FROM AN ORIGINAL PEN DRAWING BY H. TEGNER.
In Italy the important publishing house of the Fratelli Trevès, in Milan, has made many attempts to bring out fine books, the works of de Amicis being among their best-known productions, but this importance comes from their literary rather than artistic side; and I am not aware that the Fratelli Trevès have ever done anything to surpass the "C'era una Volta" of Luigi Capuana, illustrated by Montalti, published in 1885, a most extraordinary example of the skilful use of papier Gillot, or scratch paper. The Fratelli Trevès issue a large number of magazines and papers, a certain amount of good newsy wood-engraving is seen in these, process having been almost entirely given up, especially in the leading illustrated Italian weekly, "L'Illustrazion Italiana." In Spain I know of no notable illustrated books published of late. I may be labouring under a mistake, but I must frankly admit that I have never heard of, or seen any.[19] If they do exist I should be only too glad to have them brought to my notice. But there are two very good illustrated papers, "Illustracion Espanola y Americana" and "Illustracion Artistica." To both, Fortuny, Rico, Vierge, and Casanova—especially Rico—have contributed important drawings. These journals are now almost entirely using wood-engravings, some of which are very good indeed. They are mainly, however, reproductions of the typical Spanish historical, or story-telling, machine which is turned out with such facility by a large number of Spaniards. But the bulk of the work is made up of clichés from American papers and magazines, in which matter I find that even I have proved a useful mine.
Dutch books are not remarkable. Here and there a good drawing may be found in a magazine called "Elsevir." Though in Holland there is an artist, H. J. Icke, who, in his studies from the old masters in pen and ink, evinces a power and brilliancy only equalled by reproductive etchers like Mr. Hole, Mr. Macbeth, or Mr. Short. The same is true of Belgium. Austria and Hungary have little to show, their illustrators, like Myrbach, Marold, and Vogel, coming to Paris, or sending their work to Munich, for the publishers mainly ignore their own artists, and either send abroad for their designs, or borrow and adapt from other men's work with a recklessness which is charming. And yet, the only international black-and-white exhibition was held in Vienna a few years ago; while one of the best photo-engraving firms in the world, Messrs. Anderer and Göschl, are located there. Russia and Scandinavia are equally unfortunate in the matter of illustrated books, all of the artists of these countries being in Paris, London, or New York, and their work only finds its way back to their native countries as clichés. Men like Chelminski, Edelfelt, Répine, Pranishnikoff really owe all their reputation, not to their native land, but to the country of their adoption.
PEN DRAWING. BY HANS TEGNER. FROM “HOLBERG’S COMEDIES” (BOJESENS).
BY ADOLPH MENZEL. PROCESS BLOCK FROM ORIGINAL DRAWING IN THE POSSESSION OF THE AUTHOR.
BY GOYA. FROM “CAPRICES.”
There is, however, one little country that deserves more than a word of mention, and this is Denmark. For it can boast an illustrator of individuality and character, Hans Tegner. His drawings for the jubilee edition of "Holberg's Comedies," published in Copenhagen in 1884 to 1888, must be ranked as masterpieces of graphic art. Though evidently based on the style of Menzel and Meissonier, they are quite individual; especially in the rendering of interiors crowded with people he has surpassed any living illustrator. This book is also interesting from the fact that while it was being produced the change was made from facsimile wood-engraving to process, and though the engraving of Hendricksen and Bork is excellent, the process blocks in some ways are even more interesting. The decorations to these volumes, head and tail-pieces, are as atrociously bad as Tegner's illustrations in the text are good. There are also a number of lesser artists, Danes and Norwegians, who have done good work, but to name them would merely be to make a catalogue, as their work is never seen here.