Part 4

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

Herbert New Rev. Richard R. Philpots Rees Price (wood cut) Montague Fordham (wood cut) C. Elkin Mathews Dr. Edmundi Atkinson Edward Morton Frederic Chapman William and Catherine Childs Beatrice Alcock Arthur Fowler No. 1 Highbury Terrace Julia Sharpe Herbert B. Pollard William Malin Roscoe (three sizes), 1897 Edward Evershed Dendy J. G. Gardner-Brown Phil. Norman Edward Le Breton Martin Roberti Saundby, M. D., LL. D. (two sizes), 1900 George Lewis Burton George Cave, 1900 Alexander Millington Sing (two sizes) Peter Jones Edward Alfred Cockayne

HENRY OSPOVAT

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

Arthur and Jessie Guthrie, 1898 James and Maud Robertson, 1898 John and Jessie Hoy, 1898 Arthur Guthrie, 1898 Walter Crane Charles Rowley James Hoy James Hoy Frank Iliffe Hoy John and Jessie Hoy (second design) George Moore A. Emrys Jones Fred Beech J. H. Reynolds T. C. Abbott Frank and Marie Hoy

ARMAND RASSENFOSSE

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

Alex. von Winiwarter Alfred Lavachery, 1890 M. R. (Marie Rassenfosse) A. R. (Armand Rassenfosse) Alb. Mockel H. v. W. (Hans von Winiwarter) Three designs without names D'Alb. Neuville

LOUIS RHEAD

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

Gertrude Tozier Chisholm James Henry Darlington Samuel Moody Haskins Le Roy W. Kingman Frank J. Pool Louis Rhead (symbolic) Louis Rhead (fishing) Katharine Rhead W. H. Shir-Cliff, 1897 Jean Irvine Struthers Stephen S. Yates David Turnure Ivy Club (Princeton University) Rector Kerr Fox George Weed Barhydt

BYAM SHAW

The one or two book-plate designs by Mr. Shaw that have been published show a magnificent imaginative conception and makes the lover of the beautiful ardently wish for "more." The one for Isabella Hunter, on page 216 of Vol. I. of the "International Studio," is at the head of its class. Mr. Shaw's other line-drawings and his paintings have a richness and weirdness of design that is very attractive.

C. E. Pyke-Nott Frank Lynn Jenkins Isabella R. Hunter Laurence Koe Mr. Claye

JOSEPH W. SIMPSON

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

Robert Bateman, 1897 Kris Allsopp, 1897 Kris Allsopp, 1897 J. A. Whish, 1898 James Dick, 1898 F. N. and A. W. Hepworth, 1898 Cissie Allsopp, 1898 J. W. Simpson Charles Holme Julio Guardia K. E., Graf zu Leiningen-Westerburg, 1898 Maud H. Scott, 1898 A. Gaston Masson Geo. May Elwood T. F. M. Williamson, 1899 (Gordon) Craig Mabel Waterson Fiffi Kuhn Maisie Phillips Samuel Linsley Pauline Stone T. N. Foulis Joseph W. Simpson W. M. Stone

HANS THOMA

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

Dr. S. Herxheimer, 1898 Hans Thoma Adolph von Gross, 1896 Dr. Henry Thode August Rasor Martin Elersheim S. Herrheimer Sofie Küchler Hermann Levi Dr. Otto Fiser Luisa Countess Erdödy R. Spier J. A. Beringer Karl and Maria Grunelius

THOMAS TRYON

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

William Frederick Havemeyer (engraved by E. D. French), 1892 James Seymour Tryon, 1892 Arnold William Brunner, 1893 Frank Jean Pool, 1893 "Sovereign," Crown design (engraved by E. D. French), 1896 "Sovereign," Eagle design (engraved by E. D. French), 1896 Annah M. Fellowes, 1896 George Elder Marcus, 1897 Loyall Farragut, 1898 Mary Tryon Stone, 1900 } same Janet Tryon Stone, 1900 } design in Rachel Norton Tryon Stone, 1900 } different Mary Tryon Stone (2d), 1900 } sizes J. C. M. (Miss J. M. Cox), 1901 Library of the Boys' Club, 1902 Willis Steell, 1902

BERNHARD WENIG

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

Baroness May v. Feilitzsch Bernhard Wenig, 1897 Anton Wenig, 1897 Joh. Nep. Eser, 1899 E. W. J. Gärtner, 1900 Richard Schulz, 1900 Mathilde Schulz Heinrich Stümcke Karl Emich, Graf zu Leiningen-Westerburg, 1901 Günter Otto Schulz Gertrud Schulz Dr. Adolph Brenk Carl Selzer Lorenz Wenig Countess Sofie du Moulin Max H. Meyer Dr. Fr. Weinitz H. von Sicherer Hugo Schmid Julie Speyer Louis King Claire von Frerichs Franz Menter L. Frankenstein Dr. Hans Lichtenfelt Heinrich and Hedwig Brelauer Fr. Schade F. Schaffener G. Drobner H. R. C. Hirzee Wolfgang Quincke Alfred Misterck Ludwig Stivner Max Landmann Hans Jaeger Dr. Louis Merck Richard Jaeger Rosalie Eeginbrodt Georg Ortner Melaine Dorny Anna Furstin Ludwig Klug Doris von Heyl Frieherr Max Heyl Carl R. Peiner David von Flansemann Paulus Museum, Worms (Mrs.) Hedwig Smidt Wilhelm Karl Herams (Mrs.) Julie Wassermann Dr. C. Schonborn Maria von Ernst Wolfgang Quincke Walther Frieherr von Seckendorff Wilhelm von Schon

Transcriber's Note

Minor punctuation errors have been repaired.

Printer errors and inconsistencies have been amended as follows:

Page 28--Bernard amended to Bernhard--By Bernhard Wenig

Page 36--Gerhaeuser amended to Gerhäuser--The design for Emil Gerhäuser is inoffensive ...

Page 43--portaits amended to portraits--The portraits and view are interwoven ...

The final chapter, the check-list of works, contained a number of errors and inconsistencies in the names. Where there were other mentions of the name in the book, the transcriber has made amendments for consistency, as follows:

Page 45--Bernard amended to Bernhard--Bernhard Wenig

Page 49--Pierce amended to Pearce--Julian Pearce Smith

Page 51--F. amended to E.--E. Gerhäuser

Page 51--Lulu amended to Lula--12 Lula Thomas Wear

Page 58--Jomes amended to James (second instance)--James Hoy

Page 61--Havermeyer amended to Havemeyer--William Frederick Havemeyer (engraved by E. D. French), 1892

Page 61--Fellows amended to Fellowes--Annah M. Fellowes, 1896

The following are likely to be errors, but as they appear only once in this book, they are preserved as printed. This list may not be exhaustive.

Page 58--Dr. Edmundi Atkinson should probably be Dr. Edmund Atkinson

Page 62--Rosalie Eeginbrodt should probably be Rosalie Eigenbrodt

Page 62--Melaine Dorny should probably be Melanie Dorny

Page 62--Frieherr Max Heyl should probably be Freiherr Max Heyl

Page 62--Carl R. Peiner should probably be Carl R. Reiner

Page 62--Dr. C. Schonborn should probably be Dr. C. Schönborn

Page 62--Walther Frieherr von Seckendorff should probably be Walther Freiherr von Seckendorff

Page 62--Wilhelm von Schon should probably be Wilhelm von Schön

The frontispiece illustration has been moved to follow the title page. Other illustrations have been moved where necessary so that they are not in the middle of a paragraph.