Picturesque Europe was a lavishly illustrated set of books published by D. Appleton & Co. in the mid-1870s based on their phenomenally successful Picturesque America . [1] An edited form was reprinted in Europe by Cassell & Co. [2] The books depicted nature and tourist haunts in Europe, with text descriptions and numerous steel and wood engravings. J.W. Whymper was among the engravers and directed the other artists on the project. [3]
Volume One covered the British Isles, with unattributed articles on "Windsor"; "Eton"; "North Wales"; "Warwick and Stratford"; "The South Coast, from Margate to Portsmouth"; "The Forest Scenery of Great Britain"; "The Dales of Derbyshire"; "Edinburgh, and the South Lowlands"; "Ireland"; "Scenery of the Thames"; "The South Coast, from Portsmouth to the Lizard"; "English Abbeys and Churches"; "The Land's End"; "Old English Homes"; "The West Coast of Ireland"; "Border Castles and Counties"; "Cathedral Cities"; "The Grampians"; "Oxford"; "Scotland, from Loch Ness to Loch Eil"; "The West Coast of Wales"; and "The Lake Country". [n 1] These sections were illustrated with wood engravings of the drawings and paintings of W.H.J. Boot, C. Emery, Harry Fenn, Towneley Green, J. Harmsworth, C. Johnson, W.L. Jones, R.P. Leitch, W.W. May, J. North, T.L. Rowbotham, T.D. Scott, E. Senior, P. Skelton, C.J. Staniland, E. Wagner, and E.M. Wimperis and with a few steel engravings of the drawings and paintings of J. Chase, Harry Fenn, Birket Foster, D. McKewan, W. Leitch, J. Mogford, S. Read, P. Skelton, and E.M. Wimperis. [6]
Volume II covered more of Britain, as well as the Channel Islands and the Continent, with unattributed articles on "Cambridge"; "The South Coast of Devonshire"; "South Wales"; "North Devon"; "The Isle of Wight"; "Normandy and Brittany"; "The Italian Lakes"; "The Passes of the Alps"; "The Cornice Road"; "The Forest of Fontainebleau"; "The Rhine"; "Venice"; "The Channel Islands"; "The Pyrenees"; "Rome and its Environs"; "The Bernese Oberland"; "The Rhine (from Boppart to the Drachenfels)"; "Spain (The North and Old Castile)"; "Auvergne and Dauphiné"; "Old German Towns"; and "Naples". [n 2] These sections were illustrated with wood engravings of the drawings and paintings of W.H.J. Boot, C. Emery, Harry Fenn, Cyrus Johnson, R.P. Leitch, W.W. May, T. Macquoid, T.L. Rowbotham, E. Senior, P. Skelton, J.D. Woodward, C. Whymper, and J. Wolf and with a few steel engravings of the drawings and paintings of S. Cook, Harry Fenn, Birket Foster, Louis Haghe, S.H. Hodson, G.G. Kilburne, T.L. Rowbotham, J.B. Smith, C. Werner, E.M. Wimperis, and L.J. Wood. [10]
Volume III covered other parts of Europe: unattributed articles describe "Norway"; "Spain (New Castile and Estremadura)"; "The Lake of Geneva"; "The Frontiers of France (East and South)"; "North Italy"; "Norway (The Sogne Fjord, Nord Fjord, Romsdal)"; "Spain (Cordova, Seville, and Cadiz)"; "The Frontiers of France (West and North)"; "Calabria and Sicily"; "The Black Forest"; "Sweden"; "The Tyrol"; "Gibraltar and Ronda"; "Dresden and the Saxon Switzerland"; "Eastern Switzerland"; "Constantinople"; "Belgium"; "The High Alps"; "Granada and the East Coast of Spain"; "Russia"; "The Jura"; "Athens and its Environs"; "Holland"; and "The Danube". [11] [n 3] These sections were illustrated with wood engravings of the drawings and paintings of W.H.J. Boot, E. Compton, Harry Fenn, W. Herbert, R.P. Leitch, E. Senior, P. Skelton, C.J. Staniland, J. Williams, and J.D. Woodward and with a few steel engravings of the drawings and paintings of E. Compton, Harry Fenn, Birket Foster, E. George, S. Hodson, G.G. Kilburne, W. Simpson, Carl Werner, L.J. Wood, and J.D. Woodward. [11]
Catherine Greenaway was an English Victorian artist and writer, known for her children's book illustrations. She received her education in graphic design and art between 1858 and 1871 from the Finsbury School of Art, the South Kensington School of Art, the Heatherley School of Art and the Slade School of Fine Art. She began her career designing for the burgeoning holiday card market, producing Christmas and Valentine's cards. In 1879 wood-block engraver and printer, Edmund Evans, printed Under the Window, an instant best-seller, which established her reputation. Her collaboration with Evans continued throughout the 1880s and 1890s.
Paul Gustave Louis Christophe Doré was a French artist, as a printmaker, illustrator, painter, comics artist, caricaturist, and sculptor. He is best known for his prolific output of wood-engravings, especially those illustrating classic books, including 241 illustrating the Bible. These achieved great international success, and he is the best-known artist in this printmaking technique, although his role was normally as the designer only; at the height of his career some 40 block-cutters were employed to cut his drawings onto the wooden printing blocks, usually also signing the image.
George John Pinwell, was a British illustrator and watercolourist.
Myles Birket Foster was a British illustrator, watercolourist and engraver in the Victorian period. His name is also to be found as Myles Birkett Foster.
Samuel Cousins was a British mezzotinter.
Thomas Hosmer Shepherd was a British topographical watercolour artist well known for his architectural paintings.
George C. Virtue was a 19th-century London-based publisher. His publishing house was located at 26 Ivy Lane, Paternoster Row.
William Miller was a Scottish Quaker line engraver and watercolourist from Edinburgh.
The Brothers Dalziel was a prolific wood-engraving business in Victorian London, founded in 1839 by George Dalziel.
Harry Fenn was an English-born American illustrator, landscape painter, etcher, and wood engraver. From 1870 to around 1895 he was the most prominent landscape illustrator in the United States. He is also noted for his illustrations of Egypt, Palestine and the Sinai.
Josiah Wood Whymper was a British wood-engraver, book illustrator and watercolourist.
William Tombleson was an English topographical and architecture artist, illustrator, copper and steel engraver, writer and printmaker, based in London.
Picturesque America was a two-volume set of books describing and illustrating the scenery of America, which grew out of an earlier series in Appleton's Journal. It was published by D. Appleton and Company of New York in 1872 and 1874 and edited by the romantic poet and journalist William Cullen Bryant (1794-1878), who also edited the New York Evening Post. The layout and concept was similar to that of Picturesque Europe. The work's essays, together with its nine hundred wood engravings and fifty steel engravings, are considered to have had a profound influence on the growth of tourism and the historic preservation movement in the United States. The preface described "the design of this publication to present full descriptions and elaborate pictorial delineations of the scenery characteristic of all the different parts of our country. The wealth of material for this purpose is almost boundless."
John Douglas Woodward, usually simply J.D. or Douglas Woodward, was an American landscape artist and illustrator. He was one of the country's "best-known painters and illustrators". He produced hundreds of scenes of the United States, Northern Europe, the Holy Land, and Egypt, many of which were reproduced in popular magazines of the day.
The Magazine of Art was an illustrated monthly British journal devoted to the visual arts, published from May 1878 to July 1904 in London and New York City by Cassell, Petter, Galpin & Co. It included reviews of exhibitions, articles about artists and all branches of the visual arts, as well as some poetry, and was lavishly illustrated by leading wood-engravers of the period such as William Biscombe Gardner.
The Imprint was a periodical aimed at the printing trade, published in 9 issues from January to November 1913. The publishers were the Imprint Publishing Company, of 11 Henrietta Street, Covent Garden, London. Editors were F. Ernest Jackson, Edward Johnston, J. H. Mason, and Gerard Meynell of the Westminster Press, London, which was also the printer of the journal.
T. W. Wood was an English zoological illustrator responsible for the accurate drawings in major nineteenth century works of natural history including Darwin's The Descent of Man and Wallace's The Malay Archipelago. He studied the courtship display behaviour of pheasants, observing them closely and publishing the first description of the double-banded argus pheasant. He illustrated many books, often of birds but also of moths and mammals.
Some new illustrations have been introduced, and four of the old drawings have been replaced by better ones, done from life by Mr. T. W. Wood.
I also obtained one or two specimens of the fine racquet-tailed kingfisher of Amboyna, Tanysiptera nais, one of the most singular and beautiful of that beautiful family... They are confined to a very limited area, comprising the Moluccas, New Guinea and Northern Australia... The Amboynese species, of which a very accurate representation is here given, is one of the largest and handsomest. It is full seventeen inches long to the tips of the tail-feathers; the bill is coral red, the under- surface pure white, the back and wings deep purple, while the shoulders, head and nape, and some spots on the upper part of the back and wings, are pure azure blue; the tail is white, with the feathers narrowly blue-edged, but the narrow part of the long feathers is rich blue. This was an entirely new species, and has been well named after an ocean goddess, by Mr. R. G. Gray.
John Proctor was a British artist, cartoonist and illustrator, well known in his day for political cartoons in magazines such as Judy and Moonshine, rivals to Punch. He also illustrated many books and was one of Lewis Carroll's choices to illustrate Alice Through the Looking Glass instead of John Tenniel.
Picturesque Palestine, Sinai, and Egypt was a lavishly illustrated set of books published by D. Appleton & Co. in the early 1880s based on their phenomenally successful Picturesque America and Picturesque Europe series. It was edited by Charles William Wilson, following his leadership of the seminal Ordnance Survey of Palestine and PEF Survey of Palestine. The Appleton series was issued as "two volumes or four divisions"; it was reprinted in London by J.S. Virtue & Co., simply published as four volumes.