-lover, and the hearts of the 
poster-collectors throb at his name. Mr. Rhead is an American of English 
birth and a resident of one of the suburbs of greater Gotham. His 
decorative work has been long and favorably known, and his book-plates 
can but add to his reputation. He has done but fifteen, and two of these 
are yet to be reproduced, but some examples of his work are in most 
collections. 



Gertrude Tozier Chisholm 
James Henry Darlington 
Samuel Moody Haskins 
Le Roy W. Kingman 
Frank J. Pool 
Louis Rhead (symbolic) 
Louis Rhead (fishing) 
Katharine Rhead 



W. H. Shir-Cliff, 1897 

Jean Irvine Struthers 

Stephen S. Yates 

David Turnure 

Ivy Club (Princeton University) 

Rector Kerr Fox 

George Weed Barhydt 



BYAM SHAW 

The one or two book-plate designs by Mr. Shaw that have been 
published show a magnificent imaginative conception and makes the lover 
of the beautiful ardently wish for "more." The one for Isabella Hunter, 

59 



on page 216 of Vol. I. of the "International Studio," is at the head of its 
class. Mr. Shaw's other line-drawings and his paintings have a richness 
and weirdness of design that is very attractive. 

C. E. Pyke-Nott Laurence Koe 

Frank Lynn Jenkins Mr. Claye 

Isabella R. Hunter 



JOSEPH W. SIMPSON 

Mr. Simpson, of Edinburgh, is a young Scotchman of infinite ambition 
and generous talent. He is not only a clever designer of book-plates, but 
he has a magazine to exploit his schemes and theories of art. This is 
reputed to be a quarterly, but it is erratic, like its sponsor, and issues "once 
in a while." Mr. Simpson's designs are full of feeling and rich in 
treatment. About twenty-five of these have seen the light and are prized 
by the lovers of modernity. 

Robert Bateman, 1897 A. Gaston Masson 

Kris Allsopp, 1897 Geo. May Elwood 

Kris Allsopp, 1897 T. F. M. Williamson, 1899 

J. A. Whish, 1898 (Gordon) Craig 

James Dick, 1898 Mabel Waterson 

F. N. and A. W. Hep worth, 1898 Fiffi Kuhn 

Cissie Allsopp, 1898 Maisie Phillips 

J. W. Simpson Samuel Linsley 

Charles Holme Pauline Stone 

Julio Guardia T. N. Foulis 

K. E., Graf zu Leiningen-Wester- Joseph W. Simpson 

burg, 1898 W. M. Stone 
Maud H. Scott, 1898 



HANS THOMA 

Hans Thoma is a painter of national reputation in Germany who has 
thought it not beneath his dignity to do book-plate designs. This by 
way of recreation or to strengthen his line for more pretentious efforts. 
His designs are along classic and dignified lines. His own personal plate 
is a weird one; on it is a nude youth bearing the torch of knowledge and 
riding a gruesome dragon. 

Dr. S. Herxheimer, 1898 August Rasor 

Hans Thoma Martin Elersheim 

Adolph von Gross, 1896 S. Herrheimer 

Dr. Henry Thode Sofie Kuchler 

60 



Hermann Levi 
Dr. Otto Fiser 
Luisa Countess Erdody 



R. Spier 

J. A. Beringer 

Karl and Maria Grunelius 



THOMAS TRYON 

Mr. Tryon's work has been described at length in another part of this 
book and a large part of his designs reproduced. 



William Frederick Havermeyer (en- 
graved by E. D. French), 1892 

James Seymour Tryon, 1892 

Arnold William Brunner, 1893 

Frank Jean Pool, 1893 

"Sovereign," Crown design (en- 
graved by E. D. French), 1896 

"Sovereign," Eagle design (en- 
graved by E. D. French), 1896 

Annah M. Fellows, 1896 

George Elder Marcus, 1897 



Loyall Farragut, 1898 
Mary Tryon Stone, 1900 v 
Janet Tryon Stone, 1900 
Rachel Norton Tryon 

Stone, 1900 
Mary Tryon Stone (2d), 

1900 

J. C. M. (Miss J. M. Cox), 1901 
Library of the Boys' Club, 1902 
Willis Steell, 1902 



same 

design 

in 

different 

sizes 



BERNHARD WENIG 

Bernhard Wenig is a comparatively newcomer in the field of book- 
plate design, but he has already established for himself an enviable reputa- 
tion in Germany, and his work is meeting with a growing appreciation by 
collectors in this country. Mr. Wenig's general manner is that of the old 
engraved wood block, bold and more or less crude of line, but full of virility. 
Most of his work is reproduced in black on white, but in a few instances he 
has used a color or two with good effect. His choice of subjects is varied, 
but the studious bookman of the middle ages seems to be uppermost in his 
heart and mind. Mr. Wenig has made one plate for a child, a small boy, 
that is among the best half-dozen of designs for children. 



Baroness May v. Feilitzsch 
Bernhard Wenig, 1897 
Anton Wenig, 1897 
Joh. Nep. Eser, 1899 
E. W. J. Gartner, 1900 
Richard Schulz, 1900 
Mathilde Schulz 
Heinrich Stiimcke 
Karl Emich, Graf zu Leiningen- 
Westerburg, 1901 



Gunter Otto Schulz 

Gertrud Schulz 

Dr. Adolph Brenk 

Carl Selzer 

Lorenz Wenig 

Countess Sofie du Moulin 

Max H. Meyer 

Dr. Fr. Weinitz 

H. von Sicherer 

Hugo Schmid 



"i 



Julie Speyer 
Louis King 
Claire von Frerichs 
Franz Menter 
L. Frankenstein 
Dr. Hans Lichtenfelt 
Heinrich and Hedwig Brelauer 
Fr. Schade 

F. Schaffener 

G. Drobner 

H. R. C. Hirzee 
Wolfgang Quincke 
Alfred Misterck 
Ludwig Stivner 
Max Landmann 
Hans Jaeger 
Dr. Louis Merck 
Richard Jaeger 



Rosalie Eeginbrodt 

Georg Ortner 

Melaine Dorny 

Anna Furstin 

Ludwig Klug 

Doris von Heyl 

Frieherr Max Hevl 

Carl R. Peiner 

David von Flansemann 

Paulus Museum, Worms 

(Mrs.) Hedwig Smidt 

Wilhelm Karl Herams 

(Mrs.) Julie Wassermann 

Dr. C. JSchonborn 

Maria von Ernst 

Wolfgang Quincke 

Walther Frieherr von Seckendorff 

Wilhelm von Schon 




62 



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