- 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. 1885. 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. XLIV. Various Works. 1885'. The album includes approximately 835 mostly 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 always a reliable finding aid. Interspersed throughout the album there are minimal notes in Dalziel's hand that 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. nos. 74-79, which are portraits of Queen Victoria and members of her family).
The volume includes book and periodical illustrations of all sorts, and many commercial designs. There are numerous literary, comic and children’s illustrations, as well as many book covers. There are some fashion images, travel, portraits, and picture books (including apparently for a calendar - see nos. 42 ff).
Individual prints include:
Nos. 1-2: illustrations of kitchen equipment for an unidentified commercial publication.
Nos. 15-16, 27-29: wood-engraved proofs and one partial proof (probably to check a correction to a block) of musical instruments, mostly upright pianos, for an unidentified commercial publication.
Nos. 19, 23, 39-40: fashion illustrations showing outdoor wear including rainwear. No. 19 is annotated to show an alteration.
Nos. 32-27: commercial illustrations showing fixtures and fittings, including lamps and scales.
Nos. 81-137: numerous pictorial covers for cheap books published by Frederick Warne. Writers whose work is represented among these include G P R James, Frederick Marryat, Frederick Chamier, Frances Trollope, Charles Lever, Edward Bulwer-Lytton, Henry Cockton, Thomas Dick Lauder, Jane Porter, Samuel Warren, Theodore Hook, Susan Ferrier, William H Maxwell, Elizabeth Helme, Charles Dickens, Alexandre Dumas (spelled ‘Alexander’ on one cover), Maria S Cummins, Harriet Beecher Stowe, M H Barker, Michael Scott, Clara Reeve, Horace Walpole, William Godwin, and Elizabeth Wetherell (?) [Susan Warner].
Nos. 143-147, 149: illustrations after William Ralson and C W Cole for John S Winter [Henrietta Eliza Vaughan Stannard], ‘Bootles’ Baby: A Story of the Scarlet Lancers’ (London: Frederick Warne, ). This novella was first published in ‘The Graphic’ magazine, March-April 1885.
Nos. 172-227: illustrations after E J Wheeler for Frederick Marryat, ‘Masterman Ready: or The Wreck of the Pacific’ (London: Frederick Warne, 1886).
No. 295: an illustration after Frederick Barnard for the ‘Illustrated London News’.
Nos. 296-299: illustrations after Lewis Carroll [Charles Dodgson] for his facsimile manuscript ‘Alice’s Adventures Under Ground’. These are early proofs for this text, done as wood engravings and line blocks, with one reversed.
Nos. 303-314: illustrations (perhaps including a few unused designs) for Charles Gould, ‘Mythical Monsters’ (London: W. H. Allen, 1886). For other illustrations for this publication, see reg. no. 1913,0415.203.
Nos. 318-321: five proofs made for the tobacconists Cope Brothers & Co; includes colour-printed and single-block proofs depicting the firm’s buildings.
Nos. 322-372: numerous comic illustrations for the magazine ‘Hood’s Annual’, which was published by Dalziel.
Nos. 373-512: comic illustrations associated with the series ‘Ally Sloper’, published by Dalziel, including illustrations for ‘Sloper’s Half Holiday’, ‘Ally Sloper’s Summer Number’, ‘Ally Sloper’s Comic Kalendar’ [sic] etc. The character Ally Sloper was originally created by Charles H. Ross.
Nos. 513-517: illustrations for the ‘Judy Annual’ (1886), which was published by Dalziel.
No. 518: large-scale wood engraving with lines visible, showing where the block was divided into multiple pieces for engraving. This is after a painting by William Hippon Gadsby, ‘Girl with Flowers’ (Derby Museum and Art Gallery). Gadsby’s composition is also very like Joshua Reynold’s much earlier portrait, ‘Portrait of Penelope Boothby’ (1788).
Nos. 519-543: illustrations for various works published by Dalziel.
Nos. 544-831 or 835: illustrations for the magazine ‘Jack and Jill: a Weekly Illustrated Journal for Boys and Girls’. This magazine ran between 1885 and 1887. Pencil annotations in Dalziel’s hand give weekly dates – presumably of delivery of the blocks – from May 16th 1885 to December 26th 1885. It is unclear whether the last four proofs are also part of the series, or (perhaps more likely) for an unrelated publication.
- Producer name
Print made by: Dalziel Brothers (All)
Published by: F Warne & Co (Nos. 81-243?)
Published by: Macmillan & Co (Nos. 296-299)
After: Frederick Barnard (No. 295(m))
After: Alfred Walter Bayes (No. 139(m))
After: Lewis Carroll (Nos. 296-299)
After: C W Cole (Nos. 143-144(m), 145?-146?, 147(m), 149 (no. 144 is signed by both Ralston and C W Cole, and is certainly produced in collaboration; nos. 145-146 may have been designed by either or both artists, though Ralston was the main illustrator working on this project))
After: Lucien Davis (No. 331?(signature barely legible))
After: George Du Maurier (No. 45(m))
After: Phil Ebbutt (Nos. 60-61(s), 64-65(s), 84, 86, 88, 98-99, 104, 109-110, 118, 123, 136, 156(s), 251-252(s), 264, 265(s), 328(s), 330(s), 345(s), 347-348(s), 563-565(s), 586(s), 588(s), 596(s), 598(s), 612(s), 626-627(s), 635(s), 660(s), 662(s), 678(s), 698(s), 703(s), 715(s), 735-736(s), 762-763(s), 790(s), 799(s), 804?(m), 808(s), 815(s), 817(s), 822-823(s), 825(s), 831(s) (unsigned prints are attributed to Ebbutt from annotations in the album in Dalziel's hand))
After: Mary Ellen Edwards (Nos. 43(m), 62-63(m))
After: Francis Arthur Fraser (Nos. 81(m), 85(m), 89, 92, 93(m), 95(m), 97(m), 101, 102(m), 103, 106-107, 115(m), 116-117, 125, 244-245(m), 246, 247-248(m), 249, 250(m), 253, 254(m), 255(m), 256-263 (unsigned prints are attributed to Fraser from coded annotations in the album in Dalziel's hand))
After: William Hippon Gadsby (No. 518)
After: George Gatcombe (Nos. 268(s), 269-272, 273(s), 356(m), 357(s), 358(m), 372(m), 540(m), 547(m), 548(m), 549, 550(m), 555(m), 557, 568-569, 570(m), 571, 572(m), 573, 580-581, 582-584(m), 585, 590-592, 593(m), 594-595, 599(s), 603(m), 607-610, 611(m), 613-617, 628-631, 632(m), 633-634, 636(m), 637, 638(m), 639-640, 654, 655(m), 656-659, 663, 664(m), 666, 667(m), 670-671, 685-685a, 686(m), 687-692, 693(m), 694-695, 696(m), 697, 701-702, 704-705, 706(m), 709(m), 711(s), 712(m), 714(m), 716-719, 722(m), 723-727, 730-734, 738(m), 740?, 745-747(m), 750(m), 753-755(m), 772, 773-774(m), 775-777, 780(m), 781-784, 786, 793-796, 797-798(m), 801(s), 802-803, 805-806(m), 807, 809-810(m), 812(s), 813(m), 819(m), 820(s), 824(s), 826(s) (nos. 269-272 are attributed to Gatcombe from annotations in the album in Dalziel's hand; all other unsigned prints are attributed on grounds of style and continuity))
After: Ernest Griset (Nos. 322(s))
After: Sir James Guthrie (Nos. 288-289(m))
After: W J Houghton (Nos. 339(m), 353-355(m))
After: James Drogmole Linton (No. 326?(s))
After: Henry Stephen Ludlow (Nos. 120, 152(m), 274, 275(m), 276, 277(s), 278, 279-280(s), 281, 282-285(s), 286-287 (unsigned prints are attributed to Ludlow from coded annotations in the album in Dalziel's hand))
After: William Ralston (Nos. 144(m), 145-146 (no. 144 is signed by both Ralston and C W Cole, and is certainly produced in collaboration; nos. 145-146 may have been designed by either or both artists, though Ralson was the main illustrator working on this project))
After: H Sanderson (Nos. 340, 341(m))
After: Thomas S Seccombe (Nos. 332-333(m))
After: James Frank Sullivan (Nos. 334, 335(m), 343-344(m))
After: John Gordon Thomson (Nos. 324-325(m))
After: Harry Tuck (Nos. 241(m), 342(s))
After: E J Wheeler (Nos. 42(m), 44(m), 46-50(m), 52(m), 54(m), 66-67(m), 113(m), 119(m), 121-122(m), 128-129(m), 133-134(m), 137, 154-155(m), 172-176(m), 177, 178-183(m), 184, 185(m), 186, 187-192(m), 193, 194-198(m), 199, 200-201(m), 202, 203-208(m), 209-210, 211-216(m), 217, 218-220(m), 221-227 (unsigned prints are attributed to Wheeler from coded annotations in the album in Dalziel's hand))
- Production date
Height: 449 millimetres (size of bound album)
Thickness: 49 millimetres (size of bound album)
Width: 302 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, 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 names added more recently, e.g. by Robin de Beaumont.
- Not on display
- Acquisition date
- Prints and Drawings
- Registration number