As for the other men who calmly go on doing their work in their own way, showing the process-engraver what is wanted, instructing the printer on the subject of effects and colour, and dealing satisfactorily with intelligent publishers and editors, or even, as some do, ignoring all these factors, which they should not, their work is around us and delights us.
BY LINLEY SAMBOURNE. FROM KINGSLEY’S “WATER BABIES” (MACMILLAN).
Of the older men, though Whistler has long ceased to illustrate, Du Maurier, Sidney Hall and William Small are still with us, producing characteristic designs. Charles Green carries on the excellent method which he developed in his illustrations to Dickens. Though J. Mahoney is dead, the present re-issue of Whymper's "Scrambles amongst the Alps" testifies marvellously to his powers. The late A. Boyd Houghton's abilities, too, are beginning to be appreciated, and his designs for the "Arabian Nights" are now being sought for as they never were during his lifetime. The success of Messrs. Macmillan's re-issue of the "Tennyson" of 1857 is gratifying proof that a large number of people do care for good work, and that the endeavour to swamp us with poor drawings, tedious photographs, and worn-out clichés will probably have its just reward. F. Sandys, one of the greatest of all, though still living, scarcely produces anything; F. Shields' designs for Defoe's "Plague" were Rembrandt-like in power; while H. Herkomer, in his illustrations to Hardy's "Tess of the D'Urbervilles," has, within the last few years, done some of his most striking work. Linley Sambourne, whose name was made years ago, pursues the even tenor of his ways, his reputation having been well secured by his illustrations to the "Water Babies," and his countless "Punch" contributions. From the quantity of work produced by Harry Furniss it is quite evident that he is one of the most popular men in England. The fund of imagination which he devotes to perpetuating the unimportant actions of trivial members of Parliament is truly amazing. J. F. Sullivan has made caricature of the British workman his speciality, and he has recorded many of the antics of that personality with a truth that the labour organs might imitate to advantage. Sir John Tenniel is the legitimate successor of the old political cartoonist, but, luckily for him, his reputation rests, not upon his portrayal of the events of the moment, but upon his marvellous "Alice in Wonderland" and his classic illustrations to the "Legendary Ballads." Political caricature rarely, however, has an exponent like Tenniel, and though the work of J. Proctor, G. R. Halkett, and F. C. Gould is good in its way, owing to the conditions under which much of it has to be produced, and the absolute artlessness of the subject, their aim naturally is to drive home a political point, and not to produce a work of art. The most genuine caricaturist who has ever lived in England was W. G. Baxter, the inventor of "Ally Sloper." Baxter died a few years ago. Happily, the three men who, in a great measure, are responsible for modern English illustration are working to-day: Birket Foster, Sir John Gilbert, and Harrison Weir, but, save the latter, they now produce scarcely any designs. Few of the brilliant band who succeeded them, however, are at work save Du Maurier and W. Small. One has to deplore the recent death of Charles Keene, the greatest of all English draughtsmen.
BY (SIR) JOHN TENNIEL. ENGRAVED ON WOOD BY H. HARRAL.
FROM GATTY’S “PARABLES” (BELL, 1867).
BY W. G. BAXTER. FROM “ALLY SLOPER’S” CARTOONS.
BY PHIL MAY. A PEN DRAWING FROM “THE GRAPHIC.”