- Museum number
- 1913,0415.169
- Title
- Object: India-Proofs of Wood-Engravings by The Brothers Dalziel
- Description
-
Album with hand-written title page: 'India-Proofs of Wood-Engravings by The Brothers Dalziel. General Work - Various: 1855. This Book was made up at the time the engravings shown in it were done.' Half-bound in brown leather and gilt; lettering on spine reads 'Wood-Engravings by the Brothers Dalziel. VII. Various Works. 1855'. The album includes approximately 1006 wood-engraved proofs.
There is a wide variety of book illustration, including to poetry, religious works, geological publications (e.g. for the Geological Society), geography (e.g. scenes from Canada), advice or conduct books, and history. There are numerous children's illustrations (both fiction and non-fiction), and images of birds, animals, and flowers. There are advertisements (e.g. for stationery), reproductions of paintings, and numerous comic and decorative wood engravings. Individual prints include the following:
Nos. 10-116: Illustrations to 'Every Boy's Book', published by Routledge (exact edition not yet identified). Some of these images have the monogram of Thomas Dalziel, and it is possible that all of them were engraved after his designs. Illustrations include images of fences, card games, string games, knots, etc.
Nos. 170-183: Dalziel Brothers after Arthur Hughes, John Everett Millais and Dante Gabriel Rossetti, illustrations to William Allingham's 'The Music-Master, A Love Story, and Two Series of Day and Night Songs' (London: Routledge, 1855). A ground-breaking work of Pre-Raphaelite book illustration. For the published version, see BM registration number 1992,0406.7.
Nos. 212-7: Dalziel Brothers after Jemima Blackburn, illustrations to Charlotte Yonge's 'The Lances of Lynwood' (London: John Parker, 1855).
Nos. 284-289: Dalziel Brothers after Thomas Dalziel, illustrations to Alfred Whaley Cole's 'The World in Light and Shade: Its Comicalities and Eccentricities' (London: James Blackwood, 1855).
No. 383: Dalziel Brothers after Frederick Richard Pickersgill. This is a reproduction of Pickersgill's painting 'The Death of Francesco Foscari, Doge of Venice'. The painting is in the Royal Collection; it was exhibited at the Royal Academy in 1854 and was purchased by Prince Albert in the same year, as a birthday present for Queen Victoria (presented on her birthday, 24 May 1855). The publication of the wood-engraving is untraced, but a pencil note at the top of the page reads 'June 30', which may be the date the print was completed, or the proof entered in the volume.
Nos. 432-456: Illustrations for [Edward Meyrick Goulburn], 'The Book of Rugby School: Its History and Daily Life' (s.l.: Crossley and Billington, 1856). Other illustrations to this publication can be found in the Dalziel volume for 1856 (reg. no. 1913,0415.170).
Nos. 504-522: Dalziel Brothers after Jemima Blackburn, illustrations to Charlotte Yonge's 'The History of Sir Thomas Thumb' (Edinburgh: Thomas Constable and Co., and London: Hamilton, Adams, and Co., 1855).
Nos. 525, 735-836: Dalziel Brothers after John Gilbert, illustrations to Longfellow's 'Poetical Works' (London: Routledge, 1857). For different proof impressions of these illustrations, bound together in one volume, see 1905,1019.215-316. And for an earlier edition of Longfellow's works, also published by Routledge and also illustrated by the Dalziels and Gilbert (with different illustrations), see 1913,0415.164.
- Producer name
-
Print made by: Dalziel Brothers (All)
-
After: Sir John Gilbert (Nos. 7-9, 185-96, 290-7, 463-70, 526, 638-41, 713, 735-836 (all but one have Gilbert's monogram, and all were identified as his by Campbell Dodgson))
-
After: William Harvey (Nos. 164-5, 387-90, 651(?)-674(?), 707 (all attributed by Campbell Dodgson, some with query, as indicated))
-
After: Harrison William Weir (Nos. 274-83, 348-55, 630-6 (most with signature or monogram, all attributed by Campbell Dodgson))
-
After: Edward Henry Corbould (No. 124 (with signature))
-
After: Thomas Bolton Gilchrist Septimus Dalziel (Nos. 10-17, 56, 92-3, 284-9, 392(?), 422(?)-426, 461(?), 473(?)-490, 523-4, 642-50, 708, 877-941, 986-8 (some with monogram, others attributed by Campbell Dodgson, sometimes with a query, as indicated). In addition, it is also possible that 10-116 were all designed by Thomas Dalziel.)
-
Published by: Routledge (Nos. 10-116)
-
After: Myles Birket Foster (Nos. 239-46, 300-5, 622-9 (all but one with monogram; all attributed by Campbell Dodgson))
-
After: William McConnell (Nos. 117-123, 147-8, 153-4, 231-4, 403, 405-9, 837-75 (many with monogram, all attributed by Campbell Dodgson))
-
After: Sir John Tenniel (No. 125 (with monogram))
-
After: L H Michael (No. 5 (signed))
-
Published by: James Blackwood (Nos. 284-289)
-
After: Reverend Edward Bradley (Nos. 457-60, 547-87, 942-84 (most with signature or monogram or attributed on title-page; all attributed by Campbell Dodgson))
-
After: Jemima Blackburn (Nos. 212-7, 219, 504-22 (many with monogram, all attributed on title-pages))
-
Published by: John William Parker (Nos. 212-219)
-
Published by: Thomas Constable (Nos. 504-22)
-
Published by: Hamilton Adams & Co (Nos. 504-22)
-
After: John Richard Clayton (Nos. 711, 719-34 (one with monogram; all attributed by Campbell Dodgson))
-
After: Charles West Cope (Nos. 491-5, 499-500 (all with monogram and attributed by Campbell Dodgson))
-
After: Francis Danby (No. 703 (with signature))
-
After: Frederick Richard Pickersgill (Nos 383, 702 (the first is a reproduction of a signed painting; the second has Pickersgill's monogram))
-
After: William Edward Frost (No. 714 (attributed by Campbell Dodgson))
-
After: F. Goodall (Nos. 156-60, 704 (two with monogram; all attributed by Campbell Dodgson))
-
After: James Duffield Harding (No. 710 (with signature, and attributed by Campbell Dodgson))
-
After: John Callcott Horsley (Nos. 496-8 (with signature, and/or attributed by Campbell Dodgson))
-
After: Arthur Hughes (Nos. 170-6, 183)
-
After: Dante Gabriel Rossetti (No. 177)
-
After: John Everett Millais (No. 178)
-
After: Rev Thomas James Judkin (Nos. 705, 712, 715-6 (some signed; one signed 'The Author'; all attributed by Campbell Dodgson))
-
After: Charles Robert Leslie (No. 709 (attributed by Campbell Dodgson))
-
After: William Mulready (No. 701 (attributed by Campbell Dodgson))
-
After: J H Powell (Nos. 161-3, 385-6, 989-90 (some with monogram (?), all attributed by Campbell Dodgson))
-
After: Clarkson Stanfield (No. 717 (with signature))
-
After: A W Tayler (No. 253 (with signature))
-
After: Edward Matthew Ward (No. 718 (with signature))
-
After: Thomas Webster (No. 706 (with signature, and attributed by Campbell Dodgson))
-
After: L Wells (Nos. 600-12 (all with signature))
- Curator's comments
- Catalogued by Bethan Stevens (University of Sussex) in partnership with the British Museum and the Arts and Humanities Research Council (AHRC); digital photography by Sylph Editions, London (www.sylpheditions.com).
At the front of the volume is a handwritten list of artists linked to several of the prints. The handwriting has been identified as Campbell Dodgson's, after comparison with the bound volume 'Specimens of Handwriting', held in the British Museum Print Room. Where no comments are given after the names of producers, evidence is clear and has been verified (e.g. signed print, publication details, etc.). An overview of the album has been offered here, but it would be possible to identify more publications and artists on inspection and with further research.
- Location
- Not on display
- Acquisition date
- 1913
- Department
- Prints and Drawings
- Registration number
- 1913,0415.169
