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Woodblock artist: Utagawa Kuniyoshi
This woodblock print, titled Kinhyōshi yōrin, hero of the Suikoden, is one of a series created by the Japanese artist Utagawa Kuniyoshi between 1827 and 1830 illustrating the 108 Suikoden ("Water Margin"). The publication of the series catapulted Kuniyoshi to fame. The story of the Suikoden is an adaptation of the Chinese Shuǐhǔ Zhuàn; during the 1800s, the publication of this woodblock series and other translations of the novel created a Suikoden craze in Japan. Following the great commercial success of the Kuniyoshi series, other ukiyo-e artists were commissioned to produce prints of the Suikoden heroes, which began to be shown as Japanese heroes rather than the original Chinese personages. The hero portrayed in this print is Yang Lin.
Caterpillar, Alice's Adventures in Wonderland
Artist: Sir John TennielSir John Tenniel's illustration of the Caterpillar for Lewis Carroll's classic children's book, Alice's Adventures in Wonderland. The illustration is noted for its ambiguous central figure, which can be viewed as having either a human male's face with pointed nose and protruding lower lip or as the head end of an actual caterpillar, with the right three "true" legs visible. The small symbol in the lower left is composed of Tenniel's initials, which was how he signed most of his work for the book. The partially obscured word in the lower left-center is the last name of Edward Dalziel, the engraver of the piece.
Artist: Albert Robida
A typical 20th-century aerial rotating house, as drawn by Albert Robida. The drawing shows a dwelling structure in the scientific romance style elevated above rooftops and designed to revolve and adjust in various directions. An occupant in the lower right points to an airship with a fish-shaped balloon in the sky, while a woman rides a bucket elevator on the left. Meanwhile, children fly a kite from the balcony as a dog watches from its rooftop doghouse.
An illustration from the first edition of The Wonderful Wizard of Oz, depicting the scene where Dorothy meets the Cowardly Lion, the first time the four major characters of the novel come together. The book was originally published in 1900 and has since been reprinted countless times, most often under the name The Wizard of Oz, which is the name of both the 1902 Broadway musical and the extremely popular, highly acclaimed 1939 film version. Thanks in part to the film it is one of the best-known stories in American popular culture and has been widely translated. Its initial success, and the success of the popular 1902 musical Baum adapted from his story, led to his writing and having published thirteen more Oz books.
Restoration: Adam Cuerden
An engraving of Charon, in Greek mythology the ferryman of Hades who carried souls of the newly deceased across the River Styx that divided the world of the living from the world of the dead. This illustration is from French engraver Gustave Doré's 1857 set of illustrations for Dante Alighieri's Divine Comedy, an Italian epic poem depicting an allegorical vision of the Christian afterlife. Here, Charon is shown coming to ferry souls across the river Acheron to Hell. The caption is from Henry Francis Cary's translation, from which this particular copy is taken:
And, lo! toward us in a bark
Comes on an old man, hoary white with eld,
Crying "Woe to you, wicked spirits!"
Comes on an old man, hoary white with eld,
Crying "Woe to you, wicked spirits!"
Artist: Unknown; Restoration: Lise Broer
A scene from a late-16th century publication of Nezami Ganjavi's adaptation of the classical Persian story Layla and Majnun, which is based on the real story of Qays ibn al-Mulawwah, a young man from the northern Arabian Peninsula and his love Layla. There are two versions of the story, but in both, Majnun goes mad when her father prevents him from marrying her. In the depicted scene, the eponymous star-crossed lovers meet for the last time before their deaths. Both have fainted and Majnun's elderly messenger attempts to revive Layla while wild animals protect the pair from unwelcome intruders.
Artist: George Pickering, Engraver: William Greatbatch; Restoration: Adam Cuerden
One of the two earliest illustrations of Jane Austen's novel Pride and Prejudice, which was first published on January 28, 1813. This engraving comes from the first illustrated edition, published twenty years later, and depicts Elizabeth Bennet (the main protagonist, right) and her father, in fashions that were common in the 1830s, not the story's original time setting. The novel is told from Bennet's point of view and deals with issues of manners, upbringing, moral rightness, education and marriage in the aristocratic society of early 19th century England. The novel retains a fascination for modern readers, having sold some 20 million copies worldwide and continuing near the top of lists of 'most loved books'.
Restoration: Lise Broer
William Wallace Denslow's illustration of the poem "The Queen of Hearts" from a 1901 issue of Mother Goose. The poem was originally published in 1782 as part of a set of four playing card based poems, but proved to be far more popular than the others. By 1785 it had been set to music, and it forms the basis of the plot of Lewis Carroll's Alice in Wonderland, Chapter XI: "Who Stole the Tarts?" Although it was originally published in a magazine for adults, it is now best known as a nursery rhyme.
Illustration: Jessie Willcox Smith; Restoration: ErikTheBikeMan
An illustration from a ca. 1916 edition of The Water-Babies, A Fairy Tale for a Land Baby, a children's novel written by Charles Kingsley and originally serialised in 1862–63. The book, a didactic moral fable, tells the story of Tom (lower left), a young boy who drowns and is reincarnated as a "water-baby". He undergoes a series of adventures and eventually regains his human form. It was extremely popular during its day and through the 1920s, but has since fallen out of favour, perhaps due to Kingsley's expression of many of the common prejudices of that time period, such as against Americans, Jews, blacks, and Catholics, particularly the Irish.
Illustrator: W. W. Denslow; Restoration: Lise Broer
Dorothy (left) douses the Wicked Witch of the West with water, melting her, in this illustration from the first edition of L. Frank Baum's The Wonderful Wizard of Oz. The appearance of the witch in the 1939 film adaptation of the novel has become an archetype for human wickedness. This film is the source of the oft-quoted phrase, "I'll get you, my pretty ... and your little dog too!" The unique Broadway musical, Wicked, The Untold Story Of the Witches of Oz, tells of The Wicked Witch of the West, the Tin Man, The Cowardly Lion, The Scarecrow, and Glinda's shared history.
Artist: Charles Robert Leslie; Engraver: J. Cooper
Restoration: Adam Cuerden
Restoration: Adam Cuerden
A scene from an 1886 edition of Sir Walter Scott's historical novel The Bride of Lammermoor, originally published in 1819. Although fictional, the story is based on an actual incident of the family of James Dalrymple: Dalrymple's daughter Janet was betrothed to one man in an arranged marriage, but in love with another. On her wedding night, Janet stabbed her husband. She was judged to be insane and died within a month. The book is part of Scott's Tales of My Landlord series and is the basis for Gaetano Donizetti's 1835 opera Lucia di Lammermoor.
Illustration: George Cruikshank; Restoration: Adam Cuerden
In this scene from Laurence Sterne's The Life and Opinions of Tristram Shandy, Gentleman, Uncle Toby's colonel invents a device for firing multiple miniature cannons at once, based on a hookah. Unfortunately, he and Toby find the puffing on the hookah pipe so enjoyable that they keep setting the cannons off. The novel was published in nine volumes over ten years, starting in 1759. Although it was not always held in high esteem by other writers, its bawdy humour was popular with London society, and it has come to be seen as one of the greatest comic novels in English, as well as a forerunner for many modern narrative devices and styles.
Restoration: Adam Cuerden
H. Rider Haggard's iconic character Allan Quatermain, from Thure de Thulstrup's illustrations to the 1888 novel Maiwa's Revenge, a prequel to Haggard's most famous work, King Solomon's Mines. In this scene, Quatermain orders his troops to discharge their rifles, yelling, "Fire, you scoundrels!" The character served as the basis for the modern Indiana Jones.
Engraver: J. Cooper; Restoration: Adam Cuerden
"Le Noir Faineant in the Hermit's Cell", an illustration from an 1886 edition of Sir Walter Scott's 1819 novel Ivanhoe. Here, we see Le Noir Faineant, or the Black Knight (Richard the Lionheart in disguise) with Friar Tuck. Scott was an early pioneer in the development of the modern novel, and largely created the genre of historical fiction by weaving together legends and characters into his own creations. Ivanhoe, the story of one of the remaining Saxon noble families at a time when the English nobility was overwhelmingly Norman, was greatly influential on the modern view of the English folk hero Robin Hood, and has inspired many adaptations around the world in theatre, opera, film, and television.
Restoration: Adam Cuerden
An engraving by Gustave Doré of a scene from Miguel de Cervantes's Don Quixote, the most influential work of literature from the Spanish Golden Age in the Spanish literary canon. The scene illustrated here occurs early in the novel, when Alonso Quixano (Quixote's real name) has become obsessed with books of chivalry, and believes their every word to be true, despite the fact that many of the events in them are clearly impossible. Don Quixote was published in two separate volumes, ten years apart. It is considered a founding work of modern Western literature, and it regularly appears high on lists of the greatest works of fiction ever published.
Artist: Walter Crane; Restoration: Lise Broer
An illustration from an 1893 version of A Wonder-Book for Girls and Boys by Nathaniel Hawthorne, which recounted the tale of King Midas. In Greek mythology, Midas was given ability to turn everything he touched into gold by the god Bacchus. However, he soon discovered that he was unable to even eat. Bacchus told him to wash in the river Pactolus, and the power flowed in the river, which was supposedly the reason for why the river was so rich in gold in later years. In Hawthorne's version, Midas' touch even turned his daughter to gold (pictured here).
Artist: Norman Mills Price; Restoration: Adam Cuerden
A scene from Chapter XXVII of Guy Mannering, a historical novel by Sir Walter Scott that was originally published anonymously in 1815. It is set in the 1760s to 1780s, mostly in the Galloway area of southwest Scotland. The eponymous character of Guy Mannering is actually only a minor character in the story, the plot being mostly concerned with Harry Bertram, the son of the Laird of Ellangowan, who is kidnapped at the age of five by smugglers. It follows the fortunes and adventures of Harry and his family in subsequent years, and the struggle over the inheritance of Ellangowan. The novel also depicts the lawlessness that existed at the time, when smugglers operated along the coast and thieves frequented the country roads. The book was a huge success, selling out the day after its first edition.
Engraving: Dalziel Brothers; Restoration: Adam Cuerden
A scene from Sir Walter Scott's 1817 historical novel Rob Roy, which tells the story of Frank Osbaldistone, the son of an English merchant who travels to Scotland to collect a debt stolen from his father. On the way he encounters the larger-than-life title character of Robert Roy MacGregor. Though Rob Roy is not the lead character (in fact the narrative does not move to Scotland until halfway through the book) his personality and actions are key to the story's development. The novel is a brutally realistic depiction of the social conditions in Highland and Lowland Scotland in the early 18th century.
Artist: Wallace Goldsmith; Restoration: Adam Cuerden
A scene from "The Canterville Ghost", Oscar Wilde's first published story, which is about an American family that moves into a haunted house in England. However, instead of being frightened of the eponymous ghost, they turn the tables and prank him, such as in this scene, where the twin boys have set up a butter-slide, causing the ghost to slip down the staircase. The story satirises both the unrefined tastes of Americans and the determination of the British to guard their traditions.
Artist: Unknown; Restoration: Adam Cuerden
A scene from Oscar Wilde's 1895 play An Ideal Husband, originally published in a 1901 collected edition of Wilde's works. The comedy, which opened January 3, 1896, at the Haymarket Theatre in London, revolves around blackmail and political corruption, and touches on the themes of public and private honour. It has been adapted into television, radio/audio, and three films. The published version differs slightly from the performed play, for Wilde added many passages and cut others. Prominent additions included written stage directions and character descriptions. Wilde was a leader in the effort to make plays accessible to the reading public.
Engraving: I. H. Jones; Restoration: Adam Cuerden
The frontispiece to a c. 1825 edition of Childe Harold's Pilgrimage, a lengthy narrative poem by Lord Byron. The poem describes the travels and reflections of a world-weary young man who, disillusioned with a life of pleasure and revelry, looks for distraction in foreign lands. In a wider sense, it is an expression of the melancholy and disillusionment felt by a generation weary of the wars of the post-Revolutionary and Napoleonic eras. This poem proved to be quite popular upon its publication in 1812. Byron himself said of this, "I awoke one morning and found myself famous."
Artist: Francis S. Walker; Engraving: Brothers Dalziel
Restoration: Adam Cuerden
Restoration: Adam Cuerden
Hermann Vezin in the title role of Dan'l Druce, Blacksmith, an 1876 play by W. S. Gilbert. In the story, Druce begins as a miser and drunkard whose wife has left him. Two army deserters find shelter at his house, but they rob him and abandon a baby girl there. Many years later, Druce has become a blacksmith, and the two men return to try to claim the girl. The play was a success, running for about 100 performances and enjoying tours and several revivals.
Restoration: Jujutacular
An illustration of Humpty Dumpty by American artist William Wallace Denslow, depicting the title character from the nursery rhyme of the same name. He is typically portrayed as an egg, although the rhyme never explicitly states that he is, possibly because it may have been originally posed as a riddle. The earliest known version is in a manuscript addition to a copy of Mother Goose's Melody published in 1803.
Artist: Leonard Leslie Brooke; Restoration: Jujutacular
The wolf blows down the straw house in a 1904 adaptation of Three Little Pigs, a fairy tale featuring anthropomorphic animals. Printed versions date back to the 1840s, but the story itself is thought to be much older. The story in its arguably best-known form appeared in English Fairy Tales by Joseph Jacobs, first published in 1890. The phrases used in the story, and the various morals which can be drawn from it, have become embedded in western culture. The story uses the literary rule of three, expressed in this case as a "contrasting three", as the third pig's brick house turns out to be the only one which is adequate to withstand the wolf.
Artist: Jessie Willcox Smith; Restoration: ErikTheBikeMan
Mrs. Bedonebyasyoudid, a character named after the Golden Rule, from The Water-Babies, A Fairy Tale for a Land Baby, a children's novel by Charles Kingsley. Published in 1863, the book was extremely popular in England, and was a mainstay of British children's literature for many decades. The book had been intended in part as a satire, a tract against child labour, as well as a serious critique of the closed-minded approaches of many scientists of the day in their response to Charles Darwin's ideas on evolution.
Illustrator: Harold Robert Millar; restoration: Adam Cuerden
An illustration from the story "The Winged Hats" from the first printing of Rudyard Kipling's 1906 fantasy book Puck of Pook's Hill, featuring the legend "Where they had suffered most, there they charged in most hotly".
The book consists of a number of stories, all narrated to two children living near Burwash, in the area of Kipling's own house Bateman's, by people magically plucked out of history by the elf Puck, or told by Puck himself.
Illustration: William Edward Frank Britten; restoration: Adam Cuerden
Œnone is a poem written by Alfred, Lord Tennyson, in 1829. Inspired by the Greek mythological figure Oenone, first wife of Paris of Troy, the poem is a dramatic monologue following the lead-up to the Trojan War and the war itself. This illustration, by William Edward Frank Britten, is accompanied by the lines "O mother Ida, many-fountain'd Ida, / Dear mother Ida, harken ere I die".
Illustration: W. E. F. Britten; restoration: Adam Cuerden
"The Sleeping Beauty" is a poem written by Alfred, Lord Tennyson, and published in 1830; it was later expanded and published in 1842 as "The Day-Dream". Based on the fairy tale Sleeping Beauty, the poem (as with many of Tennyson's adaptations of existing literary works) focuses on a single aspect of the story, the appearance of the eponymous character as she sleeps.
This illustration by W. E. F. Britten was published in 1901 to accompany a reprinting of "The Sleeping Beauty". It accompanies the poem's final lines: "She sleeps, nor dreams, but ever dwells / A perfect form in perfect rest."
Illustration: William Blake
The Song of Los is an epic poem by William Blake first published in 1795 and considered part of his prophetic books. The poem consists of two sections, "Africa" and "Asia": in the first section Blake catalogues the decline of morality in Europe, which he blames on both the African slave trade and enlightenment philosophers, whereas in the second section he describes a worldwide revolution, urged by the eponymous Los.
The illustration here is from the book's frontispiece and shows Urizen presiding over the decline of morality.
Engraving: John Masey Wright (artist) and John Rogers (engraver); restoration: Adam Cuerden
A mid-19th century illustration for "Auld Lang Syne", a Scots poem written by Robert Burns in 1788 and set to a traditional melody. It is traditionally used in the English-speaking world to bid farewell to the old year at the stroke of midnight on New Year's Eve; this has led to the song being used to close other activities as well.
Illustration: Frank T. Merrill; restoration: Chris Woodrich
An illustration from 1896 edition of James Fenimore Cooper's The Last of the Mohicans. Set during the French and Indian War, the novel details the transport of two young women to Fort William Henry. Among the caravan guarding the women are the frontiersman Natty Bumppo, the Major Duncan Heyward, and the Indians Chingachgook and Uncas. In this scene, Bumppo (disguised as a bear) fights against the novel's villain, Magua, as two of his compatriots look on.
Illustration: John Tenniel
The Jabberwock, the titular creature of Lewis Carroll's nonsense poem "Jabberwocky". First included in Carroll's novel Through the Looking-Glass (1871), the poem was illustrated by John Tenniel, who gave the creature "the leathery wings of a pterodactyl and the long scaly neck and tail of a sauropod". "Jabberwocky" is considered one of the greatest nonsense poems written in English, and has contributed such nonsense words and neologisms as galumphing and chortle to the English lexicon.
Painting: John Bauer
A watercolor illustration by John Bauer (1882–1918) titled "Still, Tuvstarr sits and gazes down into the water", which accompanied Helge Kjellin's fairy tale "The Tale of the Moose Hop and the Little Princess Cotton Grass" in the 1913 edition of Among Gnomes and Trolls. In this scene, Tuvstarr looks for her lost heart in a tarn, symbolizing innocence lost.
Born and raised in Jönköping, Sweden, Bauer moved to Stockholm at age 16 to study at the Royal Swedish Academy of Fine Arts. He painted and illustrated in a romantic nationalistic style, in part influenced by the Italian Renaissance and Sami cultures. Most of his works are watercolors or prints in monochrome or muted colours; he also produced oil paintings and frescos.
The Quarrel of Oberon and Titania is an oil painting on canvas by the Scottish artist Joseph Noel Paton. Painted in 1849, it depicts the scene from William Shakespeare's comedy play A Midsummer Night's Dream, in which the fairy queen Titania and fairy king Oberon quarrel. When exhibited in Edinburgh in 1850, it was declared the "painting of the season". The painting was acquired by the National Galleries of Scotland in 1897, having initially been bought by the Royal Association for Promoting the Fine Arts.
Illustration: Unknown; restoration: Adam Cuerden
Jeeves is a fictional character in a series of comedic short stories and novels by English author P. G. Wodehouse, in which he is depicted as the highly competent valet of a wealthy and idle young Londoner named Bertie Wooster. First appearing in the short story "Extricating Young Gussie" in 1915, Jeeves continued to feature in Wodehouse's work until his last completed novel, Aunts Aren't Gentlemen (1974). He also appeared in numerous films and television series, portrayed by such actors as Arthur Treacher, Michael Aldridge, and Dennis Price. The name and character of Jeeves have come to be identified with the quintessential valet or butler.
Illustration: John Bauer
The Princess and the Trolls, by John Bauer (1882–1918), was painted as an illustration for "The Changeling", a short story by Helena Nyblom. A watercolour held by the Nationalmuseum in Stockholm, it was first published in the 1913 edition of the anthology Among Gnomes and Trolls. It shows the princess Bianca Maria between two trolls in a forest. Bauer's illustrations of fairy tales and children's stories made him a household name in his native Sweden, and shaped perceptions of many fairy tale characters.
Painting: John Quidor
The Headless Horseman is a mythical figure who has appeared in folklore around the world since at least the Middle Ages. Depending on the legend, the Horseman is either carrying his head, or missing it altogether, and is searching for it. Examples include the dullahan from Ireland, who is a demonic fairy usually depicted riding a horse and carrying his head under his arm; the titular knight from the English tale Gawain and the Green Knight; and "The Legend of Sleepy Hollow," a short story written in 1820 by American Washington Irving which has been adapted into several other works of literature and film including the 1999 Tim Burton movie Sleepy Hollow.
This picture, titled The Headless Horseman Pursuing Ichabod Crane, is an 1858 painting by American artist John Quidor, depicting a scene from "The Legend of Sleepy Hollow". It is in the collection of the Smithsonian American Art Museum in Washington, D.C.
Illustration: Maud and Miska Petersham; restoration: Adam Cuerden
Rootabaga Stories is a children's book of interrelated short stories by Carl Sandburg, written in 1922. The stories are whimsical and sometimes melancholy, making use of nonsense language. Rootabaga Stories was originally created for Sandburg's own daughters, Margaret, Janet and Helga—whom he nicknamed "Spink", "Skabootch", and "Swipes"—and those nicknames occur in some of the Rootabaga stories. The book was born of Sandburg's desire for fairy tales to which American children could relate, rather than the traditional European stories involving royalty and knights. He therefore set the book in a fictionalized American Midwest called the "Rootabaga country", in which fairy-tale concepts were mixed with trains, sidewalks, and skyscrapers.
This picture shows the frontispiece of the 1922 edition of the book.
Illustration credit: Henry Holiday, after Lewis Carroll; restored by Adam Cuerden
The Hunting of the Snark is a poem composed by the English writer Lewis Carroll between 1874 and 1876, typically characterised as a nonsense poem. The plot follows a crew of ten who cross the ocean to hunt the Snark, which may turn out to be a highly dangerous Boojum. This is the second of Henry Holiday's original illustrations for the first edition of the poem. It introduces some of the crew, whose names all start with "B"; the Bellman and Baker are on the upper deck, with the Barrister seated in the background; below are the Billiard-marker, the Banker and the Broker, with the maker of Bonnets and Hoods visible behind.
Illustration credit: Henry Holiday; restored by Adam Cuerden
The Hunting of the Snark is a nonsense poem written by English writer Lewis Carroll between 1874 and 1876. The plot follows a crew of ten trying to hunt the Snark, which may turn out to be a highly dangerous Boojum. This original illustration by Henry Holiday accompanies the verse:
"But oh, beamish nephew, beware of the day,
If your Snark be a Boojum! For then
You will softly and suddenly vanish away,
And never be met with again!"