- Museum number
- 1913,0415.208
- 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. 1889 & 1890. 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. XLVII. Various Works. 1889-90'. The album includes approximately 924 wood-engraved, line-block or halftone proofs, with some touched and annotated proofs. Following the title-page there is a very brief contents page written by the Dalziels; this provides a reference for publishers represented in the album, although it is by no means comprehensive nor entirely reliable. Interspersed throughout the album there are minimal notes in Dalziel's hand that give information such as delivery dates and working notes. For example, Dalziel often writes 'Process' to indicate a photomechanically produced print, rather than a wood engraving. There are also some partial prints which record changes made to blocks (see e.g. nos. 509-511, 892-894).
The volume includes book and periodical illustrations of all sorts, and some commercial prints such as advertisements. There are numerous literary images, light entertainment, comic and children’s illustrations, including picture and toy books. There are several designs for book covers. There are portraits, religious images and ornamental prints. There are orientalising, imperialistic, racist and military images. The album also includes images that relate to engineering and transport. It is notable that there are many process reproductions of wood engravings made by other firms, including some contemporary with the album, and some from many years earlier. Some but not all of these are listed below, and the phenomenon is often noted in the album in Dalziel’s hand.
Individual prints include:
No. 2: a line-block process print after John Everett Millais, signed by Joseph Swain as engraver. It is likely that Dalziel made or commissioned the process block after a wood engraving by Swain.
Nos. 38-39: illustrated title and one other illustration for Jennett Humphreys, ‘Laugh and Learn: the easiest book of nursery lessons and nursery games’ (London: Blackie & Son, 1890 [1889]). Unusually, these are drawings on tracing paper, rather than the final process prints.
No. 102: illustrated title page ‘Echoes’, with a text box left empty, presumably to allow for a list of contents. This is almost certain a journal cover for the Church Extension Association, who published a periodical with the title ‘Echoes’. Manuscript notes in the album suggest that other nearby illustrations were also produced for the Church Extension Association (e.g. nos. 74-89); these might have been for the journal ‘Echoes’ or for a related project. See also nos. 914-915.
No. 120: colour-printed pictorial cover for ‘The Thompson Street Poker Club’ (London: George Routledge, [1889-1890]).
Nos. 121-159, 216-290: process line-block illustrations after William Schwenk Gilbert. Most appear in Gilbert’s own book ‘Songs of a Savoyard’ (London: George Routledge, [1890]). Dalziel’s manuscript notes give a working title of ‘Savoy Ballads’ for the first lot of prints made for this project.
Nos. 179-183, 189?: five line-block illustrations, probably frontispieces. Manuscript captions in Dalziel’s hand suggest that these were made for the first five novels in the ‘Mildred’ series by Martha Finley: ‘Mildred Keith’ (1876), ‘Mildred at Roselands’ (1880), ‘Mildred and Elsie’ (1881), ‘Mildred’s Married Life, and a winter with Elsie Dinsmore’ (1882) and ‘Mildred at Home’ (1884). These are the dates of the books’ first publications, but these illustrations must be for later editions, published probably in 1890 or 1891, possibly by George Routledge, and possibly for sale in the US. Style and a discreet series of numbers in Dalziel’s hand (1-6) suggests that no. 189 is probably a frontispiece for an edition of the final book that had appeared in the series by the time this album was made, ‘Mildred’s Boys and Girls’ (1886).
Nos. 297-329: these are all process line-blocks after wood engravings. Many include the signatures of other engraving firms who made the original prints. Nos. 297-308 are largely after designers and engravers who worked regularly for ‘The Illustrated London News’, and are probably for that periodical. Nos. 309-325 are reproductions of the wood engravings for Charles Dickens, ‘The Haunted Man, and The Ghost's Bargain’ (London: Bradbury and Evans, 1848). Occasionally in these process reproductions the original wood engraving happens to be by Dalziel too (nos. 319, 328).
Nos. 332-348: these are a half-tone portrait of William Shakespeare (no. 332) and reduced-size process line-blocks reproducing many of Dalziel’s own wood engraved illustrations of Shakespeare, after designs by John Gilbert. Gilbert and Dalziel originally made these illustrations for a three-volume edition of Shakespeare's 'Plays', edited by Howard Staunton (London: Routledge, 1858-62). These smaller, poor-quality reproductions are presumably for a later edition. For the original wood engravings, see reg. no. 1913,0415.171.
Nos. 349-352, 359-360, 362-363, 453, 480, 482, 484, 489-491, 494, 507, 555, 598, 783: pictorial covers for cheap books published by Frederick Warne. Writers whose work is represented include W Harrison Ainsworth, Alexandre Dumas, J Maclaren Cobban, Henry Cockton, Victor Hugo, Charlotte Brontë, Samuel Warren, A L Harris, J S Borlase, Charles Lever, Edward Bulwer-Lytton, G P R James and John Habberton. Some covers are proofed on white paper, and some on yellow paper, similar to the final publication. The albums also include what appear to be associated title pages (nos. 356, 436, 483, 508).
Nos. 354-355: monochrome and colour-printed versions of a book cover, for Robert Cromie, ‘For England’s Sake’ (London and New York: Frederick Warne, [1889-1890]).
Nos. 364-365: proofs of book covers for two titles by Frances Hodgson Burnett, ‘Esmeralda’ and ‘Surly Tim’, both published by Frederick Warne, probably in 1889 or 1890.
Nos. 390-391, 402-404, 424, 458-460, 493, 784-795: tiny reproductions of book covers for one or more of Frederick Warne’s catalogues. Includes ‘Baby’s ABC’, ‘Old Mother Goose’s Rhymes and Tales’, ‘The Palette Painting Book’ and others. See also nos. 796 & 797 below.
Nos. 430-434: several illustrations of natural history subjects, with multiple images on one sheet. Includes a few images signed by C C Martin after Joseph Wolf. All these prints are annotated by Dalziel as ‘Touching up of old Blocks’. They include touchings in pink that indicate the changes Dalziel were making to the woodblocks, which were produced elsewhere at an earlier period, and presumably are being altered here for re-printing.
Nos. 450-452: portrait of an unidentified sitter, made with three different techniques: wood engraving (made from a photograph on the block); half-tone (print made by Georg Meisenbach); and electrotype (of the wood engraving).
Nos. 468-477, 479: illustrations for Frances Hodgson Burnett, ‘Saint Elizabeth, and other Stories’ (London: Frederick Warne, 1890). The illustrations included here are mostly after the unidentifed monogrammist ‘OA’, with one or two illustrations by Reginald B Birch (no. 474 and probably 475). The illustrations after OA are wood engraved, while those after Birch are process line-blocks.
No. 478: colour-printed advertisement for ‘Gardiner & Comp[an]y’, vendor of boys’ clothing.
Nos. 495, 505: Pictorial cover for Octave Thanet, ‘Expiation’ (London: Frederick Warne, 1890). No. 495 is a wood-engraved version printed in black; no. 505 is a completely different version of the same design, colour printed.
Nos. 564-597: illustrations after J Bernard Partridge for G A Letherbridge Banbury, ‘The Lumley Wood Mystery’ (London: Hutchinson & Co, 1890). Colour-printed cover, and many half-tone illustrations. The illustrations are often signed by Partridge as designer, but also by an unidentified process engraving company, whose signature appears to read ‘W & S Lo. Engr.’
Nos. 601-665, 798-874: numerous comic illustrations for the magazine ‘Hood’s Annual’ (1890 and 1891), which was published by Dalziel.
Nos. 671-782: poster, illustrations, invitations and advertisements connected with the comic series ‘Ally Sloper’, published by Dalziel. Includes invitations to exhibitions of paintings by W B Wollen (no. 671), John Haynes-Williams (no. 672), Maurice Greiffenhagen (no. 692), John Charlton (no. 710), Edward F Brewtnall (no. 720), Marcus Stone (no. 737), Frederick Barnard (no. 754) and J Yates Carrington (no. 771). Series includes prints connected with ‘Sloper’s Half Holiday’ and ‘Sloper’s Xmas Holidays’. The character Ally Sloper was originally created by Charles H Ross.
Nos. 796-797: proofs of the title page of Frederick Warne and Co’s ‘Illustrated Catalogue of New Publications’ (London: Frederick Warne & Co., Christmas Season 1890-1891).
Nos. 875-924: miscellaneous illustrations, titles and adverts for various clients, including some for the ‘Judy Annual’, and the ‘Judy’ and ‘Fun’ imprints, all published by Dalziel. Other clients represented here include Blackie and Son (see no. 902, an autograph letter), and the Church Extension Association (see also nos. 74-89, 102).
No. 908: bookplate for George Aitchison.
- Producer name
-
Print made by: Dalziel Brothers (All)
-
Published by: F Warne & Co (Nos. 349-555, 598, 668-669, 783-797 (approx))
-
Print made by: Georg Meisenbach (Nos. 451, 537?-538?, 539(s), 540? (queried prints attributed on grounds of style and continuity))
-
Published by: Routledge (Nos. 103-348 (approx))
-
Published by: Alexander Strahan (Nos. 556-563)
-
After: Frederick Barnard (Nos. 645-646(s), 754)
-
After: William Giles Baxter (No. 877(m))
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After: Reginald B Birch (Nos. 474, 475?)
-
After: Edward Frederick Brewtnall (No. 720)
-
After: Hablot Knight Browne (Phiz) (No. 329(s) (signed 'Phiz'))
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After: James Yates Carrington (No. 771)
-
After: John Charlton (No. 710)
-
After: Archibald Chasemore (Nos. 428(m), 842-843(m))
-
After: Joseph Benwell Clark (No. 868(s))
-
After: Alfred W Cooper (No. 454?(m))
-
After: Lucien Davis (Nos. 106(s), 113, 116, 119, 122(s), 129(s), 132(s), 135(s), 137, 139(s), 298(s), 630-631(s), 632 (unsigned prints attributed from coded annotation in Dalziel's hand, except no. 632, which is attributed on grounds of style and continuity))
-
After: H P Dollman (Nos. 642-644(m), 851(m))
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After: Mary Ellen Edwards (Nos. 103(m), 108(m), 115(m), 117(m), 124(m), 126(m), 128(m), 134(m), 136(m), 138(m), 163(m), 167(m), 171(m), 173d(m), 175(m), 177(m), 184(m), 187(m), 208(m), 210(m), 212(m), 214(m), 330(m))
-
After: Edmund Evans (Nos. 385-388(s) (these process prints are by Dalziel after wood engravings by Evans; they include designs by Pasquier and Friston))
-
After: Amédée Forestier (No. 305(s))
-
After: Francis Arthur Fraser (Nos. 9-12, 13(s), 14, 15(m), 16-19, 20(s), 21-44, 45(s), 46, 47(m), 48-52, 53(s), 54-68, 114(m), 118(m), 121(m), 125(m), 127, 130-131, 133, 349, 366(m), 419-420(m), 422-423, 426(m), 427, 453, 457(m), 480, 783(m) (unsigned prints attributed from coded annotation in Dalziel's hand))
-
After: G Gordon Fraser (Nos. 663-664(s), 667(s), 812(s), 816, 817-818(s) (unsigned print attributed on grounds of style and continuity))
-
After: Henry French (No. 393(m))
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After: David Henry Friston (No. 387(s))
-
After: George Gatcombe (Nos. 429(s), 455(s), 598(s), 606-607(s), 609-615(s), 828(s), 845(s), 880-882(s), 884-886(s))
-
After: Sir John Gilbert (Nos. 327-328(m), 333-348 (many with monogram, but this is often unclear due to the quality of printing))
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After: Sir William Schwenck Gilbert (Nos. 141-155(s), 156, 157-159(s), 216-266(s), 267, 268-286(s), 287, 288-290(s) (signed 'Bab'))
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After: Alfred Gray (Nos. 660(s), 836(s), 869(s), 871(s))
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After: Arthur Greenbank (No. 140(s), 161(m), 164(m), 166(m))
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After: Maurice Greiffenhagen (Nos. 605(s), 650(s), 692, 844(s))
-
After: Ernest Griset (Nos. 659(s), 662(s))
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After: W Gunston (No. 456(s))
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After: Paul Hardy (No. 514? (partial signature))
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After: John Haynes-Williams (No. 672)
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After: W J Houghton (Nos. 625-629(s), 839(s))
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After: L E Lawrance (Nos. 104(s), 105(m))
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After: John Leech (Nos. 311-314(s), 322(obscured monogram?))
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After: Henry Stephen Ludlow (Nos. 633(s), 636(s))
-
After: Martin and Corbould (Nos. 309-310, 316-318, 320-321, 323 (these process prints are by Dalziel after wood engravings by Martin and Corbould; the designs are by Tenniel and Frank Stone))
-
After: C C Martin (Nos. 430 (signed 1 of 5), 431 (signed 1 of 5), 434 (signed 1 of 5) (these blocks by Martin were touched up by the Brothers Dalziel))
-
After: John Everett Millais (No. 2(m))
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After: Paul Naumann (No. 302(s), 308(s) (these process prints are by Dalziel after wood engravings by Naumann; the designs are by Schönberg and Wilson))
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After: Sir Bernard Partridge (Nos. 529(s), 564(s), 565(m), 566-572(s), 574-576(m), 577, 578-583(m), 584, 585-587(m), 588, 589(m), 590-591, 592-595(m), 596, 597(m), 608(m), 655(s), 823(s))
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After: James Abbott Pasquier (Nos. 383-384(m), 388(m))
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After: Leonard Raven-Hill (No. 810(s))
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After: Ernest G Reynolds (Nos. 107(m), 109(m), 112 (unsigned prints attributed from coded annotation in Dalziel's hand))
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After: Warwick Reynolds (Nos. 616-617(m), 822(m), 824(m))
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After: H Sanderson (Nos. 619-620(m))
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After: Johann Nepomuk Schönberg (No. 302(s))
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After: Smith & Cheltnam (Nos. 311, 312(m), 313-314, 322 (these process prints are by Dalziel after wood engravings by Smith & Cheltnam; the designs are by Leech))
-
After: Walter Sidney Stacey (Nos. 405-408(s), 409-412(m), 545(m), 546(s), 547-548(m), 549-552(s))
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After: Clarkson Stanfield (Nos. 315(s), 324-325(s))
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After: G Stoddart (Nos. 74(s), 75?-89?, 914(m) (queried prints tentatively attributed on grounds of style and context))
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After: Frank Stone (Nos. 319 (illegible signature), 320-321)
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After: Marcus Stone (No. 737)
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After: Matt Stretch (Nos. 658(s), 874(s))
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After: James Frank Sullivan (Nos. 602(s), 604(s), 618, 621(s), 623(s), 800(m), 806(m), 854(m), 863(m))
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After: Joseph Swain (No. 2(s) (this process print is by Dalziel after a wood engraving by Swain; the design is by John Everett Millais))
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After: Sir John Tenniel (Nos. 309-310, 316-317, 318(m), 323)
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After: William Fletcher Thomas (Nos. 697(s), 731(s))
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After: John Gordon Thomson (Nos. 601(m), 603(m), 657(m), 799(m), 801(m), 872(m))
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After: Will T True (Nos. 637(s), 640(m), 811(s))
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After: Harry Tuck (Nos. 665(m), 862(m))
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After: Charlotte J Weeks (Nos. 123(s), 165(s))
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After: E J Wheeler (Nos. 170(m), 174(m), 178(m), 185(m), 188(m), 207(m), 209(m), 211(m), 213(m), 215(m), 331(m), 483-484, 507(m), 508, 896(s), 906(s) (unsigned prints attributed from coded annotation in Dalziel's hand))
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After: Thomas Williams (Nos. 315(s), 324-325(s) (these process prints are by Dalziel after wood engravings by Williams; the designs are by Stanfield))
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After: J Walter Wilson (Nos. 299(s), 308(s))
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After: Joseph Wolf (Nos. 430 (signed 1 of 5), 431 (signed 1 of 5), 434 (signed 1 of 5) (all signed with monogram))
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After: William Barnes Wollen (Nos. 306(s), 671)
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After: R Taylor Woodburn (No. 299(s) (this process print is by Dalziel after a wood engraving by Woodburn; the design is by J Walter Wilson))
- Production date
- 1889-1890
- Dimensions
-
Height: 448 millimetres (size of bound album)
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Thickness: 64 millimetres (size of bound album)
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Width: 307 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.
- Location
- Not on display
- Acquisition date
- 1913
- Department
- Prints and Drawings
- Registration number
- 1913,0415.208
