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=, BOOK-PLATES OF TO-DAY

11 Edited by WILBUR MACEY STONE

THE LIBRARY

THE UNIVERSITY

OF CALIFORNIA

LOS ANGELES

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Digitized by the Internet Archive

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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.

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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5TUDI0 aUB

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

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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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

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By J. W. Simpcon
9

By Byam Shaw

By R. Aiming Bell

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By Walter Essie

JWSIMPSON
HIS BOOK

EX LIBRIS

Tjt/ngddwe

EDWARD
MORTON

By E. H. New

By J. W. Simpeon

Four Designs by
Gordon Craig

By J. Williams

By J. Williams
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By W. B. Pearson

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By S. A. Lindsey

By Enid M. Jackson

By Anna Dixon

By Arthur H. Verstage
16

From Drawing after Etching
By D. Y. Cameron

EX**
LIBRtf

EDITH A

KING5'
FORD

By Harold Nelson

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

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

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By Geo. Wharton Edwards

By T. B. Hapgood, Jr.

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By T. B. Hapgood, Jr.

By Louis H. Rhead

By B. G. Goodhue

By W. S. Hadaway

From Steel Engraving
By E. D. French

By H. E. Goodhue

By B. G. Goodhue

BARR-EAU-";

BRUXLLLES

By Femand Khnopff

By Hans Thoma

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By Bernard Wenig

By Juliue Dice

By Charles E. Eldred, of English Navy

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From Steel Engravings by Wm. Phillips Barrett

GLADYS DE GREY"

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Four designs by Thomas M. Cleland
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BOOK-PLATES AND THE NUDE

By WILBUR MACEY STONE

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

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

M O/f °^Al jt

By H. Ospovat

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

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After Etching by Guerin

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

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fFRANK- JEAN -POOL-

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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

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

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

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

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*

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Bv B. G. Goodhue

By B. D. French

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EX-LIBRIS
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By B. G. Goodhue

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

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

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, 330

(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

51
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

D. Y. CAMERON

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

Donald & Grace Cameron Swan
Robert M. Mann
John Roberton

John Maclaren

Roberta Elliot S. Paterson

Joanna Cameron

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

Robert G. Paterson

R. Y. Pickering, 1895

R. Y. Pickering (another design)

John A. Downie

Beatrice H. MacLaurin

Sir James Bell, Bart.

THOMAS MAITLAND CLELAND

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

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

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

Marion Terry

Cissie Loftus

Evelyn Sm alley

Edith Craig

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

Tommy Norman

Jess Dorynne

Rosie Craig

G. C. (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.

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

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

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°
51
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

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

7
47
41
59

28
66

97
100

125

156

167

H5
22

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

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

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

l897
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 I27

204 Pyne, R. Stockton, 1902

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

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.

GeofFery Parkyn

A. Ludlow

James Wilmar

Bedford College Library

Horace Shaw

Harold Edward Hughes Nelson

Lady Literary Society

Mark Nelson

Evelyn Wynne Parton

A. A. Wood

Maude Burton

Marion H. Spielmann

Alfred Anteshed

Jane Nelson

Leopold d'Estreville Lenfestey

EDMUND H. NEW

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

used architecture for the motifs of a series of unusually pleasing plates. He
has treated in a most decorative way whole buildings as well as details, 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

ARMAND RASSENFOSSE

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

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

•Alb. Mockel

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

LOUIS RHEAD

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

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

W. H. Shir-Cliff, 1897

Jean Irvine Struthers

Stephen S. Yates

David Turnure

Ivy Club (Princeton University)

Rector Kerr Fox

George Weed Barhydt

BYAM SHAW

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

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

C. E. Pyke-Nott 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

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

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

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

UNIVERSITY OF CALIFORNIA LIBRARY

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