arthur rackham (Plus de 15 000 résultats)

Published within Rackham's edition of A Midsummer Night's Dream in 1908. The watercolour depicts Puck leading Lysander away from Demetrius in Act 3, scene 2. The piece appears opposite page 86 and is one of the 40 colour plates. The board has the title added in the artist's hand, together with identification of the book and the artist's signature. This powerful illustration shows Rackham's thorough knowledge of the text of the play. Although simply entitled "Up and down, up and down", Rackham adds the "damned spirits all" to his composition and therefore depicts a passage from Puck's previous speech. In his biography of the artist, James Hamilton notes that Rackham's "interpretations of A Midsummer Night's Dream and The Wind in the Willows. have become definitive, and continue to challenge later illustrators to find new approaches". Writing about "Rackham's Best Book Illustrations", Fred Gettings states that in the artist's illustrations for A Midsummer Night's Dream "he created. among his finest colour images and almost all the plates echo perfectly the mysterious interweaving of lightness and depth in this great work. Many of the formal plates are exquisite." Exhibited: Leicester Galleries, London, October - November 1908, item 19; Santa Barbara Museum of Art, 5 January - 17 February 1974, item 23. Original drawing (265 x 183 mm) on card, laid down on board, fine ink and watercolour, signed and dated ("Arthur Rackham 08") lower right, inscribed with title and additionally signed below mount, mounted, framed, and glazed (framed size: 480 x 372 mm). Fine and unfaded.

Published within Mother Goose in 1913. This detailed watercolour was originally reproduced opposite page 126 and is one of the 13 colour plates. It was also reproduced in the St Nicholas magazine (in monochrome) in June 1913. Fred Gettings, in his study of Arthur Rackham, states that this illustration shows "a situation which is almost akin to a schizophrenic's dream". James Hamilton notes that the artist effectively personalized Mother Goose, "by means of his self-portrait appearing in decorated initials such as the letter I, in illustrations such as 'As I was going to St. Ives.', and in the use of 16 Chalcot Gardens [the artist's home] as the model for 'The House that Jack Built'. Whether he liked it or not, Rackham's reputation as a benign and other-worldly gnome-figure, and as the creator of such subjects, was being emphasised again to market him and his personality". Fred Gettings, Arthur Rackham, 1976, pp. 132; James Hamilton, Arthur Rackham: a life with illustration, 1990, p. 107-8. Exhibited: Leicester Galleries, London, October 1913, item 1. Original drawing (242 x 190 mm) on artist's board (265 x 190 mm with "West's Prepared Watercolour Board" printed on reverse), fine ink and watercolour, signed and dated ("Arthur Rackham 1912") lower left, verse on four lines below mount, reverse with "Nursery Rhymes", verse, artist's name and address in the artist's hand, mounted, framed, and glazed (framed size 400 x 337 mm). Some traces of former mount to extremities; a fine and unfaded watercolour.

A fine original pen, ink and watercolour painting published in "A Midsummer Night's Dream" in 1908. Signed and dated in the lower left hand corner. 26.5cm x 17cm. The image is in very good condition, with no repair or damage, there is a small spot of browning to Puck's left hand. The watercolour illustrates Act II, scene I. LITERATURE: A Midsummer Night's Dream by William Shakespeare (Heinemann, 1908) plate at p.22 Exhibited Leicester Galleries October 1908.

Published within Rackham's illustrated edition of Ibsen's Peer Gynt in 1936. The watercolour depicts the "great assembly of troll courtiers, brownies, and gnomes" in the Royal Hall of the King of the Trolls from scene six. It is reproduced opposite page 74 and is one of 12 colour plates within the book. As noted in his essay on "Rackham's Best Book Illustrations", Fred Gettings states that "in the troll scenes." within Peer Gynt, "Rackhamerie abounds". A review of the book in the New York Times described the artist's work as "delightfully impish and imaginative" and stated "it is seldom that the work of artist and author is more happily married". Fred Gettings, Arthur Rackham, 1976, p. 165; New York Times, 13 December 1935 Original drawing (268 x 206 mm) on artist's board (345 x 280 mm), fine ink and watercolour, signed ("Arthur Rackham") lower right, with "Peer Gynt ARackham" in the artist's hand on reverse, mounted, framed, and glazed (framed size 519 x 444 mm). Fine condition.

Published within Rackham's edition of John Milton's Comus in 1921. The plate appears as one of the three illustrations after page 36 and is one of the 24 colour plates. The board has the title added in the artist's hand, together with identification of the book and the artist's signature. Heinemann had planned to publish an illustrated edition of Comus in 1914 but due to "the uncertainties of publishing as the war began", it was postponed until 1921. Writing on "Rackham's Best Book Illustrations", Fred Gettings notes that Rackham's style was beginning to soften: "the pictures are tending to be less coloured drawings, and are gradually becoming more and more like paintings". James Hamilton, Arthur Rackham: a life with illustration, 1990, p. 107; Fred Gettings, Arthur Rackham, 1976, pp. 139. Exhibited: Santa Barbara Museum of Art, 5 January - 17 February 1974, item 14. Original drawing (275 x 194 mm) on card, laid down on board, fine ink and watercolour, signed and dated ("Arthur Rackham 1914") lower right, inscribed with title and additionally signed below mount, mounted, framed, and glazed (framed size 450 x 357 mm). Fine and unfaded.

Published within Flora Annie Steel's English Fairy Tales in 1918. This fine watercolour accompanies the tale of "Mr and Mrs Vinegar", the "worthy couple" who "lived in a glass pickle-jar". It was originally reproduced as the frontispiece and is one of the 16 colour plates. Hamilton in his biography of the artist notes that the publishers paid Rackham an advance of £1,000 for English Fairy Tales and, as an indication of his growing status as an illustrator, this was "the largest he had yet received". Reviewing the book in the New York Tribune, Willis Fletcher Johnson stated that "never. shall we hope to see more perfect pictures of scenes in childhood's histories than these of Mr Rackham's". James Hamilton, Arthur Rackham: a life with illustration, 1990, p. 128; Willis Fletcher Johnson, "Good Books for Young Readers", New York Tribune, 16 November 1918, p. 8. Exhibited: Sheffield City Art Gallery, December 1979 - April 1980, item 47. Original drawing (295 x 255 mm) on card (312 x 262 mm), laid down on board, fine ink and watercolour, signed ("Arthur Rackham") lower left, mounted, framed, and glazed (framed size 450 x 407 mm). Fine and unfaded.

One of the artist's illustrations for Colgate and Company's adverts for "Cashmere Bouquet Soap" and, presumably, published in American newspapers or periodicals in the early 1920s. The series helped alter the public's perception of Rackham's oeuvre. Hamilton, in his biography of the artist, states that "Rackham's largest single commission for the US was not for a book but for a series of soap advertisements. Colgate commissioned thirty drawings on the theme of the Early English Aristocracy to advertise Cashmere Bouquet Soap, which they billed as 'The Aristocrat of Toilet Soaps'. Spread over the years 1922-25, this commission. affected the particular tone of his reputation in America. From being the 'Goblin Master', Rackham was now being seen by the new audience of popular newspaper and magazine readers as the creator of Hollywood style, Jane Austenesque, crinolined fantasties". During the campaign Hamilton notes that "the original drawings were exhibited in art galleries throughout America, including the Metropolitan Museum of Art in New York. The price Rackham paid, however, for spending an extended length of time on the Colgate project - for all its financial and publicity benefits - was that he was diverted from book illustration". The artist's instructions on the reverse read "Note: The limit for reproduction is marked by a pencil line. Mounts should be removed first. They are only for protection". James Hamilton, Arthur Rackham: a life with illustration, 1990, pp. 126-8. Original drawing (270 x 235 mm) on artist's board (272 x 241 mm), fine ink and watercolour, signed ("Arthur Rackham") lower right, titled "1. 'The Letter'", the artist's name and address, and reproduction instructions in the artist's hand on reverse, mounted, framed, and glazed (framed size 456 x 417 mm). Some minor toning below mount; else fine and unfaded.

Original pen, ink and watercolour on board. Signed and dated by Rackham in the bottom left corner. 26.5cm x 37cm. Mounted, framed and glazed. A fine, large illustration of the infant Peter Pan, swaddled and sat atop a branch in Kensington Gardens. Peter Pan was Rackham's second major commission and the work which established his reputation as a book illustrator. Issued with new illustrations in 1912 where this image is reproduced in black and white as the chapter heading for chapter 2. A review of this book published in "The World" reads "Mr Barrie has done what no one else has done since the inventor of "Alice", he has invented a new legend, a modern folk story which comprehends all the innermost secrets of the modern child, be he four or forty. Mr Rackham, for his part, has been bewitched in his cradle: he does not dream of fairies or hobgoblins, he knows them." LITERATURE: Peter Pan in Kensington Gardens by J.M.Barrie (Hodder & Stoughton, 1912) p.19 (reproduced in black and white).

An original pen, ink and watercolour painting published in "Little Brother, Little Sister" in 1917. Signed in the lower left hand corner. 36.5cm x 26.5cm. Mounted, framed and glazed. In fine condition. A superb, imposing and exquisitely detailed watercolour for "The Fitcher's Bird" by the Brothers Grimm, depicting the moment of triumph when the youngest and cleverest of three daughters, covered in honey and bird feathers, meets the evil sorcerer after he has been tricked into delivering her sisters safely home. Rackham's depiction of Grimm's fairytales, when at the height of his creative powers. Of Little Brother & Little Sister, Fred Gettings claims, "it would be possible to select any single colour picture in order to demonstrate Rackham's art at its finest". LITERATURE: Little Brother & Little Sister and Other Tales by The Brothers Grimm. (Constable, 1917) p.180.

Etat : Fine. Signed original watercolor by Rackham created for his illustrated edition of Wagner's SIEGFRIED, beautifully matted and framed. The image shows the Wanderer and the Dwarf; the former has challenged the dwarf to answer a second riddle in order to save his life, a scene not coincidentally reminiscent of Gollum and Bilbo in Tolkien's book THE HOBBIT. A tremendous piece, richly colored and with much detail. 10.25'' x 6.25'' (watercolor); 20.25'' x 16.25'' (frame). Professionally matted and framed. Signed by Rackham and dated 1911.

An extensive archive of correspondence from the files of London publisher J. M. Dent and Sons. Approximately 285 letters, written in the 1920s and 1930s, with a scattering of earlier and later letters, mostly giving (and on occasion denying) permission to reprint literary work in various anthologies of poetry and prose. A considerable portion of the correspondence relates to permissions and payments for work to be included in books published as part of Dent's popular Everyman's Library. Many letters are addressed to Ernest Rhys (1859-1946), the founding editor of Everyman's Library, and to Guy Noel Pocock (1880-1955). Additionally, there are letters addressed to J. M. Dent, Thomas Caldwell, John Hampden (who was compiling a book of ghost stories), and others. Overall, the letters are in excellent condition. Some have indents from paperclips or small holes where once pinned, mostly at the upper left corners. The letters have the expected mailing folds. Several of the letters have rust marks from paperclips and some have minor creases, wrinkles, closed tears or small chips. These defects have been noted. Most of the letters are accompanied by rights and permissions letters, sometimes extensive, from and to J. M. Dent and Sons. Many of the carbons on flimsy paper are wrinkled or creased from decades of storage. Nevertheless, their content adds considerably to the depth and research value of the archive. The archive includes correspondence from (among others): Richard Aldington, Max Beerbohm, Vanessa Bell, Hilaire Belloc, Arnold Bennett, E. F. Benson, Ernest Bramah, Robert Bridges, Padraic Colum, Joseph Conrad, Walter de la Mare, Arthur Conan Doyle, Lord Alfred Douglas, Lord Dunsany, T. S. Eliot, Ford Madox Ford, E. M. Forster, Edmund Gosse, Kenneth Grahame, Graham Greene, Thomas Hardy, A. E. Houseman, Ted Hughes, James Joyce, C. S. Lewis, Rose Macaulay, Arthur Machen, John Masefield, A. A. Milne, Henry Newbolt, Ezra Pound, Arthur Quiller-Couch, Arthur Rackham, Vita Sackville-West, Siegfried Sassoon, George Bernard Shaw, Edith, Osbert and Sacheverell Sitwell, James Stephens, J. R. R. Tolkien, Katharine Tynan, Hugh Walpole, Mary Webb, H. G. Wells, Virginia Woolf (typed signature), W. B. Yeats. J. M. Dent and Sons was sold to Weidenfeld and Nicolson in 1986. In 1991 the Wilson Library at the University of North Carolina, Chapel Hill, purchased the J. M. Dent and Sons Records, 1834-1986 (150.0 linear feet; approximately 210,000 items) through Bertram Rota, Booksellers, London. Many of the UNC files are incomplete as they had been "pruned," and correspondence with Joseph Conrad, Dylan Thomas, Virginia Woolf, and others had been removed and sold. Calendar of letters available upon request. For sale as a collection.

Two original drawings published within Rackham's edition of Clement C. Moore's The Night Before Christmas in 1931. The original line drawings were reproduced across pages 12 and 13. Writing to E. A. Osborne in 1935, Rackham recalled that the limited edition of the book sold out and "there was quite a fight over it. America went very strong for it". Ink and watercolour drawings generally command higher prices than pen and ink drawings. Rackham, ever the commercial artist, frequently reworked his black and white drawings and, as in this example, occasionally added detail. In this coloured version, for example, the background comprises a ridge of trees which are entirely absent in the original ink drawing. Rackham provides detailed instructions on the framing of the two drawings with a note that reads "These two can either be mounted separately: or in one mount with two openings: if the latter, the right hand signature should be covered by the mount". Each drawing is, therefore, signed but one is below the mount, in accordance with the artist's instructions. Two drawings (176 x 125 mm and 176 x 136 mm) on paper (218 x 136 mm and 220 x 137 mm), laid down on card, ink and watercolour, signed ("Arthur Rackham") lower left and lower right, with Rackham's framing instructions below mount, mounted, framed, and glazed (framed size 315 x 415 mm). Some toning to extremities from previous mount, fine and unfaded.

An original pen, ink and watercolour painting published in "Little Brother, Little Sister" in 1917. Signed in the lower left hand corner. 21cm x 18cm. Mounted, framed and glazed. In fine condition. Rackham at the height of his creative powers, depicting Snow White and Rose Red, one of the best loved of Grimm's Fairy Tales. The image combines all of Rackham's most characteristic elements: a bad-tempered dwarf in pursuit of gold, sinuous trees and two maidens coming to his aid. Rackham's depiction of Grimm's fairytales, when at the height of his creative powers. Of Little Brother & Little Sister, Fred Gettings claims, "it would be possible to select any single colour picture in order to demonstrate Rackham's art at its finest". LITERATURE: Little Brother & Little Sister and Other Tales by The Brothers Grimm (Constable, 1917) p.12.

Etat : Fine. Original pen-and-ink and watercolor drawing for the tinted line drawing illustrating "The Paradise of Children" ("Pandora's Box") in Nathaniel Hawthorne's A Wonder Book (London: [n.d., 1922]). Signed and dated at lower right. Image size: 15 x 11 inches (381 x 279 mm.). Matted, framed, and glazed. Nathaniel Hawthorne's A Wonder Book was a frame story that retold ancient myths for children, in hopes of educating and inspiring them with classical tales adapted from Greek myths featuring "The Gorgon's Head," "The Three Golden Apples," and "The Chimaera," as well as Hawthorne's version of King Midas, "The Golden Touch." First published in the mid-nineteenth century, the 1922 edition illustrated by Rackham truly brought the text to life. This charming watercolor made for one of the book's illustrations depicts life as it was before Pandora opened the box a wonderfully gentle pastoral scene, with a group of three children dancing merrily, without a care in the world, with "the expanding blossoms of that night's supper" hanging heavily on the tree above their heads and "the tender bud of tomorrow's breakfast" growing on the plants in the foreground. A superb original drawing, this watercolor with its subtle colors and artful lines highlights Rackham's talents. Arthur Rackham (1867-1939) is perhaps the most acclaimed and influential illustrator of the Golden Age of Illustration. A prolific artist even from his youth, Rackham got his start as an illustrator working for the Westminster Budget Newspaper (1892). Over the next few years, he took on more and more commissions for children's books, hitting his career high in the first three decades of the twentieth century. Rackham turned his imaginative pen to every classicfrom Shakespeare to Dickens to Poe. Fine.

Published within Nash's Pall Mall Magazine, April 1927 on page 16 to accompany the short story "Living or Dead" by K. F. Purdon. This Rackham contribution is unrecorded in the bibliographies by Latimore and Haskell, and Riall. The full-page illustration is captioned in the printed version as "But what did he think to do against that madness and strength! And he only a mortal to contend with what wasn't 'right'? That young stranger was never seen after, by any son of man". On the board and below the mount, Rackham has added a note, "Please keep clean: original to be returned to A. Rackham". Ink and watercolour drawings generally command higher prices than pen and ink drawings. Rackham, ever the commercial artist, frequently reworked his black and white drawings with additional colour, as here. Exhibited: Scott and Fowles, New York, November 1927, item 7 or 8?; Santa Barbara Museum of Art, 5 January - 17 February 1974, item 31. Original drawing (345 x 260 mm) on paper, laid down on board, ink and watercolour, signed ("Arthur Rackham") lower right, additionally signed below mount (twice), with "A.R. No 7. Irish Fight" and artist's signature on reverse, mounted, framed, and glazed (framed size 520 x 430 mm). Light consistent toning.

Published within Rackham's illustrated edition of Hans Andersen's Fairy-Tales in 1932, a work described by Hamilton as "ideal - even the classic - late Rackham". This drawing was originally reproduced on page 125 as a black and white drawing for "The Steadfast Tin Soldier". The publishers of the book sent Rackham and his wife to Denmark for a week in November 1931 "to collect Danish atmosphere for the book", as stated by Hamilton. In a letter Rackham wrote that "Copenhagen is a very beautiful city. Lots of water, ships, fishing boats, quays - everywhere. It is rather fatiguing to me. I have to talk so much and behave myself so well all the while taking notes and notes for dear life". Ink and watercolour drawings generally command higher prices than pen and ink drawings. Rackham, ever the commercial artist, frequently reworked his black and white drawings and, as in this example, occasionally added detail. The published version shows the steadfast tin soldier in a paper boat. The reworked illustration has indistinct lines of newsprint added to the boat made out of a piece of newspaper. James Hamilton, Arthur Rackham: a life with illustration, 1990, pp. 144-5. Original drawing (234 x 233 mm) on card, laid down on artist's board, ink and watercolour, signed ("ARackham") lower left, mounted, framed, and glazed (framed size 402 x 397 mm).

Signed limited edition, special issue, number 2 of 14 copies for presentation issued with an original signed pen-and-ink and watercolour sketch by Rackham, here depicting Izaak Walton being served a fish on a plate, and in a specially commissioned luxury binding decorated in gilt with tools designed by the artist. The signed edition was limited to 775 copies. Harrap launched The Compleat Angler at a presentation party on 24 September 1931, during which each one of the 14 guests was presented with a leather-bound edition of the book, each with a signed ink sketch by Rackham on the half-title. Rackham had been adding special watercolour to volumes since the early 1920s as commissions to supplement his income, but it was George Harrap who hit on the idea of a "Rackham special", the most exclusive format of Rackham's books. From The Vicar of Wakefield onwards, Harrap held back the first dozen or so copies to be specially bound, as here, and asked Rackham to add a unique original watercolour sketch to the limited page. The first few copies were usually reserved for the publisher and his family; only a handful were available to the public. Describing his artistic method for these "specials", Rackham pointed out that "my little sketches must inevitably be of a light-hearted or joking nature. They have to be spontaneous and free handed. The nature of the paper is such that there can be no preparatory drawing and no alterations". Latimore & Haskell, pp. 66-67; Riall, p. 175. Small quarto. Colour frontispiece and 11 plates with captioned tissue guards, black and white illustrations in text, by Rackham, title printed in green and black. Publisher's special binding of red crushed morocco by Sangorski & Sutcliffe, titles in gilt direct to spine, raised bands, single gilt fillet frames to compartments and gilt fish motif (closely resembling that used on copies in the vellum binding), concentric gilt panels on boards with fish motif to corners, three frames in gilt to turn-ins, marbled endpapers, top edge gilt, others untrimmed, red silk bookmarker. Bequeathal inscription dated 1956 loosely inserted. Binding sharp, a few spots of faint foxing to contents, very slight foxing to fore and bottom edges, else internally crisp and unmarked. A fine copy.

Original pen-and-ink and watercolor drawing, signed "Arthur Rackham" on lower right-hand corner. Image and board size: 15 1/8 x 10 7/8 inches; 384 x 276 mm. Matted, framed and glazed, frame size: 25 3/4 x 20 3/4 inches; 654 x 526 mm. This ethereal watercolor was created for the title-page of Rackham's illustrated edition of Shakespeare's The Tempest (London: William Heinemann, Ltd. [1926]). Although the drawing in the title-page was uncolored, here he has added background and full watercolor to the image to enhance its salability. It is a charming image depicting a pastoral scene with the airy spirit Ariel dancing and holding a flute-like instrument. Ariel, who had been trapped for years in a tree by Sycorax was released by Prospero and serves him throughout the play until he is freed in the final act. Dressed in a pale blue smock, his joyous expression suggest that he has recently been freed from the tree nearby. Intriguingly, the tree in the foreground is somewhat different to Rackham's usual arboreal style, lacking the signature faces and arms. In the top half of the watercolor, Iris, Ceres, and Juno dance above the long branch, each of them playing an instrument: a lute, a shawm or flute and a tambourine. With a few exquisite strokes of pen and brush, Rackham is about to capture a singular transportive moment. Arthur Rackham (1867-1939) is perhaps the most acclaimed and influential illustrator of the Golden Age of Illustration. A prolific artist even from his youth, Rackham got his start as an illustrator working for the Westminster Budget Newspaper (1892). Over the next few years, he took on more and more commissions for children's books, hitting his career high in the first three decades of the twentieth century. Rackham turned his imaginative pen to every classicfrom Shakespeare to Dickens to Poe.

RACKHAM, Arthur (illustrateur). Cesarino and the Dragon". London: 1916. Original fine pen and ink and watercolor from "The Allies' Fairy Book." Measures 250 x 192 mm. Signed and dated 'ARackham 1916' on lower left corner. Mounted, framed and glazed. Image depicts Cesarino protecting his love while fighting a dragon with a sword and a knife in his hand. Meanwhile the dragon is fighting off a lion, a bear and a dog. Even the personified tress behind Cesarino appear to be helping scare away the dragon. This mythical and whimsical piece is very romantic despite all of the gore gong on. James Hamilton notes in his biography of Rackham that in this illustration 'Rackham combines his feelings of heraldry and the fantastic with his love of early Italian painting. The head of Cesarino is adapted from the head of the young horseman in Uccello's Battle of San Romano, a painting which Rackham recorded as being one of his favourites at the National Gallery in London.' "Cesarino and the Dragon' was used for the title-page of James Hamilton's biography of Arthur Rackham. Provenance: Probably item number 24 ("Fighting Dragons") from the Leicester Galleries Exhibition (number 284), December 1919; Sotheby's, 1 June 1989, lot 559; Sotheby's 11 December 2003, lot 277. Latimore and Haskell, Riall, Hamilton. HBS 67321. $28,500.

Published within Rackham's edition of Christina Rossetti's Goblin Market in 1933. This fine watercolour appears opposite page 44 and is one of the four colour plates. Rackham's work for Harrap in the 1930s saw a return to the artist's early style. Fred Gettings in an essay on "Rackham's Best Book Illustrations" states that Goblin Market "might easily have become an exercise in grotesqueries" but that Rackham's work "has been infused with a delicacy of feeling and humour which touches the poem's own qualities very well, but here we have all the elements of early Rackham." Fred Gettings, Arthur Rackham, 1976, p. 162. Original drawing (250 x 160 mm) on artist's board (259 x 177 mm with "Smith's Specially Prepared Boards" printed on reverse), fine ink and watercolour, signed ("Arthur Rackham") lower left, mounted, framed, and glazed (framed size 404 x 317 mm). Fine and unfaded.

Etat : Fine. A pen ink and watercolor, 9 x 6 inches; 228 x 15 mm. Signed in the lower right-hand corner "A. Rackham". Matted, framed and glazed. This original drawing by the beloved illustrator Arthur Rackham (18671939) depicts witches, ghouls, and goblins, along with other creepy characters set before a mountainous background. First published as a black and white drawing in the 1898 edition of The Ingoldsby Legends (pg. 465), this image was reworked, colored, and used as one of the 24 color plates in the 1907 edition of that book where it accompanied the tale of The Lay of St Aloys, A Legend of Blois (pgs. 391-401). "Rackham had recently developed his gift for drawing witches, gnomes, fairies, and anthropomorphized trees and brought them to a pitch of vivid characterization, sometimes with an unsettling frisson of horror" clearly visible in this pen, ink and watercolor (ODNB). Here Rackham's talent for the menacing and fantastical is on full display. Arthur Rackham (1867-1939) is perhaps the most acclaimed and influential illustrator of the Golden Age of Illustration. A prolific artist even from his youth, Rackham got his start as an illustrator working for the Westminster Budget Newspaper (1892). Over the next few years, he took on more and more commissions for children's books, hitting his career high in the first three decades of the twentieth century. Rackham turned his imaginative pen to every classicfrom Shakespeare to Dickens to Poe. Fine.

Published in the artist's edition of The Compleat Angler in 1931, facing page 122, one of 12 colour plates. The drawing shows Venator and Piscator practising their art by the riverbank despite darkening skies, and about to "retire to the sycamore-tree" for "more directions concerning fishing" (with Piscator promising his companion, "I would fain make you an artist"). The Observer's reviewer noted that "Mr Rackham takes his own way with Walton, and poses him more for the literary than for the angling reader. But he seems to understand the tones of sky and atmosphere that make angler's weather, and his own vein of the playful-fantastic is most winningly exemplified." The Observer, 29 November 1931, p. vii. Original drawing (218 x 178 mm) on artist's board with "O.W." and "117, Hampstead" printed on reverse (261 x 178 mm). Drawn in ink and watercolour, signed lower left ("Arthur Rackham"), with "return to A. Rackham" in pencil on reverse. Mounted, framed, and glazed (framed size 435 x 375 mm). Old label on the backboard of John G. Kidd & Son, the Cincinnati firm of rare book dealers and publishers. Some adhesive residue below image and concealed by mount: a fine unfaded watercolour.

Original pen, ink and watercolour painting on board. Signed and dated by the artist in the lower right hand corner. Original Leicester Galleries exhibition notice to the rear. 24.5cm x 17.4cm. Very good condition indeed. An iconic angling image from Walton's Compleat Angler. "I am glad to enter you into the art of fishing by catching a chub, for there is no fish better to enter a young angler. Go to the same hole in which I caught my chub, where in most hot days you will find a dozen or twenty chevens floating near the top of the water; get two or three grasshoppers as you go over the meadow, and get secretly behind the tree." (p. 69) LITERATURE: The Compleat Angler (Harrap, 1931), plate at p.68.

New edition of Rackhamâs highly-sought-after masterpiece, which established his reputation as one of Englandâs premier illustrators. Quarto, original publisher's green cloth elaborately decorated in gilt, illustrated by Arthur Rackham with 50 mounted color plates complete with captioned tissue guards including frontispiece. Association copy, signed by author J.M. Barrie on the verso of the front free endpaper, signed by Arthur Rackham on the recto of the frontispiece with an original drawing as well as Nadejda "Nada" Mountbatten, Marchioness of Milford Haven, signed by the sculptor of the PeterÂPan statue in Kensington Gardens, George Frampton on front pastedown, and signed by Princess Beatrice and Princess Marie Louise on the verso of the front free endpaper, "Beatrice Princess of Great Britain & Ireland January 1927" and "Marie Louise Jan. 1927." A January 4, 1927 issue of the Westminster Gazette explains the book's origin as a prize offered for "the best costumes from 'PeterÂPan' and 'PeterÂPanÂin Kensington Gardens'" at an annual London charity "PeterÂPan" party. "There were not many 'PeterÂPans.' Boys preferred pirates, most of them fierce-looking, with daggers protruding from their belts. Among the prizes were books of the play by Sir J. M. Barrie, autographed by Princess Beatrice, Princess Marie Louise, Lady Milford Haven, Sir James Barrie, Sir George Frampton, and Mr. Arthur Rackham." Near fine in a near fine dust jacket. Small closed tear to the foot of the title page. Housed in a custom half morocco clamshell box. A splendid association copy of Rackham's masterpiece. Barrie's beloved character, Peter Pan's namesake "came from Peter Llewelyn Davies, who when still a baby became the subject of stories told by Barrie to [Peter's older brothers]. According to these stories Peter, like all babies, had once been a bird and could still fly out of his nursery window and back to Kensington Gardens, because his mother had forgotten to weigh him at birth. From these stories came the 'Peter Pan' chapters in The Little White Bird [published 1902], afterwards re-issued with Arthur Rackham illustrations as Peter Pan in Kensington Gardens" (Carpenter, 177). "The 50 color plates were unanimously praised by all who saw them. One critic wrote: 'Mr. Rackham seems to have dropped out of some cloud in Mr. Barrie's fairyland, sent by special providence to make pictures in tune with his whimsical genius" (Dalby, 76-77). The book established Rackham's reputation and remains "his acknowledged masterpiece" (Ray, 204).

Unbound. (8 5/8 x 5 5/8 in.; 22 x 14.7 cm, not examined outside of frame), pencil and watercolor on illustration board. BINDING AND CONDITION: Some toning, signature faded. French matted, glazed and framed. (64B) PROVENANCE: Mrs. Lucy Stephens, artist and fellow resident of Primrose Hill Studios (according to a typed label on the frame verso this picture was obtained from her descendant); Christie's New York, 4 December 2018, lot 110.

Original watercolour and ink on illustration board. 10 x 13 inches (25.4 x 33 cm.). A comical scene of five fishermen on the bank with their poles in hand, looking miserable. In gilt silver frame. Inscribed verso "Mr. Strawbridge" Original watercolour and ink on illustration board. 10 x 13 inches (25.4 x 33 cm.).

Etat : Fine. Original watercolor and pen and ink drawing on paper, mounted onto card (drawing measures approximately 270 x 181 mm). Signed and dated by Arthur Rackham in 1904 (lower right). Verso of card with: "Received Jan 30 wtd (?) Feb 13" and "5086 - [unintelligible] Heinemann." Mounted on card. From Rip Van Winkle, printed tissue guard with: "Even to this day they never hear a thunderstorm about the Catskill but they say Hendrik Hudson and his crew are at their game of ninepins." Last sold at Heritage Auctions, 2019. Before that at Sothebys in 2002 for 10,755 pounds. A charming scene of two young women running for shelter at the break of a storm with several white ducks scattering in the courtyard, made for the "first book illustrated wholly by Rackham to be issued in a limited edition" (Riall). "Arthur Rackham's illustrations for Rip Van Winkle were the first major works of his career as a book illustrator, and they established Rackham as the leading decorative illustrator of the Edwardian period. These were also the first of many of his works to be displayed at the Leicester Galleries in London, an opportunity which both allowed Rackham to make extra money from the sale of his prints, and also establish illustration as a notable work of art in its own right rather than a mere adornment of a literary masterpiece" (Hudson). A lovely example of Rackham's more traditional artistic hand. Arthur Rackham (1867-1939) is perhaps the most acclaimed and influential illustrator of the Golden Age of Illustration. A prolific artist even from his youth, Rackham got his start as an illustrator working for the Westminster Budget Newspaper (1892). Over the next few years, he took on more and more commissions for children's books, hitting his career high in the first three decades of the twentieth century. Rackham turned his imaginative pen to every classicfrom Shakespeare to Dickens to Poe. Fine.

First edition, number 596 of a limited edition of 600 copies, signed by the publisher and engraver on the limitation page, this copy one of a special issue of approximately 100 copies bound in full vellum. Elephant folio (19 1/2 x 21 1/2 inches). Publisher's full vellum with gilt titles to upper cover. Housed in publisher's original cloth box with printed paper onlay. A very good copy indeed, lacking ties as usual but uncommonly bright and clean, with some vertical creases to the text leaves and some slight foxing to some mounts, but with plates remaining bright and uncreased. The original box is clean and attractive, lacking a side panel to lower section. Twelve large full size plates mounted with gilt ruled borders and captioned tissue guards by Rackham. The portfolio is without doubt, Rackham's grandest production and one of the rarest and most beautiful books of its type. Rackham's plates for Peter Pan originally appeared in 1906 in the form of a gift book with fifty Rackham plates. Partly to capitalise on the success of the stage production of Peter & Wendy, Hodder asked Rackham to select his favourite twelve of the fifty images in the 1906 Peter Pan to produce a collector's portfolio of plates. These plates were re-engraved to be the size of the original watercolours and produced to an extremely fine standard.

Hardcover. Etat : Fine. Special Edition. AN ORIGINAL MANUSCRIPT POEM, CALLIGRAPHICALLY LETTERED AND ILLUSTRATED IN WATERCOLOUR. VAN SANDWYK, Charles. Tree Whispers. Deep Cove, British Columbia: Charles van Sandwyk, 2025 8vo., bound in decorative full navy floral cloth; with onlaid manuscript label in colour to upper board; blue-green marbled endpapers; outer edges untrimmed; unpaginated [pp. xxxi] with three additional miniature inserts bound in; hand lettered, drawn, penned and painted by the author on antique cream, white and grey papers; manuscript throughout; with decorative titles, borders, vignettes and illustrations both full page and interspersed within text, featuring reading insects, owls, moonlit landscapes, hedgehogs and various tree folk; fine, as issued, complete in the custom-made green morocco and marbled clamshell case; lettered and lined in gilt, with five raised bands and floral vignettes gilt in compartments. A HAND DRAWN, LETTERED, PAINTED AND BOUND MANUSCRIPT of Charles Van Sandwyk s celebrated poem, Tree Whispers. The book was originally published in 2015 in a deluxe edition of 120 copies, of which 50 were reserved for the patrons of the High Branch Society. An unnumbered trade edition followed the same year. Charles van Sandwyk has devoted much of his adult life to the quiet study and contemplation of the natural world. With a deep love of nature and the array of creatures which inhabit the earth, this wonderful poem celebrates the magic and mystery of the woods, and, perhaps, how trees would speak, should we listen hard enough. From The Bible, to Shakespeare, to Tolkien, trees have been anthropomorphised for centuries. The Gospel of Mark speaks of "Men as trees, walking", and, perhaps most closely to the style of Van Sandwyk's drawings are those of Arthur Rackham, who portrayed them as "bristly, twisted, anthropomorphic trees that appear as the guises of Elves and other supernatural beings." Here, the illustrator brings them even more to life; reading books, strumming harps, and spinning spider webs, all in his unique and intricate style. Produced specially for Fold the Corner in the early months of 2025 at the author s own home in British Columbia, Canada, this is a one-of-a-kind manuscript. Alongside the hand-written poem, beautifully penned in his long, flowing hand, illustrations depict stag beetles adorned with fresh green leaves, penning poems and other songs; contemplative owls; scenes of forests and mountainscapes under the face of a moon and stars embellished in gold; anthropomorphosised tree and twig folk, some playing instruments; and other creatures simply enjoying a ride on the back of a falling leaf. "The ghostly trees Whisper forest tales Upon pages Made of their being" Unique. Signed by Author(s).

Hardcover. Etat : Near Fine. 1st Edition. First Edition. A sharp copy of this limited edition of 750 copies SIGNED by Arthur Rackham. The book is in nice shape. The binding is tight, and the boards are crisp with light wear to the spine and edges. The pages are clean with no writing, marks or bookplates in the book. Overall, a lovely copy SIGNED by Rackham in collector's condition. We buy SIGNED Rackham books. Signed by Author(s).