aitliaca. New ^nrh 
 
 BOUGHT WITH THE INCOME OF THE 
 
 SAGE ENDOWMENT FUND 
 
 THE GIFT OF 
 
 HENRY W. SAGE 
 
 1891 
 
Cornell University Library 
 Z 993.S88 
 
 Book-plates of to-day; 
 
 3 1924 020 507 996 
 
Llk^l 
 
 m 
 
 Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924020507996 
 

BOOK-PLATES of TO-DAY 
 
 Edited By WILBUR MACEY STONE 
 
 NEW YORK 
 
 / 
 
 TONNELE & COMPANY 
 
 1902 , ,■ 1: K' 
 
 ' i I ' I / 1 t 
 
 -1 
 
Copyrighted 1902 by Tonnele & Co. 
 
TABLE OF CONTENTS 
 
 Book-plate of Mrs. Amy Ivers Truesdell, in colors. De- 
 signed by Jay Chambers. .... 
 
 Book-plate of Arnold William Brunner, in colors. Designed 
 by Thomas Tryon. .... 
 
 American Designers ot Book-plates : William Kdgar Fisher. 
 By W. G. Bowdoin. .... 
 
 Book-plate of William Frederick Havemeyer, from the cop- 
 per. Designed by Thomas Tryon, engraved by E. D 
 French. ..... 
 
 Nineteen Book-plates by British Designers. 
 
 Book-plate ot T. Henry Foster, in colors. Designed by Jay 
 Chambers. .... 
 
 The Artistic Book-plate. By Temple Scott. 
 
 Book-plate of Miss Henrietta M. Cox, in colors. Designed 
 by Thomas Tryon. .... 
 
 Thirty-two book-plates from various sources 
 
 Book-plate of Robert Fletcher Rogers, in colors, 
 by Homer W. Colby- 
 
 Designed 
 
 Book-plates and the Nude. By Wilbur Macey Stone. 
 
 Book-plate of Willis Steell, in colors. Designed by Thomas 
 Tryon. ...... 
 
 The Architect as a Book-plate Designer. By Willis Steell. 
 
 Book-plate of William A. Boland, in colors. Designed by 
 Homer W. Colby. .... 
 
 A Check-list of the Work of Twenty-three Book-plate De- 
 signers of Prominence. Compiled by Wilbur Macey 
 Stone. ...... 
 
 Frontispiece 
 Facing 3 
 
 Facing 9 
 9 
 
 Facing 19 
 19 
 
 Facing 23 
 
 23 
 
 Facing 
 
 33 
 
 
 33 
 
 Facing 
 
 39 
 
 
 39 
 
 Facing 45 
 
 45 
 
; "ARNOLD WILLIAM BRUNNER^jJ 
 
AMERICAN DESIGNERS o/BOOK- 
 PLATES : WM. EDGAR FISHER 
 
 By W. G. BOWDOIN 
 
 HE book-plate designers of to-day are legioii 
 because they are many. Almost every one 
 who can draw, and many who cannot, have 
 ventured into the field of book-plate designing ; 
 and the result has been that many of the book- 
 plates that are current have little to commend them 
 to critical observers. The present increasing in- 
 terest in these little bits of the graver's art has 
 greatly encouraged the production of them, and 
 new ones arise daily. It is desirable, therefore, if 
 we are to have book-plates at all, that they shall 
 be as artistic as may be ; and it is important, from 
 an art standpoint, to all those who are about to 
 adopt the use of these marks of ownership that 
 they shall have, as 
 
 LLIBFQlRy ( 
 
 THE 
 
 5TUDI0 aUB 
 
 ma\ 
 
 lave. 
 
 By Wm. Edgar Fisher 
 
 they 
 the artistic flavor about them. 
 
 Most of our leading designers have 
 hitherto been grouped in the eastern sec- 
 tion of our country, or at least not much 
 further west than Chicago. Some few 
 designs, it is true, have been produced in 
 California, but for the most part the book- 
 plates of note have been marked with an 
 eastern geographical origin. 
 
 In William Edgar Fisher we have a 
 designer who has strikingly departed from 
 geographical conditions of book-plate de- 
 signing heretofore prevailing, and in far- 
 away Fargo, North Dakota, has set up his 
 studio from whence have come designs that 
 are fresh, original and very pleasing. Mr. 
 Fisher loves to work in a pictorial field. 
 He makes a plate that tells a story, and in 
 his best plates there is artfully placed 
 something bookish that Harmonizes with the 
 design-form selected; and, because of art 
 coherence and harmony in design that go 
 
 By Wm. Edgar Fisher 
 
By Wm. Edgar Fisher 
 
 hand in hand, his plates are more than satisfactory. The general eastern 
 notion in regard to North Dakota is that nothing artistic can come out of 
 ths-Stete, butthe work; done there by Mr. Fisher quickly dispels such an 
 Idea. The plates he has drawn are acknowledged as highly meritorious by 
 the best American masters of book-plate designing. In all the plates from 
 the hand of this artist that are here grouped, and which may be regarded as 
 quite typical of him, there are only two that do not contain a book as a de- 
 tail somewhere in the finished plate. 
 
 One of the exceptions is the plate of the Studio Club that gains infin- 
 itely by the omission of a book in the plate as produced. The grouping of 
 the five observers (symbolic of the members of the Studio Club) around 
 the feminine portrait is most charming, and to the writer it appears one of 
 the happiest of recent productions in appropriate book-plates. 
 
 Mr. Fisher's feminine figures that he introduces into many of his 
 plates are likewise exceedingly effective. This is particularly the case when 
 to the charms of femininity he has added those of symbolism, as in the case 
 of the plate for Miss Winifred Knight, in which the graceful female masker 
 appears at the shrine of the idealized god Pan, who writes, it may be some- 
 thing oracular, in her proffered album. The figure is gracefully posed and 
 the lines of the arms and neck are marked by pleasant curves. 
 
 In the plate of Maie Bruce Douglas, Mr. Fisher may have been influ- 
 enced by Hans Christian Andersen. At any rate, whether or not this is so. 
 
[ €ic Xibn«" 
 
 By Wm. Edgar Fisher 
 
he has neatly and most effectively grouped the old-time jester with his cap 
 and bells, the pointed shoes from whence came our modern samples, and the 
 maiden with the quaintness of head-dress and drapery, that at least suggests 
 the fairy and the incidental sacred stork, making this plate with its shelf of 
 books and the panel of repeated heraldic shields very attractive even to 
 the chance observer. 
 
 In the plates for the Misses Mary N. Lewis, Elizabeth Langdon, Leila 
 H. Cole and Elizabeth Allen there are several diverse methods shown in 
 which convention has been pleasingly utilized. The vine and tree forms that 
 are motifs are very effective, and in all of these we see suggestions of treat- 
 ment similar to that which stands out perhaps a little more pronouncedly 
 in the plate of Miss Douglas. Costume quaintness, charm of pose, graceful 
 outline, the tendency toward lecturn detail and delicacy of touch, are in each 
 instance here seen to be characteristic of the artist. 
 
 The plate of John Charles Gage has in it the atmosphere of the mon- 
 astery. Two friars are busy with a folio manuscript that has been beauti- 
 fully illuminated. The one reads the lessons for the day from the book of 
 hours. The other has a pleasing bit of gossip that he is telling to his 
 brother friar as he reads, and the reader hears with eagerness with his ears 
 while he reads without absorption with his eyes. 
 
 Into the plate of Samuel H. Hudson the atmosphere of the monastery 
 is also introduced. The cordelier sits absorbedly reading his matins. 
 Through the open window of the monkish cell is seen the morning medieval 
 landscape whose charms exercise no influence upon the solitary recluse, soli- 
 tary save for the monkey who plays sad havoc with the vellum volume that 
 
 By Wm. Edgar Fisher 
 6 
 
lies upon the cell floor and the destruction 
 of which the Franciscan is too absorbed to 
 notice. The monkey as a foil for the as- 
 cetic in this plate shows that Mr. Fisher has 
 a strong appreciation of the most delicate 
 humor, which here crops out most delight- 
 fully. The border makes the plate a trifle 
 heavy, but this can easily be excused because 
 of the charm of the plate otherwise. 
 
 The dog is given a prominent place in 
 the plate of Miss Lula Thomas Wear. He 
 dominates even the books, and it may be 
 that the owner prefers her dachshund to her 
 library, although it is evident that her books 
 have some place in her esteem. 
 
 The design on the plate of Stanley 
 Shepard suggests a derivation from an old 
 print. The caravel rides upon the waves 
 according to the conception of the old-time 
 engravers. The anchor, the sword fish of 
 the deep sea, and the sea-stars all 
 
 ^^-«-'.-•^^^ 
 
 By Wm. Edgar Fisher 
 
 suggest the ocean voyager who 
 
 has 
 
 ■hi': 
 
 By Wm. Edgar Fisher 
 
 deep down in his heart a love of books. 
 
 In contrast with the plate of Mr. 
 Shepard's appears that bearing the name 
 of Silvanus Macy, Jr. The love of hunt- 
 ing stands out right boldly here, and in the 
 fox hunt does Mr. Macy undoubtedly 
 revel. He could not have such a book- 
 plate otherwise, and live with it every day, 
 let it be in all his books and have it stand 
 for him as it does, unless it was fairly rep- 
 resentative of the man's personality. That 
 is what makes a book-plate so eminently 
 interesting, aside from the art work put 
 upon it. Books appeal to all sorts and 
 conditions of men, as the work of Mr. 
 Fisher's here grouped clearly indicates. 
 
 The plate from the books of Miss 
 Edna B. Stockhouse is a trifle shadowy in 
 motif notwithstanding which there can be 
 no doubt the owner loves books. The 
 face in the book-plate reads. There is 
 also a love of the beautiful in ceramics in- 
 dicated as an incident in the plate. No 
 wonder the head wears an aureole. 
 
The " Bi Lauda " plate is that of a secret society at Wellsville, N. Y., 
 and we, therefore, forgive if we cannot forget its poverty of bookish design. 
 
 In the personal plate of the designer, of all those here reproduced, we 
 catch glimpses of the artist's own personality. We see him as a book-lover 
 and something of his inspiration is spread out before us. He goes reading 
 along, carrying reserve 
 that engages his atten- 
 is happily finished, 
 producing book-plates 
 which time he has to 
 examples of work in 
 haps happiest in his 
 pictorial, and he has 
 plates most charmingly. 
 Cornell at Phillips 
 Mass. At Cornell he 
 two years, with especial 
 He also studied, for 
 Institute, Chicago, 
 from Cornell. He has 
 in the matter of design- 
 cates that his teacher 
 has privately but care- 
 of the best modern 
 men, and from this he 
 
 volumes in case the one 
 tion in the portraiture 
 Mr. Fisher has been 
 only since 1898, since 
 his credit some forty 
 this field. He is per- 
 rendition of the plate 
 sometimes tinted his 
 Mr. Fisher prepared for 
 Academy, Andover, 
 studied architecture for 
 attention to drawing, 
 six months, at the Art 
 111., whither he went 
 been largely self-taught 
 ing, but his work indi- 
 was a good one. He 
 fully studied the work 
 pen-and-ink draughts- 
 has formed his personal style. The methods and 
 
 By Wm. Edgar Fisher 
 
 craftsmanship of reproduction were the subject of special study on his part 
 while he was with one of the large Chicago engraving houses. Anything 
 that comes from his hand will be sure of the most kindly reception, so long 
 as his work is maintained at the present high standard. 
 
 By Wm. Edgar Fisher 
 
NINETEEN EXAMPLES OF DEC- 
 ORATIVE BOOK-PLATES BY 
 MODERN BRITISH DESIGNERS 
 
 From THE LONDON "STUDIO" 
 
 CX°LIGGI3^ 
 
 CnA(2LE5 
 
 MOLfAE 
 
 By J. W. Simpson 
 9 
 
By Byam Shaw 
 
By R. Anning Bell 
 
[X L15RI J 
 
 By Walter Essie 
 
 \ 
 
 JWSIMPSON 
 HIS BOOK 
 
 EX LIBRIS 
 
 7i4/)^x3ci£/re. 
 
 NORTON I 
 
 By E. H. New 
 
 By J. W. Simpson 
 
OCflibns 
 
 Four Designs by 
 Gordon Craig 
 
 
 1900 
 
 /I 
 
 
 
 
 
 • J- "x 
 
 o 
 
 ( «? 
 
 '1^ 
 
 ^ 
 
 
 
 
 \ 
 
 •3 
 
By J. Williams 
 
By W. B. Pearson 
 
 I 
 
 
 KENNE^-N 
 
 By S. A. Lindsey 
 
 By Enid M. Jackson 
 
 15 
 
By Anna Dixon 
 
 By Arthur H. Verstage 
 i6 
 
From Drawing after Etching 
 By D. Y. Cameron 
 
 17 
 
LIBRU 
 
 EDITH A 
 
 KING5^ 
 rORR 
 
 UN 
 
 By Harold Nelson 
 
 i8 
 
THE ARTISTIC BOOK-PLATE 
 
 By TEMPLE SCOTT 
 
 BOOK-PLATE, in its simplest expression, is a 
 printed indication of the ownership of a book. 
 It may take the form of the unadorned visiting 
 card, or it may be embellished with heraldic and 
 other designs explanatory of the owner's name, 
 ancestry, tastes, or predilections. Primarily, 
 however, it is intended to fix ownership. How 
 far it satisfactorily serves its purpose, is, perhaps, 
 of little moment to the average book-collector ; 
 for the book-plate has emerged from the stage 
 of practical utility and become a thing in itself, 
 so to speak. It has taken its place beside the many articles de vertu which 
 are godsends to the weary of brain and heart, inasmuch as they become the 
 objects of a passion so delightful in its experience, as to make us forget the 
 little trials and worries of life that make pessimists of us in this " bleak 
 Aceldama of sorrow." Nay, they may even become the one sun, shining 
 and irradiating for us all the dark places of our wanderings, and cheer us 
 with the hopes for newer and finer acquisitions than we already have. 
 
 When, however, we come to a consideration of the artistic book-plate, 
 we enter upon a new field of enquiry entirely. It indicates that a simple 
 usage of a necessary and harmless convention has developed into a complex 
 expression ^ an expression not merely of the individual to whom the book 
 belongs, but also of the artist whose business it is to give pictorial form to 
 the desires and wishes and tastes of his patron. 
 
 From the crude, if sufficient, paste-board stuck on the end-paper, to 
 the heraldic display, was, surely, no very far cry. In the countries of the 
 Old World, where pride of ancestry touches the worthy and unworthy alike, 
 it was to be expected that so valuable an opportunity for flaunting the deeds 
 of " derring do " of one's forefathers as a sign of one's own distinction, such 
 as the book-plate offers, was certainly not to be neglected. So we find that 
 the coats of arms which once served as inspirations, and which once had a 
 genuine meaning to their owners and retainers, now do service in the more 
 peaceful realrris of Bookland. And, assuredly, there are certain books in 
 a library, which are more worthily acknowledged after this ancient and mar- 
 tial fashion. We cannot but believe that a Froissart from the press of 
 Caxton or Wynkyn de Worde, would be handled with more reverence if one 
 saw on the verso of its front cover a glorious display of the arcana of her- 
 aldry, in all its magnificence of mysterious meaning. This feeling would 
 also be aroused in turning the leaves of, say, Philippe le Noir's edition of 
 the "Gesta Romanorum " (1532), or of Hayton's " llytell Cronycle" from 
 
 J9 
 
the shop of Richard Pynson, or of Mandeville's " Voyages and Travailles," 
 issued by T. Snodham in 1625, or of Pliny's " Historia Naturalis " from 
 the Venetian press of Nic. Jenson in 1472, or of Rastell's " Pastyme of 
 People," "emprynted in Chepesyde at the Sygne of the Mermayd" in 1529. 
 To these and their like a book-plate of heraldic story comes as a fitting and 
 graceful complement. 
 
 But the average mortal of this work-a-day world and age has not the 
 means wherewith to acquire such treasures of the bibliophile. Nor, per- 
 haps, has he the necessary pedigree with which to adorn them, if acquired ; 
 though on this latter consideration, we suspect that the Herald's College in 
 the purlieus of Doctors' Commons, and the more amenable, though not less 
 expensive Tiffany on this side of the Atlantic, would, no doubt, prove 
 excellent aids to a full satisfaction. 
 
 But we are not here dealing with the pomp and glorious circumstance 
 of Heraldry. In dealing with the artistic book-plate, we are considering a 
 matter which concerns itself not with past stories or past individuals, but 
 with the present tale and the particular living personage who has the laudable 
 and humble ambition to distinguish his copy of a book from his friend's copy 
 of the same book. A taste in books may be easily whitewashed, but a 
 taste in a book-plate flares its owner's heart right into the eyes of the 
 demurest damsel or the simplest swain. It may be that our collection is 
 but a series of Tauchnitz editions carefully garnered on a European tour, or 
 a handful or two of Bohn's Library, accumulated from our more studious 
 days, or a treatise on golf, chess, gardening and photography, or a history of 
 the state or town in which we live — it matters little what — these are the 
 treasures we most prize, and we wish to hold them. Now, how best shall 
 the collector mark them as his own ? 
 
 He writes his name on the title-page. Ugh! What a vandal's act ! 
 The man who could so disfigure a book deserves to have it taken from him, 
 and his name obliterated. He who could find it in his heart to write on 
 title-pages could surely commit a murder. We'd much rather he turned a 
 leaf down to mark the place where he had left off in his reading; though to 
 do that is bad enough, in all conscience. Nor does he save his soul by 
 writing on the fly-title, or even end-paper. Moreover, this will not save 
 his book either. A visiting card can easily be taken out — it looks too 
 formal, nondescript, meaningless, common, to inspire any respect in a would- 
 be thief But an artistic book-plate ! Ah ! that's another thing altogether. 
 
 An artistic book-plate is the expression in decorative illustration of the 
 proprietor's tastes, made by an artist who has sympathetically realized the 
 feeling intended. It should objectify one, and only one, salient characteristic, 
 either of temperament, habit, disposition, or pleasure, of its owner. If it 
 does less, it is not individual ; if it does more, it is not satisfying. 
 
 Now each one of us has some characteristic trait that is not common to 
 us all — then let that be the aim of the artist to embody in decorative form. 
 And let that embodiment be simple and direct — the simpler and more direct 
 
it is, the more will it appear; and the more beautiful it is the more will it 
 soften the kleptomaniacal tendencies of the ghoulish book-hunter. For nothing 
 touches him so nearly to the finer impulses of nature than the contemplation 
 of beauty ; and he would be less than human did he fail to respond. We 
 would even go to the length of giving as an admirable test of the book-plate 
 artist's powers, the lending of a book (whose loss would give no qualms) 
 containing the plate. If it come not back, there's something the matter 
 with your plate ; or, you can libel your friend as a beast of low degree, 
 which suggests a good way of finding out your friend's true character. But 
 then, there's no limit to the powers of a beautiful book-plate. 
 
 Now there are a great many coy people who don't care to wear their 
 hearts on their sleeves; these would naturally feel indisposed to post them- 
 selves thus before the public eye, be the book-plate never so beautiful. 
 To these we would say: Give us what you prize best — your home, your 
 wife, your sweetheart, your motto (though that's giving yourself away too), 
 your baby, anything that is truly yours. (Babies are quite a propos, and 
 should be characteristic, though it does not always follow. Some babies 
 have a habit of taking after quite other people.) The idea is, to embody 
 something individual, something special and particular. 
 
 If he can afford a large library, or is a collector of the works of one or 
 two authors, there's a way out of the difficulty for the coy person, by having 
 the book-plate represent the characteristic of the author and have his name 
 as an addition. That may be taking a liberty — but authors are accustomed 
 to that ; and, besides, you are appreciating them, and that should exorcise 
 the spirit of an indignant " classic " from the four walls of your library. 
 Have the original of the design framed on the wall ; it may save you a lot 
 of explanation should the spook even get " mad." You can always lay the 
 blame on the artist. Of course, this means a book-plate for each author; 
 but as book-plates are not, after all, such very expensive luxuries, this con- 
 sideration need be a matter of but small moment. 
 
 Yet another idea is to have an artistic treatment of a representation of 
 your library, your " den." That sounds very inviting and certainly can 
 hurt no one's feelings. If you don't happen to possess a special apartment, 
 give an apartment such as you would like to possess. Or show your 
 favorite chair, or nook, or greenwood tree, or running brook, or garden 
 plot. There are thousands of ways in which to fashion a book-plate, and an 
 artistic book-plate, too. We thus can see what an advance the modern 
 artistic book-plate is on the old style article — so formal, so characterless, so 
 inchoate and so amorphous. 
 
 Indeed the artistic book-plate is a genuine Inspiration, or it may be 
 made so. How charming, or delight-giving, or valuable, or Intoxicating it 
 is, depends largely on the artist. But it also depends on the individual who 
 desires it. It should be planned with care and executed with feeling. It 
 should be like no other book-plate in the sense that it possesses some Jlavor 
 that is private and personal. It should be as much an indication of the 
 
owner's taste as is his library — and no man can hide his nature from the 
 friend who has had access to that. There are many things a book-plate 
 should not be — but these may be summed up in the advice — it should not 
 be a mask. You may order your books by the hundredweight from your 
 bookseller, but that won't stand you in any stead when your friend handles 
 them and turns to you for a criticism, or an opinion. You may also com- 
 mission your artist for a book-plate ; but you are in a worse plight if you 
 fail in the more direct explanation you will be required to make to the 
 insistent inquiries as to its meaning or appositeness. No ! Be it ever so 
 humble, let it be yours. It may be a poor thing, but it is your own; but 
 it may be also a very rich thing, and your own also. 
 
 EX 
 Uei215 
 
 JAAC5 
 
 PICK. 
 
 By J. W. Simpson 
 
THIRTY-TWO EXAMPLES OF 
 BOOK-PLATES from PRIVATE 
 COLLECTIONS and Other Sources 
 
 From Steel Engraving 
 By E. D. French 
 
 13 
 
By Geo. Wharton Edwards 
 
 By T. B. Hapgood, Jr. 
 
 By Charles Selkirk 
 
 TBHai>gi»<lJr " MacceovS 
 
 By T. B. Hapgood, Jr. 
 
 »4 
 
"^ 
 
 
 
 % 
 
 ) 
 
 H 
 
 b 
 
 
 R 
 
 
 \i^~ 
 
 v^ 
 
 
 By Louis H. lUiead 
 
By B. G. Goodhue 
 
 By W. S. Hadaway 
 
By H. E. Goodhue 
 
 From Steel Engraving 
 By E. D. French 
 
 By H. E. Goodhue 
 
 By B. GT. Goodhue 
 
 »7 
 
BARKLAU^^ 
 BRUXLLLLS. 
 
 "^^ 
 
 By Fernand Khnopff 
 
 By Hans Thoma 
 
 By Bernard Wenig 
 
 ByJuliuE Diei 
 
By Charles E. Eldred, of English Navy 
 
 Ku|arlif ]Btttf?f is^Umpw 
 
 29 
 
From Steel Engravings by Wm. Phillips Barrett 
 
 3° 
 
GLADYS DE GREY 
 
 From Sleel Engravings by Wm. Phillips Barrett 
 3« 
 

 1 
 
 B'~'^^ 
 
 m 
 
 
 ^m 
 
 4 
 
 Four designs by Thomas M. Cleland 
 
BOOK-PLATES AND THE NUDE 
 
 By WILBUR MACEY STONE 
 
 
 OVERS of the beautiful have been 
 burdened with endless talk and 
 writing and many quarrels on the 
 nude in art, and now I have the temerity 
 to open a new field of battle and throw 
 down the gauntlet for strife. The Eter- 
 nal Feminine is a prominent factor in the 
 picture book-plates of the day, and she 
 is showing some tendencies to appear 
 minus her apparel. Question: is it wise 
 and in good taste ? 
 
 Of course, to start with, I am quite 
 free to admit that good taste is a movable 
 feast and is much influenced by the point 
 of view. Your taste is good if it agrees 
 with mine ; otherwise it is bad taste or no 
 taste. At any rate, there are a few things 
 we can agree upon, I think. For instance, 
 that there is a wide distinction between 
 the nude and the naked. Also, that the 
 human form divine is most beautiful, but 
 that to remain most beautiful it must 
 deviate not one jot or tittle from the 
 divine, for any deviation is to tend to the earthy and gross, which is vulgar 
 and — bad taste. We can also agree, I think, that partially draped figures 
 can be, and often are, sensual and repulsive beyond the frankly nude, and 
 this without the direct intent or knowledge of the artist. 
 
 *' A hair perhaps divides the false and true, 
 Yes J and a single slip were the clue — ' * 
 
 But above all things a nude figure should never carry the idea of a con- | 
 sciousness of its nudity ! Also, clothing or drapery used simply to hide 
 portions of the figure is . execrable and more suggestive than any entire 
 absence of clothing; while to add, as I have seen done, a hat and French- 
 heeled shoes to a nude figure is abominable beyond condemnation. 
 
 But all this is of broad application and is sawing upon the same old and 
 frayed strings. Abstractly, a beautiful nude is as beautiful on a book-plate 
 as in a portfolio or in a frame, and some of the most beautiful book-plates I 
 have ever seen have been nudes. Nevertheless, to me the nude seems out 
 of place and in questionable taste on a book-plate ; the simple matter of 
 repetition is enough to condemn it. 
 
 Book-Plate of Mr. Carl Schur 
 
 33 
 
The partially draped figures by 
 R. Arming Bell are chaste and beau- 
 tiful, and one never thinks of them 
 other than as clothed ; so they can 
 hardly be considered in this discus- 
 sion. Many of the book-plates by 
 Henry Ospovat contain partly draped 
 figures which are always beautifully 
 drawn, pure and a constant delight. 
 But really, I think it would jar me to 
 meet even an angel — the same one, 
 mind you — in each of a thousand 
 volumes. Emil Orlak, in Austria, 
 has made some fairly pleasing nudes, 
 but they lack that purity of concep- 
 tion without which they are common. 
 Armand Rassenfosse, of Belgium, 
 has etched a number of dainty, fault- 
 lessly drawn and really most beautiful 
 nudes, but many of them have been 
 ruined by the needless addition of 
 shoes and fancy head-dresses. Pal 
 de Mont, of Antwerp, has a plate by 
 Edmond van Oppel which he prob- 
 ably thinks a work of art, but which 
 is surely the height of vulgarity; 
 while in "Composite Book-Plates" 
 is a design by Theodore Simson 
 containing a large figure of a nude 
 woman with her hair done in a pug, 
 seated in a grove amid dandelions 
 and poppies, and diligently reading a book. The figure is treated in broad 
 outline, which is ill adapted to the subject, and it lacks that refinement with- 
 out which nothing is beautiful. She is absolutely at variance with her 
 environment, and the whole is a tour de force quite unforgivable. 
 
 Miss Labouchere, in her volume on ladies' plates, shows a rather 
 amusing pair of designs for Miss Nellie Heaton. These plates both bear 
 the legend, " Gather ye roses while ye may." In the first, the designer, Mrs. 
 Baker, has a fair creature in all the glory of entire nudity plucking blossoms 
 from a rose-vine. In the other, she used the same design throughout, but 
 has fully clothed the figure. Evidently Miss Heaton protested. 
 
 These designs by a woman call to mind the fact that among the 
 book-plates of over one hundred and fifty women designers with which I 
 am familiar, I know of but one other nude. This other is by Miss Mary 
 Florence, and is of a large full-length angel entirely undraped. 
 
 By H. Nelson 
 
 34 
 
^■Oy^o\'Ak jl 
 
 By H. Ospovat 
 
 35 
 
Fritz Erler, a German designer 
 of much strength, has made a number 
 of symbolic book-plates. All, I be- 
 lieve, have the feminine as motif, and 
 in several the figures are nude. The 
 design for Emil Gerhaeuser is inoffen- 
 sive and well-drawn, but surely is not 
 beautiful, and lacks a good excuse for 
 existence. In a generally pleasing dec- 
 orative arrangement for Robert H. 
 Smith, Harold Nelson, an English 
 designer, shows a rather attenuated 
 nude maiden looking with envy at a 
 gorgeous peacock on the opposite 
 side of the design ; while the peacock 
 in turn seems to say, "Why don't you 
 grow some feathers ? " 
 
 We naturally expect to find well- 
 drawn, if not always pleasing, nudes 
 in the French school. Henry Andre, 
 one of the best known French design- 
 ers of book-plates, uses the nude quite 
 freely in his work ; in some instances pleasingly, but in one or two with 
 
 marked vulgarity. Octave Uzanne has 
 
 isenfoEse 
 
 DOMN Sf 
 
 pjij/lo/' ■ 
 
 By H, Ospovat 
 
 the most pleasing nude plate that I have 
 ever seen. It is designed by Guerin, 
 and represents a tortoise bearing the im- 
 plements of the artist, and c6axed along by 
 the hot torch of knowledge in the hand 
 of a light-winged cupid. By Sherborn, 
 the great, I have seen but one nude in a 
 book-plate, and that a poor thing but 
 innocuous, for Mr. Harris Fahnestock 
 of New York. Mr. E. D. French has 
 made but one nude that I have seen, 
 that for Mr. E. H. Bierstadt; the design 
 shows a nude shepherd boy piping 
 to his flock. The plate Mr. French 
 engraved for Mr. De Vinne, from the 
 design by Geo. Fletcher Babb, has nude 
 termini for bearers, and is elegant and 
 beautiful, an ideal plate. 
 
 American artists have essayed the 
 nude but little in book-plate design, per- 
 haps through wisdom, perhaps through 
 
 36 
 
€X LIBRIS 
 
 KOBeRC ^ 
 FIvG€CB€R 
 ?M^: R0G611B 
 
 ' ^ <a Q C B Vj 
 
mn&!k 
 
 From Drawing after Etching 
 by A. Rassenfosse 
 
 ^ SimiL^MOUa %'£■: "YIEH-T QUI LE TURiUPINE Cg, 
 
 Je;ca.D^ HasT'p 
 
 ft. 
 
 
 - ^■I"5t"«i ■riJorMGi(i;i^ 
 
 After Etching by Guerin 
 
 37 
 
fear ; but the fact remains that they have thereby avoided the perpetration 
 of at least some crimes. Judging by the examples we have been able to cite, 
 and they are representative, it would seem that the best advice we can give 
 those tempted to use the undraped beautiful in their book-plates is — don't. 
 
 lOftiaiiifA!^);' 
 
 By Fritz Erler 
 
 3». 
 
THE ARCHITECT AS A BOOK- 
 PLATE DESIGNER: B. WILLIS STEELL 
 
 A" 
 
 By Thomas Tryon 
 
 MONG the book-plate designers 
 of the present day the architect 
 may, if he choose, take a high 
 place. He is one whose studies have 
 led him through the paths of artistic 
 training where his eye and hand have 
 learned to see color and form and bal- 
 ance of parts, and while the usual media 
 of his profession are wood, stone, terra 
 cotta and iron, there are many by-paths 
 through which he must travel to appre- 
 ciate the value of his pencil lines upon 
 the flat. 
 
 No more delightful by-way than 
 the book-plate route will open before 
 him, hedged in as it is by purely artistic 
 shrubbery and leading constantly to 
 pretty and even beautiful designs in 
 which the genius of architecture has 
 
 played a great part. Moreover, all his preceding journey through the hard 
 
 conventional country to which architecture at first seems limited, has 
 
 equipped him thoroughly to give expression to his fancy. That the gift of 
 
 imagination is among his endowments should be taken for granted, however, 
 
 if the architect is to succeed in the Hne 
 
 of drawing book-plates. 
 
 Fancy and imagination being in his 
 
 mental equipment the architect can 
 
 " rest " his mind in no more delightful 
 
 fashion than by giving them full scope in 
 
 this gem-like art. His experience, his 
 
 collections of drawings, the work of 
 
 others of his craft which he has studied, 
 
 all tend to render his fund of information 
 
 large, and if he has the key to book- 
 plate art, inexhaustible, since nothing 
 
 comes amiss to the pen of one whose 
 
 facile fancy can grasp a good motive and 
 
 direct it to a purpose other than that 
 
 originally intended. 
 
 In the early days of art the architect 
 
 39 
 
 JAMES SEYMOUR TRYON 
 By Thomas Tryon 
 
was not only a designer of buildings but was also a sculptor and sometimes 
 a decorative painter. He was called upon by his patrons to design whatever 
 was needed at the moment, and these men were " all-round " artists, the day 
 of specialization and the speculator not having dawned. 
 
 Buonarotti is an awesome name to call up, but this great painter, 
 sculptor, architect and builder touched nothing that he did not adorn, and in 
 many of the hundreds of crayon sketches and cartoons that he left behind 
 him, the feeling of the book-plate artist is clear. Had Lorenzo the Mag- 
 nificent wanted a book-plate for use in his library, the great Michael Angelo 
 could have filled the want from his own notes, with very little of either sup- 
 pression or expansion. It may seem strange to think of this Titan of art, 
 
 the creator of the sweeping " Last 
 Judgment " turning his pencil to the 
 delicate lines, the imperceptible nuan- 
 ces demanded by a book-plate, yet it 
 may be repeated, in his work may be 
 found a myriad of suggestions for 
 these gem-like products. 
 
 Buonarotti was not, however, 
 first and last an architect. Painter 
 and sculptor also, these sides of his 
 artist soul would have been drawn on 
 for the book-plate. Therefore the 
 statement that not every architect can 
 design so fanciful and dainty a work 
 as a book-plate becomes a truism 
 patent to everybody. The architect's 
 profession calls for a two-fold nature, 
 the one side tending toward that of 
 the engineer with its eminently prac- 
 tical and very necessary tables of 
 stress and strain, its mathematical 
 calculations for loads and disposition 
 of carrying walls, while the other side 
 leans to a nice discernment of color and proportion. The laying out of 
 vistas and the arrangement of surfaces and lines, so that the eye is aided in 
 receiving the best impression from all points of view. Of this turn of mind 
 is the one who can and does design book-plates. The very practical archi- 
 tect, if he wishes the glory, which is doubtful, has one of his draftsmen make 
 the design and then signs the drawing and gets the glory. It would be 
 amusing if such an one through some luck charm received constant application 
 for such work. His draftsmen would change and his drawings be as dissimi- 
 lar as the men who drew them. Possibly the signature would lead the 
 long-suffering public to think him very versatile. 
 
 It is not of this class of architect that we write. It is of him who is half 
 
 By Thomas Tryon 
 
 40 
 
painter or sculptor, and who loves his pen and pencil and delights in the 
 personal expression of his ideals. He finds that his way of seeing things is 
 more to his hking than any way of any other man. He sees the infinite 
 beauty of nature and loves her shifting pictures in the clouds. Then too, he 
 must have the ability to clearly comprehend the half-formed ideas of him 
 whose plate he undertakes to draw. This is not always an easy matter. 
 There are but few in the world who can formulate their ideas, much less 
 invent a picture without first seeing it. Here the architect has, perhaps, an 
 advantage over the purely imaginative artist, since the average man does not 
 know the difference between the Classic period and the Gothic, the Napoleon 
 era and the modern German renaissance. 
 
 Of the architects who have obtained unquestioned recognition in this 
 exquisite art, Thomas Tryon is among those whose work is especially 
 prized. His adaptation of architectural forms to the confined space of the 
 book-plate shows the work of a man who has command of his tools and 
 knowledge, and despite the narrow confines of the field his work is not at all 
 " cabined or cribbed." The illustrations accompanying this essay are taken 
 rather at random from among Mr. Tryon's designs, but they will convey to 
 those unfamiliar with his work, a fair idea of its scope and treatment. His 
 first design was a plate for his father, an ornate armorial design, the name 
 being set up in type at the base. The plate for Miss Annah M. Fellowes 
 is quite elaborate. A long-haired and bewhiskered knight stands before us in 
 a suit of rich armor, his right hand bearing his sword and helmet, and his left 
 resting upon his shield. His helmet is surmounted by a pair of spreading 
 wings. The design is backed by a rambling rose bush on which is hung the 
 motto ribbon. 
 
 Mr. Frank Pool is obviously a lover of the drama. In an oval ivindow 
 set in masonry, is a Roman gentleman, laurel crowned, reading from a 
 
 By Thomas Tryon 
 
 By Thomas Tryon 
 
 41 
 
By Thomas Tryon 
 
 large volume, while at the upper right and left 
 sides are comedy and tragedy masks from which 
 hang a gracefully festooned wreath. Palms, 
 ribbon and name plate finish the design. For 
 Mr. Farragut, the son of our old admiral, Mr. 
 Tryon has made a very " salt water " arrange- 
 ment of arms. The shield is surmounted by a 
 quaint ship and the bearers are dolphins, which 
 on one side encircle a trident and on the other 
 a sword. The conventional acanthus leaves 
 give body and decoration to the whole. Per- 
 haps one of the most distinctively beautiful of 
 Mr. Tryon's designs is the fleur-de-lis for Mr. 
 Marcus. In this the artist has blended most 
 delightfully the natural and the heraldic flower 
 and has produced a gem of which one never tires. For his sister and her 
 children Mr. Tryon has made a light and airy design, distinctively feminine 
 and graceful. The main feature of the design is an ornate cypher of the 
 letters S T. On the ribbon below the name is shown. This is changed to 
 the names of Mrs. Stone's three daughters for their individual use. The 
 plate reproduced here is that of one of Mrs. Stone's daughters. The design 
 for " The Boys Club " is surmounted by the American eagle perched upon 
 the globe, and the flag of our country is 
 draped over the tablet bearing the let- 
 tering. This plate has been reproduced 
 both by photo-process and copper plate. 
 Of the three color plates repro- 
 duced the first was made for Mr. A. W. 
 Brunner, and has for " piece de resist- 
 ence " a very ingenious monogram set 
 in an oval frame. For bearers there are 
 two graceful palms and the keystone is 
 surmounted by a pile of books and a 
 classic student's lamp. The base of the 
 design is relieved by a pleasing arrange- 
 ment of acanthus leaves. The plate for 
 Miss Cox is a seal-like design, dignified 
 yet dainty, and would be entirely in 
 place in all kinds of volumes. The 
 plate for Mr. Steell quite speaks for 
 itself and makes the sportsman feel 
 wildly for the trigger of his gun. The 
 buck and doe silhouetted against the 
 yellow of evening and the reflection in 
 the stream are a delight. 
 
 By Thomas Tryon 
 
 42 
 
Three of Mr. Tryon's designs have been engraved by Mr. E. D. 
 French. The famous Sovereign plates being two, and one for Mr. 
 Havemeyer being the third. This plate for Mr. Havemeyer is indicative of 
 the owner's collection of Washingtoniana, and is surrounded by several of the 
 well-known portraits of the father of his country, while at the top is a small 
 view of Mount Vernon. The portaits and view are interwoven with foliage 
 and ribbon and form a frame in which Mr. Havemeyer's arms are displayed. 
 The "Sovereign" plates, which were made in 1895 ^°^ ^^^ library of Mr. 
 M. C. D. Borden's yacht, are of great richness, the first or " crown " design 
 being especially so. This one did not please the owner, who had a second 
 one made surmounted by an eagle instead of a crown. This is simpler in 
 treatment and not so decorative as the earlier design. These plates were 
 both cut on the copper by Mr. French who treated them in a very sympa- 
 thetic manner and brought out in clear relief the ideas of the designer. 
 
 Mr. Tryon's production has not been great, reckoned by the number of 
 plates made, but as his work is never done hurriedly or slightingly it carries 
 an air of finished dignity and worth that gives it lasting quahties. As he 
 usually has one or two plates in hand to which he adds a few Hnes and a few 
 thoughts from time to time, we may still expect pleasant surprises in this 
 miniature art from his workshop. 
 
 J^^ 
 
 43 
 
B)- B. G. Goodhue 
 
 Bv B. G. Goodhue 
 
 Bj' E. D. French 
 
 By B. O. Goodhue 
 
 44 
 
K 
 
 XLIBRIS^NO. 
 
 1^ 
 
 WILLIAM 'A 
 BOLAND I2QI 
 
A CHECK-LIST of the WORK of 
 TWENTY-THREE BOOK-PLATE 
 DESIGNERS of PROMINENCE 
 
 Compiled by WILBUR MACEY STONE 
 
 T WAS thought that interest and value would be 
 added to this book by the inclusion of lists of the 
 book-plates made by the more prominent artists whose 
 work is reproduced here. These lists are the nearest 
 complete of any that have ever been published, and as 
 they have been verified in many instances by the 
 artists themselves, and in others carefully collated 
 from the actual book-plates, they may be relied upon 
 as higjjly accurate. The sundry notes, bibliographical 
 and otherwise, by which the individual lists are 
 prefaced, are in no way exhaustive, but just a cursory gathering to relieve 
 the bareness of the lists and to give some little additional assistance to the 
 amateur. The lists are arranged alphabetically under the artists' names as 
 follows : 
 
 William Phillips Barrett 
 
 Robert Anning Bell 
 
 D. Y. Cameron 
 
 Thomas Maitland Cleland 
 
 Gordon Craig 
 
 Julius Diez 
 
 George Wharton Edwards 
 
 Fritz Erler 
 
 William Edgar Fisher 
 
 Edwin Davis French 
 
 Bertram G. Goodhue 
 
 Harry E. Goodhue 
 
 T. B. Hapgood, Jr. 
 Harold E. Nelson 
 Edmund H. New 
 Henry Ospovat 
 Armand Rassenfosse 
 Louis Rhead 
 Byam Shaw 
 Joseph W. Simpson 
 Hans Thoma 
 Thomas Tryon 
 Bernard Wenig 
 
 WILLIAM PHILLIPS BARRETT 
 
 In Great Britain every family of rank has its arms suitably emblazoned 
 on its harnesses, carriages, table-plate, dining-chairs, and, of course, in its 
 library. When a new coach is ore' red, or a new set of harnesses, the 
 
 45 
 
coach-builder or the harness-maker furnish the proper trimmings. So 
 milord's stationer 'fixes up the family letter-paper and the family book-plate. 
 Somebody has to lick into some semblance of artistic unity the records of 
 prowess ot our medieval ancestors. In the workshops of Messrs. "Bumpus 
 Limited," Mr. William Phillips Barrett performs this more or less genial 
 task. He has signed some ninety to one hundred designs, which were 
 cut by the workmen in the Bumpus establishment. Mr. Barrett's designs 
 are not wholly without merit, but they so apparently lack the spark of 
 vitality and their execution is in many cases so hard and mechanical that one 
 is inclined more to pity than to praise. In the pages of the London 
 Ex Libris Journal, that industrious encourager of the ordinary and banal in 
 book-plate design, Mr. Barrett's work is exploited at length. Vol. II., 
 page 8i, et seq. 
 
 1896 
 
 Lady Gerard 
 Hon. E. Byng 
 Mr. Jack Cummings 
 Lord Manners 
 Lady Sarah Wilson 
 Lady Charles Bentinck 
 H. Somers Somerset, Esq. 
 Lady K. Somerset 
 
 1897 
 
 J. Watson Armstrong, Esq. 
 Lady Angela Forbes 
 Mrs. Panmure Gordon 
 Hon. Mrs. Charles Harbord 
 Miss Beatrice Dudley Smith 
 The Marchioness of Headfort 
 Miss Audrey Battye 
 Lady Beatrix Taylour 
 Miss Rachel Duncombe 
 J. S. Forbes, Esq. 
 
 1898 
 
 Lady Maud Warrender 
 
 Lady de Trafford 
 
 Hon. Marie Hay 
 
 The Countess Mar and Kellie 
 
 Mrs. Brocklebank 
 
 The Viscountess Wolseley 
 
 Robertson Lawson, Esq. 
 
 Baron Konigswarter 
 Baroness Konigswarter 
 Miss Van Wart 
 Reginald Nicholson, Esq. 
 Lady Sybil Carden 
 The Countess of Lathom 
 
 1899 
 
 The Duchess of Bedford 
 
 Miss Eadith Walker (Australia) 
 
 The Countess of Wilton 
 
 The Viscountess Chelsea 
 
 Mrs. Duff 
 
 J. E. Bailie, Esq. 
 
 Lord Bolton 
 
 Lady Margaret Levett 
 
 Miss Howell 
 
 Basil Levett, Esq. 
 
 Mrs. Harcourt Powell 
 
 Lady Ampthill 
 
 J. & E. (Mr. and Mrs. MuUer) 
 
 Bishop Lefroy of Lahore 
 
 Mrs. McCalmont 
 
 Miss Gabrielle de Montgeon 
 
 1900 
 
 Her Royal Highness Princess Victoria 
 
 of Great Britain 
 The Earl of Lathom 
 
 46 
 
1 900 
 
 The Duke of Beaufort 
 
 Hon. Mrs. Gervase Beckett 
 
 The Countess of Gosford 
 
 The Marchioness of Bath 
 
 Mrs. Lee Pilkington 
 
 Freda and Winifreda Armstrong 
 
 Mrs. Wernher 
 
 Miss Freda Villiers 
 
 Miss Muriel Dudley Smith 
 
 Lord Kenyon 
 
 Lady Savile Crossley 
 
 Hon. Hilda Chichester 
 
 Lady Dickson-Poynder 
 
 Sir John Dickson-Poynder^ 
 
 Gervase Beckett, Esq. 
 
 Canon Stanton 
 
 The Duke of Portland 
 
 Mrs. Alfred Harmsworth 
 
 Mrs. Arthur Wilson 
 
 J. Hutchinson, Esq. 
 
 Hon. Mrs. G. Kenyon 
 
 Captain Noble 
 
 Edward Hubbuck, Esq. 
 
 1900 
 
 R. L. Foster, Esq. 
 Royal Naval and Military 
 Will Watson Armstrong 
 Masonic Supreme Council, 33° 
 
 (Large and small) 
 The Earl of Shaftesbury 
 Miss Barclay (Wood block Armorial) 
 H. A. Harben, Esq. 
 
 1901 
 
 Ivor Fergusson, Esq. 
 
 Harold Harmsworth, Esq. 
 
 Lord Haddo 
 
 Lady Mary Cayley 
 
 Mrs. Sheridan (Frampton Court) 
 
 The Marchioness Anglesey 
 
 Sir Charles Cust 
 
 The Countess of Derby 
 
 Lady Hillingdon 
 
 Lady Alice Stanley 
 
 Lady Clementine Walsh 
 
 R. C. Donaldson-Hudson, Esq. 
 
 ROBERT ANNING BELL 
 
 Robert Anning Bell, Director of the Art School of the Liverpool 
 University, is the most prolific designer of artistic picture-plates in Great 
 Britain. His work has long been the envy of amateurs, and no collection 
 can claim to be representative without some examples of his work. His 
 book-plates have been reproduced and commented on m almost all pub- 
 lished articles on the general subject. The book-plate number of the 
 "Studio," Simpson's Book of Book-plates, Bowdoin's "Rise of the Book- 
 plate," Zur Westen's "Ex Libris" (Leipzig, 1901), all show examples. 
 His work is characterized by dignity and grace, is in good drawing, and has 
 an average of excellence unsurpassed. The list is complete to July i, 1902. 
 
 1 Walter George Bell 
 
 2 Rainald William Knightley 
 
 Goddard 
 
 3 G. R. Dennis 
 
 4 Barry Eric Odell Pain 
 
 5 Jane Patterson (circular) 
 
 6 Jane Patterson (rectangular) 
 
 7 Christabel A. Frampton 
 
 8 Frederick Brown 
 
 9 Matt. Gossett 
 
 10 Arthur Trevithin Nowell 
 
 1 1 Edward Priolean Warren 
 
 47 
 
12 Frederick Leighton (small) 
 
 13 Frederick Leighton (large) 
 
 14 Arthur Melbourne Sutthery 
 
 15 Juliet Caroline Fox Pym 
 
 16 Yolande Sylvia Mina Noble Pym 
 
 17 Florence and William Parkinson 
 
 18 Nora Beatrice Dicksee 
 
 19 Felsted School 
 
 20 Arthur E. Bartlett 
 
 21 The Hon. Mabel de Grey 
 
 22 Geraldine, Countess of Mayo 
 
 23 Walter E. Lloyd 
 
 24 George Benjamin Bullock-Barker 
 
 25 George Benjamin Bullock-Barker 
 
 26 Thomas Elsley 
 
 27 University College, Liverpool 
 
 28 Rowland Plumbe 
 
 29 Rennell Rodd 
 
 30 Alicia, Lady Glomis 
 
 31 H. E. John Browne 
 
 32 Barham House 
 
 33 Cecil Rhodes 
 
 34 Mander Bros. 
 
 35 Hon. Harriet Borthwick 
 
 36 Beatrice Patterson 
 
 37 Walter Drew 
 
 38 Walter Raleigh 
 
 39 Theodule, Comte de Grammont 
 
 40 Joshua Sing 
 
 41 Alice Emma Wilkinson 
 
 42 James Easterbrook 
 
 43 Theodore Mander 
 
 44 W. H. Booth 
 
 45 Hector Munro, 1897 
 
 46 Margaret Wilton 
 
 47 L. and M. S. 
 
 48 Gardner S. Bazley 
 
 49 Ex Libris Sodalium Academi- 
 
 corum Apud Lyrpul 
 
 50 Roberti A. S. Macfie 
 
 51 Richard T. Beckett 
 
 52 Edmund Rathbone, 1898 
 
 53 Croy Grammont, 1898 
 
 54 A. J. Stratton 
 
 55 John Duncan 
 
 56 Helen Woollgar de Gaudrion 
 
 Verrall 
 
 57 C. Kohn 
 
 58 C. J. R. Armandale 
 
 59 Wm. Renton Prior 
 
 60 H. and O. Lewis 
 
 61 Herbert Lyndon 
 
 62 Johanna Birkenruth 
 
 63 Fanny Dove Harriet Lister 
 
 64 Mary Josephine Stratton 
 
 65 Louise Frances Foster 
 
 66 Caleb Margerison 
 
 67 Ellis Roberts 
 
 68 Marie Clay 
 
 69 Fanny Nicholson 
 
 70 L. and E. Stokes 
 
 71 Alfred Cecil Gathorne Hardy 
 
 D. Y. CAMERON 
 
 D. Y. Cameron is one of the most prominent artists in the so-called 
 "Glasgow School of Designers." His plates are nearly all etchings and are 
 decidedly his own in subjects and treatment. They are most excellent 
 productions. His work has been most fully exploited in Simpson's 
 "Book of Book-plates," Vol. L, No. 4. There are eleven designs 
 listed in Fincham, and the "Studio" Book-plate number reproduces 
 four. 
 
 Donald & Grace Cameron Swan 
 Robert M. Mann 
 John Roberton 
 
 John Maclaren 
 
 Roberta Elliot S. Paterson 
 
 Joanna Cameron 
 
 48 
 
Jeanie Ure MacLaurin 
 Katherine Cameron 
 J. Craig Annan 
 James Arthur 
 John Macartney Wilson 
 James Henry Todd 
 James J. Maclehose 
 
 Robert G. Paterson 
 
 R. Y. Pickering, 1895 
 
 R. Y. Pickering (another design) 
 
 John A. Downie 
 
 Beatrice H. MacLaurin 
 
 Sir James Bell, Bart. 
 
 THOMAS MAITLAND CLELAND 
 
 Mr. Cleland is a young man who has an innate appreciation for 
 decorative effect and, what is more to the purpose, an ability to apply it. 
 For some years past his skill in typographic arrangement has added much 
 to the products of several of our more advanced publishers; by more 
 advanced I mean those with a knowledge and belief that it is good business 
 to offer to the public books that delight the eye as well as the mind. Mr. 
 Cleland has done many decorative bits by way of head- and tail-pieces and 
 initials. There are also to his credit a baker's dozen of book-plates. These 
 last are intensely decorative, and to class them as pictorial really does them 
 injustice. They are thoroughly conventional and quite medieval in feeling. 
 
 Sara Stockwell Clark 
 Herbert Wood Adams 
 Laura Gaston Finley 
 Elmer Bragg Adams 
 Lewis W. Hatch 
 Angus Frederick Mackay 
 Julian Pierce Smith 
 
 Irving and Sissie Lehman 
 Louis and Bertha Stillings 
 Alice and Arthur Cahn 
 Ruble La Lande de Ferriere 
 Maurice M. Sternberger 
 George Louis Beer 
 
 GORDON CRAIG 
 
 "The Page" has been so much exploited in the public press that it 
 seems supererogation to write anything more about it or Gordon Craig, one 
 the embodiment of the other. Mr. Craig is very much of an all-round 
 young man; brought up in the atmosphere of the theater and of books 
 and pictures, he has dabbled in all to some purpose. He has a clear-cut 
 individuality that differentiates him and his — work, I was going say, but 
 perhaps play would be better, for Mr. Craig is one of those inconsequential 
 chaps that seem to take things as they come and be chipper and happy and 
 youthful-hearted with all. His book-plate work is of the meat-ax variety 
 and inspired by the rough wood-cuts of the early engravers. His work has 
 the air of the poseur that is as balm to the heart of the dilettante. 
 
 James Pryde, 1898 
 
 M. P. (Margaret Palgrave) 
 
 Ellen Terry (large), map 
 
 Ellen Terry (small), map 
 
 K. D. (Mrs. Kitty Downing), 1900 
 
 Katie Black 
 
E. T., 1899 (Ellen Terry) 
 
 James Corbet 
 
 V. C. (Vincent Corbet) 
 
 R. C. (Robin Craig) 
 
 H. F. (Helen Fox) 
 
 C. M. (Carl Michaelis) 
 
 Nina (Lady Corbet) 
 
 B. (Beatrice Irwin) 
 
 C. D. (Charles Dalmon) 
 W. H. Downing 
 
 M. M. (Maud Meredith) 
 
 A. L. (Aimee Lowther) 
 
 William Winter 
 
 Roche (Charles E. Roche), 1900 
 
 S. B. B. (S. B. Brereton) 
 
 C. (Christopher St. John) 
 
 G. C. (Gordon Craig) 
 
 Edy (Edith Craig) 
 
 J. D. (John Drew) 
 
 L. W., 1897 (Lucy Wilson) 
 
 Oliver Bath, 1899 
 
 E. D. L. (monogram) (Edie Lane) 
 
 G. C, 1898 (Gordon Craig) 
 
 Martin Shaw 
 
 Miss Norman 
 
 Lucy Wilson 
 
 E. C. (Edith Craig) 
 
 Ellen Terry 
 
 Ellen Terry 
 
 Marion Terry 
 
 Cissie Loftus 
 
 Evelyn Smalley 
 
 Edith Craig 
 
 C. B. P. (Mrs. Brown-Potter) 
 
 Tommy Norman 
 
 Jess Dorynne 
 
 Jess Dorynne 
 
 Rosie Craig 
 
 G. C. (Gordon Craig) 
 
 Gordon Craig 
 
 Gordon Craig 
 
 Gordon Craig 
 
 Mrs. Enthoven 
 
 Audrey Campbell 
 
 M. Tolemache 
 
 G. Tolemache 
 
 y. B. R. (Madam Bell-Rauche) 
 
 M. Fox 
 
 Anna Held 
 
 Pamela Colman Smith 
 
 Katie Dunham 
 
 Haldone McFall 
 
 N. F. D. (Mrs. Dryhurst) 
 
 JULIUS DIEZ 
 
 The work of Julius Diez is rich with the flavor of medievalism and 
 full decorative effect. The example shown in this book, the plate for Max 
 Ostenrieder, is a little masterpiece and an ideal book-plate. Mr. Diez has 
 done others much more elaborate, and with well-drawn and well thought- 
 out motifs, but none to excel the bit referred to. 
 
 Bayerischer Kunstgewerbe-Verein 
 
 Gustav Euprius 
 
 Max Ostenrieder 
 
 Gustav WolflF 
 
 Richard Hildebrandt 
 
 August Drumm 
 
 Luise Riggaur 
 
 Joseph Flokmann 
 
 Dr. Jul. Fekler 
 
 Julie von Boschinger 
 Georg Hirth 
 Adolf Beermann 
 Julius Diez 
 Paul ScharfF 
 Elise Diez 
 Georg Buchner 
 Franz Langheinrich 
 Paul Meyer 
 
 50 
 
GEORGE WHARTON EDWARDS 
 
 Mr. Edwards has made a large number of very excellent book-cover 
 designs and has decorated several volumes throughout. One of the most 
 beautiful of the latter is Spenser's Epithalamion, published by Dodd, 
 Mead & Company. Mr. Edwards has done a few other book-plates in 
 addition to those listed here, but these are all he wishes to stand sponsor for. 
 
 Harvard University, Arnold Arbor- George Washington Cram 
 
 etum, 1892 Tudor Jenks 
 
 Grolier Club G. W. Drake 
 
 Author's Club Library 
 
 FRITZ ERLER 
 
 Fritz Erler has been one of the leading contributors to that prince of 
 German art periodicals, "Jugend," since its beginning. His book-plates are 
 characterized by the same imaginative spirit and weirdness that appear m all 
 his work. His work is often reproduced in soft tints with excellent effect. 
 In the third volume of "Jugend" there was a double page given to prints 
 of Mr. Erler's book-plates. 
 
 Carl Mayr 
 Arthur Scott 
 T. Neisser 
 Hugo Wolf 
 C. Schoenfield 
 Sigmund Schott 
 M. Souchon 
 S. Fuld 
 Albert Schott 
 
 Ulrich Putze 
 
 Max Mayr 
 
 Toni Neisser 
 
 M. von B. 
 
 M. von B. 
 
 F. Gerhauser 
 
 H. Marx 
 
 Gustav Eberius Liebermann 
 
 WILLIAM EDGAR FISHER 
 
 Mr. Fisher's work is fully described in the leading article in this book 
 by Mr. Bowdoin. The list of plates is in chronological order and is 
 complete to July i, 1902. 
 
 1 William Edgar Fisher 
 
 2 William Edgar Fisher 
 
 3 William Edgar Fisher 
 
 4 Winifred Knight 
 
 5 William Lincoln Ballenger 
 
 6 Stanley Shepard 
 
 7 William A. Brodie 
 
 8 Silvanus Macy 
 
 9 Edna B. Stockhouse 
 
 10 Leila H. Cole 
 
 11 C. A. W. (C. A. Wheelock) 
 
 12 Lulu Thomas Wear 
 
 13 Gertrude T. Wheeler 
 
 14 Guild of the Holy Child, Peeks- 
 kill, N. Y. 
 
 15 Elizabeth Langdon 
 
 SI 
 
1 6 John Charles Gaee 
 
 17 Sallie A. Richards 
 
 18 Albert Edgar Hodgkinson 
 
 19 Samuel N. Hudson 
 
 20 John Elliot Richards 
 
 21 Ellen E. Langdon 
 
 22 Maria Page Barnes 
 
 23 Male Bruce Douglas 
 
 24 Sara Grace Bell 
 
 25 Edward A. Wilson 
 
 26 Peyton C. Crenshaw 
 
 27 Marion Maude Lindsey 
 
 28 Chauncey E. Wheeler 
 
 29 Bi Lauda (secret society) 
 
 30 Mary N. Lewis 
 
 31 Elizabeth Allen 
 
 32 The Studio Club 
 
 33 (Dr.) L N. Wear 
 
 34 William Chauncey Langdon 
 
 35 Charles S. Young 
 
 36 Frederic H. Church 
 
 37 John M. Harrison 
 
 38 Les Chats Noirs 
 
 39 George H. Phelps 
 
 40 Mary Speer 
 
 41 Julia Locke Frame 
 
 42 John D. Farrand 
 
 43 Lucy P. Winton 
 
 44 Winifred Knight 
 
 45 Mary Cheney Elwood 
 
 46 Ernest Orchard 
 Reta L. Adams 
 Edward C. Brown 
 Adeline Cameron 
 T. Frank Fisher 
 Edna B. Stockhouse 
 
 52 John Le Droit Langdon 
 
 53 W. J. Awty 
 
 54 Henry McLallen 
 
 55 William Edward Ramsay 
 
 56 David S. Calhoun 
 
 57 Walter W. Wait 
 
 47 
 48 
 
 49 
 50 
 51 
 
 EDWIN DAVIS FRENCH 
 
 The book-plates of Edwin Davis French are the most esteemed of 
 those of our present American engravers. His work is decidedly the 
 vogue among those who can afford the best, and is much prized by collect- 
 ors. There has rarely been an article on book-plates published in the 
 past five years or more that has not contained a eulogy of his work, and 
 there have been reproductions galore, both from the original coppers and 
 by half-tone. There is no American designer whose work is so eagerly 
 sought by the collector or for which larger returns are asked in exchanges. 
 Mr. French usually designs the work he engraves, but in several instances 
 he has cut plates from the designs of others. Such instances are noted in 
 the list. Mr. French's work is characterized by daintiness of design and 
 great beauty of execution. He is unquestionably a master of the graver 
 in decorative work. In the following list those numbered 133 and below 
 are from Mr. Lemperly's well-known list, and credit is hereby rendered him 
 therefor. The rest of the list is made up from various sources and has 
 been very carefully compared and is believed to be accurate and complete, 
 with the few exceptions noted, to July i, 1902. 
 
 174 Adams, Ruth 
 141 Allen, Charles Dexter, i 
 a with portrait 
 
 h with book-case 
 c with one club emblem 
 changed 
 
 52 
 
170 Alexander, Amy B. 
 187 Adams, Frances Amelia, 1901 
 199 Adams, Edward Dean, 1902 
 207 Adams, Ernest Kempton, 1902 
 44 Alexander, Charles B., 1895 
 II Andrews, William Loring, 1894 
 76 Andrews, William Loring, Com- 
 pliments of, 1896 
 195 Adriance Memorial Library, 
 
 Poughkeepsie, 1902 
 III Armour, George Allison, 1898 
 98 Author's Club (designed by 
 Geo. Wharton Edwards), 
 1897 
 10 Avery, In Memoriam, Ellen 
 Walters, 1894 
 142 Bakewell, Allan C. 
 43 Bakewell, A. C, 1895 
 36 Bates, James Hale, 1894 
 53 Barger, Samuel F., 1895 
 17 Baillie, W. E., 1894 
 20 Blackwell, Henry, 1894 
 16 Bierstadt, Edward Hale, 1894 
 42 Bernheim, A. C, 1895 
 60 Biltmoris, Ex Libris (designed 
 by owner, George W. Van- 
 derbilt), 1895 
 67 Bar of the City of New York, 
 Association of the (Chas. H. 
 Woodbury's library, 1895), 
 1896 
 
 118 Bar of the City of New York, 
 
 Association of the (the John 
 E. Burrill Fund, 1897), 
 1896 
 
 119 Bar of the City of New York, 
 
 Association of the (Gift of 
 James C. Carter) 
 69 Biltmoris, Ex Libris (like 60, 
 
 but smaller), 1896 
 87 Bliss, Catherine A., 1896 
 104 Burke, Edward F., 1897 
 133 Bradshaw, Sidney Ernest, 1898 
 I Brainerd, Helen Elvira, i8q^ 
 4 Brainerd, Helen Elvira, 1894 
 
 124 
 
 176 
 177 
 
 139 
 80 
 
 166 
 
 171 
 180 
 
 65 
 147 
 
 150 
 
 91 
 96 
 
 7 
 47 
 41 
 
 59 
 8 
 
 9 
 
 18 
 
 28 
 66 
 
 83 
 
 97 
 100 
 
 125 
 
 51 
 
 156 
 
 167 
 
 145 
 
 22 
 
 131 
 
 70 
 
 Brown, Georgette (adapted 
 from Parisian trade-card i8th 
 century) 
 
 a with border 
 b without border 
 
 Borden, M. C. D. 
 
 Borden, M. C. D. (small) 
 
 Boas, Emil L. 
 
 Borland, Harriet Blair, 1896 
 
 Buck, John H. (designed by 
 Miss Marion Buck) 
 
 Bullock, James Wilson, 1900 
 
 Barnes, John Sanford 
 
 Bull, William Lanman, 1895 
 
 Blackwell, Henry (monogram), 
 1899 
 
 Blackwell, Henry, Compliments 
 of, 1900 
 
 Carnegie, Lucy Coleman, 1897 
 
 Candidati, 1897 
 
 Chew, Beverly, 1894 
 
 Chew, Beverly, 1895 
 
 Church, E. D., 1895 
 
 Champaign Public Library, 1895 
 
 Clark, Charles E., M. D., 1894 
 
 Clark, Charles E., M. D. 
 (smaller), 1894 
 
 Colonial Dames of America 
 
 Coutant (Dr.), Richard B., 1894 
 
 Clough, Micajah Pratt, 1896 
 
 The John Crerar Library, Chi- 
 cago, 1896 
 
 Council, William, 1897 
 
 Child Memorial Library (Har- 
 vard), 1897 
 
 Cox, Jennings Stockton, 1898 
 
 Clough, Micajah P. 
 
 Cheney, Alice S., 1900 
 
 Chamberlain, Elizabeth (The 
 Orchards), 1900 
 
 Cushing 
 
 Deats, Hiram Edmund, 1894 
 
 Dana, Charles A. (designed hy 
 A. Kay Womrath), if 
 
 Dows, Tracy, 1896 
 
 53 
 
56 De Vinne, Theo. L. (designed by 106 
 George Fletcher Babb), 1895 
 
 84 Denver Club, The (designed by 
 
 Cora E. Sargent), 1896 55 
 
 143 Duryee, George Van Wagenen 
 and Margaret Van Nest, 1899 
 
 46 Ellsworth, James William, 1895 73 
 
 88 Emmet, The Collection of Thos. 
 
 Addis, M. D., New York 149 
 Public Library, 1896 155 
 
 2 French, Mary Brainerd, 1893 23 
 
 3 French, Edwin Davis (Vola- 24 
 
 puk), 1893 61 
 
 5 E. D. F. (French, Edwin Da- 25 
 
 vis), 1893 26 
 
 a E. D. F., without en- 164 
 
 closing frame 33 
 
 h with frame 
 
 c Edwin Davis French 90 
 
 19 Foote, Charles B., 1894 94 
 
 168 Foot, Margaret H., 1900 
 198 Furman, Dorothy, 1902 
 21 Grolier Club, The, 1894 113 
 
 29 Goodwin, James J., 1894 85 
 
 30 Goodwin, Francis, 1894 
 32 Godfrey, Jonathan, 1894 
 
 64 Goodrich, J. King, 1895 173 
 
 89 Gray, Adelle Webber, 1897 35 
 no Goldsmith, Abraham, 1898 6 
 121 Goldsmith, James A., 1898 15 
 
 49 Goodwin, James J., 1895 39 
 
 136 Gale, Edward Courtland, 1899 105 
 
 185 Gage, Mabel Carleton (design 102 
 
 by owner), 1901 169 
 
 202 Gray, John Chipman, 1902 
 181 Harvard, Society of the Signet 159 
 
 (designed by B. G. Goodhue) 172 
 
 186 Harvard Union (designed by 192 
 
 B. G. Goodhue), 1901 
 a 1 90 1 
 
 h In Memoriam Henry 
 Baldwin Hyde 
 184 Harbor Hill (Mrl. Clarence 148 
 
 McKav) 
 38 Haber, Louis L, 1894 
 
 54 
 
 Hartshorn, Mary Minturn (de- 
 signed by Miss E. Brown), 
 
 Havemeyer, William Frederick 
 
 (designed by Thomas Tryon), 
 
 '895 
 Herter, Christian Archibald, 
 
 1896 
 Horsford, Cornelia 
 Hopkins (Maj.), Robert Emmet 
 Holden, Edwin B., 1894 
 Holden, Edwin B. (smaller) 
 H(olden), E(mily), (Miss), 1895 
 Holden, Alice C, 1894 
 Holden, Edwin R., 1894 
 James, Walter B., M. D. 
 Kalbfleish, Charles Conover, 
 
 1894 
 O. A. K(ahn), 1897 
 Kingsbury, Edith Davies (de- 
 signed by Lilian C. Westcott), 
 1897 
 Lambert, Samuel W., 1898 
 Lamson, Edwin Ruthven (de- 
 signed by E. H. Garrett), 
 1896 
 Earner, John B. 
 Lawrence, Emily Hoe, 1894 
 Leggett, Cora Artemisia, 1894 
 Lefferts, Marshall Clifford, 1894 
 L. B. L(6wenstein), 1895 
 Lefferts, MoUie Cozine, 1897 
 Lemperly, Paul, 1897 
 Loveland, John W. and Lee 
 
 Partridge 
 Livermore, John R. 
 Little, Arthur West 
 Long Island Historical Society, 
 1900 
 a Storrs Memorial Fund, 
 
 1900 
 h Ecclesiastical History 
 K. D. M. (Mackay, Mrs. Clar- 
 ence) (small monogram with 
 crest) 
 
58 Marshall, Frank Evans, 1895 
 37 Mausergh, Richard Southcote, 
 
 1895 
 95 Marshall, Julian, 1897 
 188 Merriman, Roger Bigelow 
 40 Metropolitan Museum of Art, 
 
 1895 
 
 a Cruger mansion 
 b new building 
 54 Messenger, Maria Gerard, 1895 
 85 Messenger, Maria Gerard, 1896 
 a gift-plate with book-pile 
 b with view of Pleasantville 
 library 
 74 Morgan, A. J., 1896 
 92 McCarter, Robert H., 1896 
 115 Medicis, Ex Libris (Gushing), 
 
 45 McKee, Thomas Jefferson 
 151 Messenger, Maria Gerard and 
 Elizabeth Chamberlain (The 
 Orchards), 1899 
 68 V. E. M(acy) 
 a V. E. M. 
 
 b Macy, Valentine Everit and 
 Edith Carpenter, 1896 
 140 Moore, Louise Taylor Harts- 
 
 horne 
 128 Nimick, Florence Coleman, 
 
 1898 
 163 New York Yacht Club, The 
 (after sketch by the late Wal- 
 ter B. Owen) 
 
 12 Oxford Club, The, Lynn, 1894 
 57 Osborne, Thomas Mott and 
 
 Agnes Devens, 1895 
 
 62 Odd Volumes, The Club of, 
 
 1895 
 
 13 Players, The (designed by How- 
 
 ard Pyle), 1894 
 50 Pyne, M. Taylor, 1895 
 
 63 Pine, Percy Rivington, 1895 
 81 Plummet, Mary Emma, iP 
 
 107 Pyne, M. Taylor, 1897 
 204 Pyne, R. Stockton, 1902 
 
 108 Princeton University, Library 
 
 of, 1897 
 132 Prescott, Eva Snow Smith, 1898 
 160 Porter, Nathan T., 1900 
 189 Phillips, William (design ar- 
 ranged from 1 6th century ar- 
 morial by P. de Chaignon 
 la Rose), 1901 
 14 Reid, Whitelaw, 1894 
 34 Rowe, Henry Sherburne, 1894 
 103 Ranney, Henry Clay and Hel- 
 en Burgess, 1897 
 191 Richards, Walter Davis, 1825- 
 
 1877, 1901 
 158 Robinson, C. L. F. 
 99 Sabin, Ruth Mary, 1897 
 
 109 Sampson, Florence de Wolfe 
 
 1898 
 52 Sherwin, Henry A., 1895 
 
 77 Sedgwick, Robert, 1896 
 
 82 Sherwin, Henry A. (similar to 
 52, but smaller), 1896 
 117 Sherwood, Samuel Smith, 1898 
 129 Scripps, James Edmund, 1898 
 loi Skinner, Mark, Library 
 
 134 Stickney, Edward Swan (Chi- 
 
 cago Historical Society), 1898 
 112 Stratton, A. Dwight, 1898 
 93 Stearns, John Lloyd, 1897 
 71 Sovereign (designed by Thomas 
 
 Tryon) (crown), 1896 
 79 Sovereign (designed by Thomas 
 Tryon) (eagle), 1896 
 193 Society of Colonial Wars, Con- 
 necticut, 1901 
 179 Sherman, William Watts (de- 
 sign by B. G. Goodhue), 1901 
 
 78 Taylor, Chas. H., Jr. (designed 
 
 by E. B. Bird), 1896 
 
 135 Talmage, John F. 
 
 152 Treadwell Library (Mass. Gen- 
 eral Hospital) (designed by 
 B. G. Goodhue) 
 
 127 Thorne, Katherine Cecil San- 
 ford, 1898 
 
 S5 
 
122 Twentieth Century Club (de- 
 signed by Mrs. Evelyn Rum- 
 sev Carey), 1898 
 
 157 Union League Club 
 
 154 University Club, Cleveland 
 48 Vail, Henry H., 1895 
 
 116 Vassar Alumnae Historical As- 
 sociation, 1898 
 
 196 Varnuni (Gen.), James M. 
 
 128 Van Wagenen, Frederick W., 
 1898 
 31 Warner, Beverly, M. A., 1894 
 
 114 Wendell, Barrett, 1898 
 
 126 Williams, E. P., 1898 
 
 130 Wood, Arnold, 1898 
 137 Wood, Ethel Hartshorne 
 182 Worcester Art Museum, 1901 
 144 A. W. (Arnold Wood), 1899 
 146 Williams, John Skelton 
 161 Wodell, Silas 
 175 Woodward, S. Walter, 1900 
 178 Whitin, Sarah Elizabeth 
 120 Winthrop, Henry Rogers, 1898 
 75 Willets, Howard, 1896 
 27 Woodbury, John Page, 1894 
 72 (Yale) The Edward Tompkins 
 McLaughlin Memorial Prize 
 in English Composition, 1896 
 
 BERTRAM G. GOODHUE 
 
 Bertram Grosvenor Goodhue is a Boston architect who has made 
 several book-plates of merit. One made for a department of Harvard 
 University is particularly rich in decorative effect, and a design of which 
 one would not grow weary. Others of Mr. Goodhue's designs are treated 
 in broad line and might have been reproduced very effectively by wood 
 engraving. 
 
 A. Squire 
 
 Udolpho Snead 
 
 Rachel Norton 
 
 Harvard University Library, Lowell 
 
 Memorial Library of Romance 
 
 Literature 
 H. L K. (H. L Kimball) 
 
 Library of the Harvard Union 
 Society of the Signet, Harvard 
 Treadwell Library, Mass. General 
 
 Hospital 
 M. A. de Wolfe Howe 
 William Watts Sherman 
 
 HARRY E. GOODHUE 
 
 The few book-plates designed by Harry E. Goodhue are mostly of the 
 "girl and book" type. In the plate for Jessy McClellan the young 
 woman appears to be sorry she "done it," or else is quite discouraged at the 
 idea of lifting her folio romance into her lap. Mr. Goodhue's most pleasing 
 design is that for Constance Alexander, shown on page 27. 
 
 Amy M. S acker 
 
 Constance Grosvenor Alexander 
 
 Jessy Trumbull McClellan 
 
 June Eldredge 
 
 Juliet Armstrong Collins 
 
 56 
 
T. B. HAPGOOD, Jr. 
 
 Mr. Hapgood is a decorative designer in Boston, and his work on the 
 covers of various periodicals and catalogs is well known. Plate No. 5 
 was submitted in competition and took second prize. It has never been 
 reproduced. No. i was reproduced in "The Red Letter," No. 2 in the 
 book-plate number of "The Studio," as was also No. 4. No. 14 has not 
 been reproduced. No. 15 was originally made as a printer's mark and was 
 so used. It was later altered to serve as a book-plate. 
 
 1 Rev. George Fred Daniels, 1896 
 
 2 Norris Hastings Laughton, 1897 
 
 3 A. F. Skenkelberger, 1897 
 
 4 Theodore Brown Hapgood, Jr., 
 
 1897 
 
 5 Society of Mayflower Descend- 
 
 ants in Mass., 1897 
 
 6 Rufus William Sprague, Jr., 1898 
 
 7 Frances Louise Allen, i8q8 
 
 8 Andrew C. Wheelwright, 1898 
 
 9 Andrew C. Wheelwright, 1898 
 
 10 Richard Gorham Badger, 1898 
 
 11 Thursday Club, 1899 
 
 12 North Brookfield Free Public 
 
 Library, 1900 
 
 13 Edwin Osgood Grover, 1900 
 
 14 Harriet Manning Whitcomb, 19CO 
 
 15 Carl Heintzemann 
 
 HAROLD E. NELSON 
 
 Many of the figures in the book-plates by Harold Nelson are of the 
 attenuated pre-Raphaelite type, but there are others one can believe 
 really once lived. The frontispiece to the book-plate number of "The 
 Studio" is a beautiful decorative bit by Mr. Nelson, and makes us quite 
 willing to forgive him some of his more eccentric designs. The plate 
 referred to is enhanced in beauty by a few lines of gold judiciously used. 
 The musical plate on page 18 of this volume is a pleasing one. 
 
 Horace Shaw 
 
 Harold Edward Huehes Nelson 
 
 Mary L. Oldfield 
 
 Edith A. Kingsford 
 
 Robert H. Smith 
 
 Fanny Nelson 
 
 Ellen Maguire 
 
 Edward Lomax 
 
 Ernest Scott Fardell, M.A. 
 
 Ernest Scott Fardell. M.A. 
 
 Geofi^ery Parkyn 
 
 A. Ludlow 
 
 James Wilmar 
 
 Bedford College Library 
 
 Lady Literary Society 
 
 Mark Nelson 
 
 Evelyn Wynne Parton 
 
 A. A. Wood 
 
 Maude Burton 
 
 Marion H. Spielmann 
 
 Alfred Anteshed 
 
 Jane Nelson 
 
 Leopold d'Estreville Lenfestey 
 
 EDMUND H. NEW 
 
 The book-plate designs by Mr. New are in a class by themselves. No 
 one else has worked quite the field occupied by this artist. Mr. New has 
 
 57 
 
used architecture for the motifs of a series of unusually pleasing plates. He 
 has treated in a most decorative way whole buildings as well as details, door- 
 ways, and so forth. His plates are particularly adapted to the dignified 
 old houses that contain the libraries for which they were made. Mr. 
 New has not limited himself to this field, as he has done a number 
 of designs with no architectural suggestion. His work in book illustra- 
 tion and decoration is of a most delightful quality, and is well known to all 
 lovers of black and white. A number of his book-plate designs were 
 reproduced and commented upon in Simpson's Book of Book-plates, Vol. 
 n., No. I. The book-plate number of "The Studio" also showed some 
 of his designs. The list is in chronological order and complete. 
 
 Herbert New 
 
 Rev. Richard R. Philpots 
 
 Rees Price (wood cut) 
 
 Montague Fordham (wood cut) 
 
 C. Elkin Mathews 
 
 Dr. Edmundi Atkinson 
 
 Edward Morton 
 
 Frederic Chapman 
 
 William and Catherine Childs 
 
 Beatrice Alcock 
 
 Arthur Fowler 
 
 No. I Highbury Terrace 
 
 Julia Sharpe 
 
 Herbert B. Pollard 
 
 LL. D. 
 
 William Malin Roscoe (three sizes), 
 ^1897 
 
 Edward Evershed Dendy 
 J. G. Gardner-Brown 
 Phil. Norman 
 Edward Le Breton Martin 
 Roberti Saundby, M. D., 
 
 (two sizes), 1900 
 George Lewis Burton 
 George Cave, 1900 
 Alexander Millington 
 
 sizes) 
 Peter Jones 
 Edward Alfred Cockayne 
 
 Sing 
 
 (two 
 
 HENRY OSPOVAT 
 
 Henry Ospovat is a young Russian artist residing in London. He 
 has done some superb decorative work for the sonnets and poems of 
 Shakespeare published by John Lane. His book-plates are precious bits of 
 decoration worthy the adoration of all lovers of the beautiful. There have 
 been only a few reproductions of them. The book-plate number of "The 
 Studio" shows several and Fincham's "Artists and Engravers" lists two. 
 
 Arthur and Jessie Guthrie, 1898 
 James and Maud Robertson, 1898 
 John and Jessie Hoy, if 
 Arthur Guthrie, 1898 
 Walter Crane 
 Charles Rowley 
 James Hoy 
 Jomes Hoy 
 
 Frank Iliffe Hoy 
 
 John and Jessie Hoy (second design) 
 
 George Moore 
 
 A. Emrys Jones 
 
 Fred Beech 
 
 J. H. Reynolds 
 
 T. C. Abbott 
 
 Frank and Marie Hoy 
 
 58 
 
ARMAND RASSENFOSSE 
 
 Armand Rassenfosse is a resident of Liege, therefore, presumably, a 
 Belgian and a subject of the German Empire. But as stone walls do not 
 always a prison make, so frontiers do not always mark the nationality of art 
 and letters. Mr. Rassenfosse is distinctly French in his feeling and artistic 
 point of view. Perhaps I should rather say Parisian, for it is of the Latin 
 Quartier and the Beaux Arts that his work breathes. His designs are almost 
 entirely of nude femininity and his method of expression the etching. He 
 has made some eight or ten charming bits, full of life and chic — I was 
 going to say, frou-frou, but that would be a misnomer, for his models are 
 mnocent of gowns or lingerie. Their spirit and beauty of execution is high, 
 but as book-plate designs — well, it's a bit like champagne for breakfast. 
 
 Alex, von Winiwarter 
 Alfred Lavachery, 1890 
 M. R. (Marie Rassenfosse) 
 A. R. (Armand Rassenfosse) 
 
 Alb. Mockel 
 
 H. V. W. (Hans von Winiwarter) 
 Three designs without names 
 D'Alb. NeuviUe 
 
 LOUIS RHEAD 
 
 The illustrator of "Pilgrim's Progress" and the "Idylls of the King" 
 needs no introduction to the average book-lover, and the hearts of the 
 poster-collectors throb at his name. Mr. Rhead is an American of English 
 birth and a resident of one of the suburbs of greater Gotham. His 
 decorative work has been long and favorably known, and his book-plates 
 can but add to his reputation. He has done but fifteen, and two of these 
 are yet to be reproduced, but some examples of his work are in most 
 collections. 
 
 Gertrude Tozier Chisholm 
 James Henry Darlington 
 Samuel Moody Haskins 
 Le Roy W. Kingman 
 Frank J. Pool 
 Louis Rhead (symbolic) 
 Louis Rhead (fishing) 
 Katharine Rhead 
 
 W. H. Shir-Clifl^, 1897 
 
 Jean Irvine Struthers 
 
 Stephen S. Yates 
 
 David Turnure 
 
 Ivy Club (Princeton University) 
 
 Rector Kerr Fox 
 
 George Weed Barhydt 
 
 BYAM SHAW 
 
 The one or two book-plate designs by Mr. Shaw that have been 
 published show a magnificent imaginative conception and makes the lover 
 of the beautiful ardently wish for "more." The one for Isabella Hunter, 
 
 .59 
 
on page 216 of Vol. I. of the "International Studio," is at the head of its 
 class. Mr. Shaw's other line-drawings and his paintings have a richness 
 and weirdness of design that is very attractive. 
 
 C. E. Pyke-Nott Laurence Koe 
 
 Frank Lynn Jenkins Mr. Claye 
 
 Isabella R. Hunter 
 
 JOSEPH W. SIMPSON 
 
 Mr. Simpson, of Edinburgh, is a young Scotchman of infinite ambition 
 and generous talent. He is not only a clever designer of book-plates, but 
 he has a magazine to exploit his schemes and theories of art. This is 
 reputed to be a quarterly, but it is erratic, like its sponsor, and issues "once 
 in a while." Mr. Simpson's designs are full of feeling and rich in 
 treatment. About twenty-five of these have seen the light and are prized 
 by the lovers of modernity. 
 
 Robert Bateman, 1897 
 
 Kris AUsopp, 1897 
 
 Kris Allsopp, 1897 
 
 J. A. Whish, iS 
 
 James Dick, i! 
 
 F. N. and A. W. Hepworth, 1898 
 
 Cissie Allsopp, i! 
 
 y. W. Simpson 
 
 Charles Holme 
 
 Julio Guardia 
 
 K. E., Graf zu Lemingen-Wester- 
 
 burg, 1898 
 Maud H. Scott, 1898 
 
 A. Gaston Masson 
 
 Geo. May Elwood 
 
 T. F. M.Williamson, 1899 
 
 (Gordon) Craig 
 
 Mabel Waterson 
 
 Yiffi Kuhn 
 
 Maisie Phillips 
 
 Samuel Linsley 
 
 Pauline Stone 
 
 T. N. Foulis 
 
 Joseph W. Simpson 
 
 W. M. Stone 
 
 HANS THOMA 
 
 Hans Thoma is a painter of national reputation in Germany who has 
 thought it not beneath his dignity to do book-plate designs. This by 
 way of recreation or to strengthen his line for more pretentious efforts. 
 His designs are along classic and dignified lines. His own personal plate 
 is a weird one; on it is a nude youth bearing the torch of knowledge and 
 riding a gruesome dragon. 
 
 Dr. S. Herxheimer, 1898 
 Hans Thoma 
 Adolph von Gross, 1896 
 Dr. Henry Thode 
 
 August Rasor 
 Martin Elersheim 
 S. Herrheimer 
 Sofie Kuchler 
 
 60 
 
Hermann Levi 
 Dr. Otto Fiser 
 Luisa Countess Erdody 
 
 R. Spier 
 
 J. A. Beringer 
 
 Karl and Maria Grunelius 
 
 THOMAS TRYON 
 
 Mr. Tryon's work has been described at length in another part of this 
 book and a large part of his designs reproduced. 
 
 William Frederick Havermeyer (en- 
 graved by E. D. French), 1892 
 
 James Seymour Tryon, 1892 
 
 Arnold William Brunner, 1893 
 
 Frank Jean Pool, 1893 
 
 "Sovereign," Crown design (en- 
 graved by E. D. French), 1896 
 
 "Sovereign," Eagle design (en- 
 graved by E. D. French), 1896 
 
 Annah M. Fellows, 1896 
 
 George Elder Marcus, 1897 
 
 Loyall Farragut, 1898 
 Mary Tryon Stone, 1900 
 Janet Tryon Stone, 1900 
 Rachel Norton Tryon 
 
 Stone, 1900 
 Mary Tryon Stone (2d), 
 
 1900 
 
 J. C. M. (Miss J. M. Cox), 1901 
 Library of the Boys' Club, 1902 
 Willis Steell, 1902 
 
 same 
 
 design 
 
 in 
 
 different 
 
 sizes 
 
 BERNHARD WENIG 
 
 Bernhard Wenig is a comparatively newcomer in the field of book- 
 plate design, but he has already established for himself an enviable reputa- 
 tion in Germany, and his work is meeting with a growing appreciation by 
 collectors in this country. Mr. Wenig's general manner is that of the old 
 engraved wood block, bold and more or less crude of line, but full of virility. 
 Most of his work is reproduced in black on white, but in a few instances he 
 has used a color or two with good effect. His choice of subjects is varied, 
 but the studious bookman of the middle ages seems to be uppermost in his 
 heart and mind. Mr. Wenig has made one plate for a child, a small boy, 
 that is among the best half-dozen of designs for children. 
 
 Baroness May v. Feilitzsch 
 Bernhard Wenig, 1897 
 Anton Wenig, 1897 
 Joh. Nep. Eser, 1899 
 E. W. J. Gartner, 1900 
 Richard Schulz, 1900 
 Mathilde Schulz 
 Heinrich Stiimcke 
 Karl Emich, Graf zu Leiningen- 
 Westerburg, 1901 
 
 Giinter Otto Schulz 
 
 Gertrud Schulz 
 
 Dr. Adolph Brenk 
 
 Carl Selzer 
 
 Lorenz Wenig 
 
 Countess Sofie du Moulin 
 
 Max H. Meyer 
 
 Dr. Fr. Weinitz 
 
 H. von Sicherer 
 
 Hugo Schmid 
 
 61 
 
Julie Speyer 
 
 Louis King 
 
 Claire von Frerichs 
 
 Franz Menter 
 
 L. Frankenstein 
 
 Dr. Hans Lichtenfelt 
 
 Heinrich and Hedwig Brelauer 
 
 Fr. Schade 
 
 F. SchafFener 
 
 G. Drobner 
 
 H. R. C. Hirzee 
 Wolfgang Quincke 
 Alfred Misterck 
 Ludwig Stivner 
 Max Landmann 
 Hans Jaeger 
 Dr. Louis Merck 
 Richard Jaeger 
 
 Rosalie Eeginbrodt 
 
 Georg Ortner 
 
 Melaine Dorny 
 
 Anna Furstin 
 
 Ludwig Klug 
 
 Doris von Heyl 
 
 Frieherr Max Heyl 
 
 Carl R. Peiner 
 
 David von Flansemann 
 
 Paulus Museum, Worms 
 
 (Mrs.) Hedwig Smidt 
 
 Wilhelm Karl Herams 
 
 (Mrs.) Julie Wassermann 
 
 Dr. C. Schonborn 
 
 Maria von Ernst 
 
 Wolfgang Quincke 
 
 Walther Frieherr von Seckendorff 
 
 Wilhelm von Schon 
 
 62