English Illustration 'The Sixties': 1855-70: With Numerous Illustrations by Ford Madox Brown: A. Boyd Houghton: Arthur Hughes: Charles Keene: M. J. Lawless: Lord Leighton, P.R.A.: Sir J. E. Millais, P.R.A.: G. Du Maurier: J. W. North, R.A.: G. J. Pinwell: Dante Gabriel Rossetti: W. Small: Frederick Sandys: J. Mcneill Whistler: Frederick Walker, A.R.A.: and Others — John Shaqi
English Illustration 'The Sixties': 1855-70: With Numerous Illustrations by Ford Madox Brown: A. Boyd Houghton: Arthur Hughes: Charles Keene: M. J. Lawless: Lord Leighton, P.R.A.: Sir J. E. Millais, P.R.A.: G. Du Maurier: J. W. North, R.A.: G. J. Pinwell: Dante Gabriel Rossetti: W. Small: Frederick Sandys: J. Mcneill Whistler: Frederick Walker, A.R.A.: and OthersWhite, Gleeson
Philosophy
English Illustration 'The Sixties': 1855-70: With Numerous Illustrations by Ford Madox Brown: A. Boyd Houghton: Arthur Hughes: Charles Keene: M. J. Lawless: Lord Leighton, P.R.A.: Sir J. E. Millais, P.R.A.: G. Du Maurier: J. W. North, R.A.: G. J. Pinwell: Dante Gabriel Rossetti: W. Small: Frederick Sandys: J. Mcneill Whistler: Frederick Walker, A.R.A.: and Others
White, Gleeson
Illustrated books -- Great Britain -- History -- 19th century -- Bibliography; Illustration of books -- Great Britain -- 19th century; Illustration of books, Victorian -- Great Britain
In estimating the errors which are certain to have crept into this
record of a few thousand facts selected from many thousands, the author
is obviously the last person to have any idea of their number; for did
he suspect their existence, they would be corrected before the work
appeared. Yet all the same, despite his own efforts and those of kindly
hands who have re-collated the references in the majority of cases, he
cannot flatter himself he has altogether escaped the most insidious
danger that besets a compilation of this kind, namely, overlooking
some patently obvious facts which are as familiar to him as to any
candid critic who is sure to discover their absence.
The choice of representative illustrations has been most perplexing.
Some twenty years' intimacy with most of the books and magazines
mentioned herein made it still less easy to decide upon their abstract
merits. Personal prejudice--unconscious, and therefore the more
subtle--is sure to have influenced the selection; sometimes, perhaps,
by choosing old favourites which others regard as second-rate, and
again by too reticent approval of those most appreciated personally,
from a fear lest the partiality should be sentimental rather than
critical. But, and it is as well to make the confession at once,
many have been excluded for matters quite unconnected with their
art. Judging from the comments of the average person who is mildly
interested in the English illustrations of the past, his sympathy
vanishes at once if the costumes depicted are 'old-fashioned.' Whilst
I have been working on these books, if a visitor called, and turned
over their pages, unless he chanced to be an artist by profession as
well as by temperament, the spoon-bill bonnet and the male 'turban' of
the 'sixties' merely provoked ridicule. As my object is to reawaken
interest in work familiar enough to artists, but neglected at present
by very many people, it seems wiser not to set things before them which
would only irritate. Again, it is difficult to be impartial concerning
the beauty of old favourites; whether your mother or sister happen to
be handsome is hardly a point of which you are a trustworthy judge.
Other omissions are due to the right, incontestable if annoying, every
other person possesses in common with oneself, 'to do what he likes
with his own'; and certain publishers, acting on this principle, prefer
that half-forgotten engravings should remain so.
Public-domain text, read in full here on John Shaqi.
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