- Museum number
- Object: India-Proofs of Wood-Engravings by The Brothers Dalziel
Album with hand-written title page: 'India-Proofs of Wood-Engravings by The Brothers Dalziel. General Work – Various. 1884. 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. XLIII. Various Works. 1884'. The album includes approximately 759 wood-engraved or line-block proofs, with many touched and some annotated proofs. Following the title-page there is a contents page written by the Dalziels; this provides an extremely useful reference for publishers, titles and clients represented in the album, although it is not necessarily a reliable finding aid. Throughout the album there are minimal notes in Dalziel's hand that occasionally give brief information such as delivery dates and working notes. For example, Dalziel writes 'Process' to indicate a photomechanically produced line-block print, rather than a wood engraving. There are also some partial prints which record changes made to blocks (see e.g. 212, 505 and others).
The volume includes book and periodical illustrations of all sorts, and many striking commercial designs and advertisements. There are numerous literary, comic and children’s illustrations. There are fashion images, topography, travel, picture books, decorative initials and titles.
Individual prints include:
Nos. 1-3: fashion illustrations with corsets and a tennis player, perhaps designed by Charles Harrison.
No. 6: advertisement for ‘Dr Jaeger’s Sanitary Woollen System Co’.
Nos. 10-11: illustrations of decorative ironware for the Coalbrook Dale company (Coalbrookdale). These are line block process prints.
Nos. 14-15, 18-24: commercial fashion wood engravings.
Nos. 16-17, 25: commercial images showing men on early bicycles, probably made to advertise waterproof clothing. No. 17 is a line block process reproduction of no. 16, a wood engraving.
Nos. 27-32: various advertisements, including images repeated in different sizes. Includes adverts for ‘Hudson’s Extract of Soap’, with engraver’s annotations. See also nos. 496 ff., below.
Nos. 33-42: wood engravings of the months March to December (subject indicated in pencil) for an unidentified calendar published by Routledge.
Nos. 43-209: illustrations for four works by Harriet Martineau: ‘Feats on the Fiord’, illustrations after Phil Ebbutt; ‘The Peasant and the Prince’, illustrations after Francis A Fraser; ‘The Crofton Boys’, illustrations after Michael Fitzgerald; and ‘The Settlers at Home’, illustrations after Phil Ebbutt. Editions not traced, but all probably published in London by Routledge, c. 1885.
Nos. 213-218: illustrations after EJW or ESW for Samuel Warren, ‘Ten Thousand A-Year’ (London: George Routledge, ). All six illustrations are signed 'ESW' or 'EJW'. In some of the monograms, the middle character is clearly an 'S', in others it could perhaps be a 'J'. Robin de Beaumont attributed these designs to 'E S Wheeler' in his pencil annotations to the volume. This is the same artist as the 'Edward J Wheeler' that is documented in R. K. Engen (1985) and S. Houfe's (1978; 1996) respective dictionaries of wood engravers and book illustration.
Nos. 219-224: illustrations, at least two after Hal Ludlow, for Samuel Warren, ‘Passages from the Diary of a Late Physician’ (London: George Routledge, ).
Nos. 239, 246-249, 259-262, 300: pictorial covers for titles in the ‘Notable Novels’ series published by Frederick Warne. These include Henry Cockton, ‘The Love Match’ and ‘Sylvester Sound’; Sam Slick, ‘The Clockmaker’; Charles Dickens, ‘Barnaby Rudge’ and ‘The Old Curiosity Shop’; Samuel Warren, ‘Ten Thousand a Year’ (two different designs) and ‘The Diary of a Late Physician’ (two different designs); and Frederick Marryat, ‘Percival Keene’. Most of these are monochrome proofs on white paper, but no. 248, ‘Sylvester Sound’ is colour-printed from three colour blocks on yellow paper.
Nos. 240-243: logo for Frederick Warne & Co. The design is produced in four different sizes, all on wood-engraved blocks.
Nos. 309-339: numerous pictorial covers for cheap books published by Frederick Warne. These are not advertised under the ‘notable novels’ series title, but they include some of the same writers, the same titles, and even the same adapted cover designs. See nos. 247 and 314, both covers for Charles Dickens’s ‘Barnaby Rudge’. Writers whose work is represented here include James Greenwood, Frederick Marryat, Charles Dickens, Jane Porter, Sam Slick, Samuel Warren, Oliver Goldsmith, Regina Maria Roche, Thomas Hamilton, J G Lockhart, Frederick Chamier, Samuel Lover, Michael Scott, Edward Bulwer-Lytton, Daniel Defoe, G P R James and R H Dana.
No. 359: poster engraved after Edward J Poynter for the South Kensington Museum. A blank box has been left in the lower half for text to be inserted.
Nos. 360-378: illustrations after Archibald Chasemore for Edward Holland, ‘Mabel in Rhymeland: or, Little Mabel’s Journey to Norwich, and her wonderful adventures’ (London & Edinburgh: Griffith, Farran & Co,  1885). One of numerous publications imitating Lewis Carroll’s ‘Alice’s Adventure’s in Wonderland’.
Nos. 434-474: section with many large-scale prints, several after Hal Ludlow, headed ‘Illustrated London News’ in Dalziels hand; these are apparently all illustrations for that periodical. Includes many illustrations for the serial by R E Francillon, ‘Ropes of Sand’. As with many large scale proofs in the Dalziel albums, joins are often visible in these proofs where woodblocks have been bolted together.
Nos. 496-499, 501-507, 511-512, 514-515, 517: various advertisements, including images repeated in different sizes. Includes adverts for Cadbury’s Cocoa (nos. 501, 506-507) Hudson’s extract of soap (nos. 503-504), Brandauer pens (nos. 505, 515, 516?, 517) and Bird’s Custard (no. 514).
Nos. 523-626: comic illustrations for the ‘Judy Annual’ and ‘Ally Sloper’, and for one-off publications under their imprints, all published by Dalziel. Ally Sloper was originally created by Charles H. Ross. This series includes a very large folded poster, with multiple tears (no. 532).
Nos.637-674: numerous comic illustrations for the magazine ‘Hood’s Annual’, which was published by Dalziel.
Nos. 675 ff: many illustrations for works published by Dalziel and/or the Fun Office.
Nos. 703-708, 715: illustrations and pictorial cover after Francis A Fraser for a large-scale line-block picture book, ‘Dick Whittington and his Cat’, publication details untraced.
Nos. 709-714, 715: illustrations and pictorial cover after Phil Ebbutt for a large-scale line-block picture book, ‘The House that Jack Built’, publication details untraced.
Nos. 717-738: numerous covers and illustrations for large-scale children’s picture books, all line-block.
- Producer name
Print made by: Dalziel Brothers (All)
Published by: F Warne & Co (Nos. 239-358)
Published by: Routledge (Nos. 33-238)
After: Alfred Walter Bayes (Nos. 340-341(m), 343(m))
After: William Giles Baxter (No. 649(s))
After: Alfred Bryan (No. 12(m&s))
After: Archibald Chasemore (Nos. 360-377(m), 378(s))
After: Phil Ebbutt (Nos. 43-50(m), 51, 52-55(m), 56-57, 58-65(m), 66-67, 68-73(m), 74, 75-77(m), 78, 79(m), 80-81, 82(m), 83, 167-172(m), 173-177, 178-201(m), 202, 203(m), 204, 205-206(m), 207, 208-209(m), 262, 263-268(m), 269-272, 273(m), 275-286(m), 288, 289(m), 290, 291-294(m), 295, 296(m), 300, 309(m), 310-311, 317, 319-323, 325, 328-329, 383-384(m), 403-412(m), 415-416(m), 427(m), 665(m), 670(m), 709-714(m), 716, 717(m), 726-731(m) (unsigned prints are attributed to Ebbutt sometimes from publication information, and sometimes from annotations in the album in Dalziel's hand))
After: Mary Ellen Edwards (No. 226(m))
After: Michael Fitzgerald (Nos. 123-124, 125-126(m), 127, 128-131(m), 132, 133(m), 134, 135-136(m), 137, 138(m), 139, 140(m), 141, 142(m), 143, 144(m), 145, 146-147(m), 148, 149(m), 150-151, 152-154(m), 155, 156-158(m), 159-161, 162(m), 163-166)
After: Francis Arthur Fraser (Nos. 84-86(m), 87, 88-90(m), 91, 92-93(m), 94, 95(m), 96, 97-100(m), 101, 102(m), 103, 104(m), 105-106, 107-108(m), 109, 110-112(m), 113, 114(m), 115, 116(m), 117, 118-122(m), 336-338(m), 381-382(m), 386-388(m), 397-402(m), 413(m), 417-426(m), 428(m), 431(m), 432(m), 703-708(m))
After: Ernest Griset (Nos. 646-647(s))
After: W Gunston (No. 274(s))
After: Sir James Guthrie (Nos. 493(signed on block and in pencil), 494(monogram signed in pencil), 495(s))
After: C Harrison (Nos. 1?-3? (queried prints attributed on stylistic grounds))
After: Henry Stephen Ludlow (Nos. 33(s), 35(s), 219(s), 221(s), 380(s), 395(s), 435-441(s), 445-447(s), 452(s), 474(s), 642-643(s))
After: Edward John Poynter (No. 359(m))
After: H Sanderson (No. 657(m))
After: Matt Stretch (Nos. 660-661(m))
After: James Frank Sullivan (Nos. 638-639(m), 640, 641(m))
After: John Gordon Thomson (Nos. 637(m), 659(m), 663(m))
After: Harry Tuck (No. 648(m))
After: E J Wheeler (Nos. 213-218(m), 228(m), 229(s), 231(m))
- Production date
Height: 448 millimetres (size of bound album)
Thickness: 58 millimetres (size of bound album)
Width: 301 millimetres (size of bound album)
- 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).
This is one in a series of 49 albums in the British Museum with proof impressions of wood engravings by the Brothers Dalziel.
An overview of the album has been offered here, but it would be possible to identify more writers, titles, artists and publishers on inspection and with further research.
In many cases, designers have been listed for the wood engravings. Where no attribution comments are given, evidence is clear and has been verified (e.g. through publication details, etc.). Further, some indication has also been given throughout when a designer's work is signed with signature or monogram. After the producer's name and the print number or range, the letter 's' in parentheses indicates a signature, the letter 'm' a monogram, and neither letter indicates a print that is unsigned by the draughtsman or draughtswoman. In addition, most of the proofs have the Dalziels' signature, although some do not. The presence/absence of the Dalziel signature has not been catalogued, since it is known that all these prints are by them.
The album includes some hand-written annotation, including brief notes written at the Dalziel office, and some designers's details added more recently, e.g. by Robin de Beaumont.
- Not on display
- Acquisition date
- Prints and Drawings
- Registration number