- Museum number
- 1992,0406.206.c
- Description
-
Good Words for1863. Edited by Norman Macleod, D. D. And Illustrated by J. E. Millais, John Tenniel, J. D. Watson, T. Morten, F. Sandys, John Pettie, and others. London: Alexander Strahan and Co., 32 Ludgate Hill, 1863. [London: Bradbury and Evans, printers, Whitefriars.] 890p. 52 plates. The plates are separate from the text throughout. [This may mean that Bradbury and Evans or Dalziel Brothers have used electrotypes to reproduce the original wood engravings.] The illustrators, not on the title page, are listed as [full names where possible]: Arthur Boyd Houghton, John Leighton, Thomas Graham, Christopher Jones, Horatio Joseph Lucas, E. J. Pinwell [sic, probably George John Pinwell], Edward William Cooke, John William North, Walter Crane. Most of the engravings are signed “Dalziel”. The frontispiece is after Millais, is signed with his monogram, bottom left, and is captioned: “The labourers in the vineyard.” The illustration facing page 16 is after Pettie, is signed bottom right, and is captioned: “the monks and the heathen”, accompanying the story of the same title by Charles Kingsley. The borders and decorations on pages 104-105 are after John Leighton, signed by him, accompanying the poem: “Popular epithalamium; or the marriage of the Prince of Wales”. The illustration facing page 476 is after Pettie, is signed bottom right, and it titled in the List of Illustrations as “Kalampin, the negro”. The illustration facing page 693 is after Cooke, captioned “The life-boat”, accompanying the article “the life-boat and its work” by Sir David Brewster. The illustration facing page 780 is after Graham, is signed with his monogram bottom left, is captioned: “Reconciled”, accompanying the poem with the same title by Jean Ingelow. The illustration facing page 796 is after Crane,, is signed bottom right, and is captioned “The Islanders fell back from them”, accompanying a story “Treasure Trove”. Robin de Beaumont’s notes regarding this copy are on the front endpaper verso.
Binding: Text sewn on three tapes. Gilt edges. Bevelled boards. Yellow endpapers and pastedowns. Purple wave vertical-grain cloth. The same design is blocked on both covers. A single fillet blocked in blind on the borders forms a “rule frame”. On the corners and the sides, patterns of stems, leaves and flower buds are blocked in blind. On the centre of the upper cover, the title: “/ Good/ Words/ 1863/”, are blocked in gold, in “floral” letters. The same lettering is blocked on the centre of the lower cover, in blind. The spine is blocked in gold and in blind. A single fillet is blocked in blind on the perimeter. From the head downwards, the decoration is: stylised plant decoration, blocked in blind; the words: “Good/ Words/ Edited By/ Norman Macleod D. D./” are blocked in gold. On the lower half of the spine, a diamond is formed by two fillets, blocked in gold; the diamond is surrounded by stylised plant decoration, blocked in blind; within the diamond, amidst plant decoration, the words: “/ With/ Illustrations//” are blocked in gold. The year: “/1863/” is blocked in gold at the tail.
- Production date
- 1863
- Dimensions
-
Height: 248 millimetres
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Thickness: 52 millimetres
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Width: 180 millimetres
- Curator's comments
- From Gleeson White:
In 1863 we find less variety in the artists and subjects, which is due to the presence of the superb series of draw¬ings by Millais, The Parables, wherein the great illustrator touched his highest level. To call these twelve pictures master¬pieces is for once to apply consistently a term often misused. For, though one ransacked the portfolios of Europe, not many sets of drawings could be found to equal, and very few to excel them. The twelve subjects appeared in the following order: The Leaven (p. i), The Ten Virgins (p. 81), The Prodigal Son (p. 161), The Good Samaritan (p. 241), The Unjust Judge (p. 313), The Pharisee and Publican (p. 385), The Hid Treasure (p. 461), The Pearl of Great Price (p. 533), The Lost Piece of Money' (p. 605), The Sower (p. 677), The Unmerciful Servant (p. 749), and The Labourers in the Vine
yard (p. 821). To F. Sandys two drawings are attributed; one obviously from another hand, but Sleep (p. 589) undoubtedly marks his final appearance in this magazine. T. Morten in represented by cousin Winnie (p. 257), Hester Durham (. 492), The Spirit of Eld (p. 629, unsigned), a powerful composition that at first glance might almost be taken for a Sandys, and An Orphan Family's Christmas (p. 844). In Autumn Thoughts (p. 743) we have an example of J. W. North, more akin to those he contributed to the Dalziel table-books, a landscape, with a fine sense of space, despite the fact that it is enclosed by trees. John Tenniel, in The Norse Princess (p. 201) and Queen Dagmar (p. 344), finds subjects that suit him peculiarly well. The Summer Snow (p. 380), at¬tributed to 'Christopher' Jones, is by Sir Edward Burne-Jones of course, and the final contribution of the artist to these pages. H. J. Lucas, a name rarely encountered, has one drawing, The Sangreal (p. 454). A. Boyd Houghton, in St. Elmo (p. 64), A Missionary Cheer (p. 547), and Childhood (p. 636), in showing the more mature style of his best period. G. J. Pinwell has but a single drawing, Martin Ware's Temptation (p. 573) and that not peculiarly individual; John Pettie appears with six, The Monks and the Heathen (p. 14), The Passion Flowers of Life (p. 141), a study of an old man seated in a creeper-covered porch with a child on his lap, The Night Walk over the Mill Stream (p. 185), and Not above his Business (p. 272), A Touch of Nature (p. 417), and The Negro (p. 476). To a later generation, who only know the pictures of the Royal Academician, these cone as a surprise, and prove the versatility of an artist whose painting was somewhat mannered. Walter Crane's— a fine group of oriental sailors—Treasure-trove (p. 795), and J. D. Watson's six drawings are all capable and accomplished; A Pastoral (p. 32), a very elaborate composition which looks like a copy of an oil-painting, Fallen in the Night (p. 97), The Curate of Suverdsio (p. 333), The Aspen (p. 401), Rhoda (p. 520), and Olive Shand's Partner (p. 774), with the not very important Sheep and Goats wrongly attributed to Sandys, two decorated pages by John Leighton, one drawing by E. W. Cooke and five by T. Graham, complete the year’s record.
- Location
- Not on display
- Associated titles
-
Associated Title: The monk & the heathen
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Associated Title: The life-boat
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Associated Title: Reconciled
- Acquisition date
- 1992
- Department
- Prints and Drawings
- Registration number
- 1992,0406.206.c
