The author examines book illustration of the Romantic period. He focuses on the decorative wood - and steel-engravings, which were used as embellishments with the purpose of appealing to the sophisticated book buyer. He also describes how the values of the time are reflected in the illustrations.

The Victorian illustrated book came into being, flourished, and evolved during the long nineteenth century. While existing scholarship on Victorian illustrators largely centers on the realist artists of the "Sixties," this volume examines the entire lifetime of the Victorian illustrated book. Catherine Golden offers a new framework for viewing the arc of this vibrant genre, arguing that it arose from and continually built on the creative vision of the caricature-style illustrators of the 1830s. She surveys the fluidity of illustration styles across serial installments, British and American periodicals, adult and children’s literature, and--more recently--graphic novels. Serials to Graphic Novels examines widely recognized illustrated texts, such as The Pickwick Papers, Oliver Twist, Alice in Wonderland, Peter Rabbit, and Trilby. Golden explores factors that contributed to the early popularity of the illustrated book—the growth of commodity culture, a rise in literacy, new printing technologies—and that ultimately created a mass market for illustrated fiction. Golden identifies present-day visual adaptations of the works of Austen, Dickens, and Trollope as well as original Neo-Victorian graphic novels like The League of Extraordinary Gentlemen and Victorian-themed novels like Batman: Noël as the heirs to the Victorian illustrated book. With these adaptations and additions, the Victorian canon has been refashioned and repurposed visually for new generations of readers.

US scholars of literature explore how illustrated books became a cultural form of great importance in England and Scotland from the 1830s and 1840s to the end of the century. Some of them consider particular authors or editions, but others look at general themes such as illustrations of time, maps and metaphors, literal illustration, and city scenes. Annotation copyrighted by Book News, Inc., Portland, OR

This magnificent reproduction of a rare sourcebook, originally designed for prospective homeowners, designers, and builders of the early-Victorian era includes twenty-one designs for private residences. First published more than a century-and-a-half ago (and highly reflective of Victorian eclecticism), the models range from a charming eight-room house in the English style for $1,025 to a spacious French villa, complete with a wraparound veranda, ten bedrooms, and a walk-in china closet—for $10,441! Additional homes include—among others—a cozy, Swiss-styled chalet; a Tudor cottage; splendid residences with Indian and Egyptian architectural accents; and a two-story home with Anglo-Grecian elements. All designs are accompanied by landscaping layouts, floor plans, elevations, and detailed cost estimates for materials and labor. Of value to students of architectural history, home restorers, preservationists and builders, this richly illustrated book will be a welcome addition to the libraries of readers interested in period architecture.

Vintage guide offered turn-of-the-century seamstresses clear instructions for altering patterns and creating shirt-blouses, skirts, wedding gowns, coats, maternity wear, children's clothing, and other apparel.

In this major new study, John Buchanan-Brown demonstrates the importance of the period from 1820 to 1860 in the history of the illustrated book. The study illustrates the work of French and German artists and their influence upon their British counterparts, and considers such specific topics as social criticism and the development of children's literature. It includes appendices on aspects of engraving in England, notes on French and German illustrators and a glossary of technical terms.

Drawing on research into the book-production records of twelve publishers-including George Bell & Son, Richard Bentley, William Blackwood, Chatto & Windus, Oliver & Boyd, Macmillan, and the book printers William Clowes and T&A Constable - taken at ten-year intervals from 1836 to 1916, this book interprets broad trends in the growth and diversity of book publishing in Victorian Britain. Chapters explore the significance of the export trade to the colonies and the rising importance of towns outside London as centres of publishing; the influence of technological change in increasing the variety and quantity of books; and how the business practice of literary publishing developed to expand the market for British and American authors. The book takes examples from the purchase and sale of popular fiction by Ouida, Mrs. Wood, Mrs. Ewing, and canonical authors such as George Eliot, Wilkie Collins, and Mark Twain. Consideration of the unique demands of the educational market complements the focus on fiction, as readers, arithmetic books, music, geography, science textbooks, and Greek and Latin classics became a staple for an increasing number of publishing houses wishing to spread the risk of novel publication.

With this richly illustrated history of industrial design reform in nineteenth-century Britain, Lara Kriegel demonstrates that preoccupations with trade, labor, and manufacture lay at the heart of debates about cultural institutions during the Victorian era. Through aesthetic reform, Victorians sought to redress the inferiority of British crafts in comparison to those made on the continent and in the colonies. Declaring a crisis of design and workmanship among the British laboring classes, reformers pioneered schools of design, copyright protections, and spectacular displays of industrial and imperial wares, most notably the Great Exhibition of 1851. Their efforts culminated with the establishment of the South Kensington Museum, predecessor to the Victoria and Albert Museum, which stands today as home to the world’s foremost collection of the decorative and applied arts. Kriegel’s identification of the significant links between markets and museums, and between economics and aesthetics, amounts to a rethinking of Victorian cultural formation. Drawing on a wide range of sources, including museum guidebooks, design manuals, illustrated newspapers, pattern books, and government reports, Kriegel brings to life the many Victorians who claimed a stake in aesthetic reform during the middle years of the nineteenth century. The aspiring artists who attended the Government School of Design, the embattled provincial printers who sought a strengthened industrial copyright, the exhibition-going millions who visited the Crystal Palace, the lower-middle-class consumers who learned new principles of taste in metropolitan museums, and the working men of London who critiqued the city’s art and design collections—all are cast by Kriegel as leading cultural actors of their day. Grand Designs shows how these Victorians vied to upend aesthetic hierarchies in an imperial age and, in the process, to refashion London’s public culture.

This compilation of a master engraver's designs presents a versatile array of borders, frames, scrolls, cartouches, arches, corners, and crests, in motifs featuring floral, animal, fantasy, and rococo patterns.

A facsimile reproduction of 'The tailor's masterpiece', a manual with detailed instructions on how to measure, cut, and sew "all kinds of coats", as well as jackets, capes, juvenile dresses (for boys), waistcoats, and uniforms. (Unfortunately the reproductions of the patterns are not particularly clear.) Examples of fashion coats of the day are reproduced from the contemporary magazine 'Modes de Paris', while 'Hints on etiquette' gives a flavour of the social customs of the period.