![]() Wenceslaus Hollar, 'Of the Frogs Desiring a King'Įtching from 'The fables of Aesop paraphras'd in verse' by John Ogilby ![]() He used a new invention, photography, to transfer illustrators' work onto the woodblocks, making reproduction easier than copying. The care he took with colours attracted well-known illustrators like Crane to work with him, including Kate Greenaway and Randolph Caldecott. Crane imitated the highly developed methods of Japanese colour woodblock printing, recently discovered by Europeans, which Evans reproduced.Įdmund Evans (1826-1905) is one of the best-known European colour wood-engravers of the 19th century. This image comes from a toy-book designed by Walter Crane (1845-1915) and printed by Edmund Evans (1826-1905) using colour wood-engraving. 'King Log & King Stork' (The Frogs Desiring a King)įrom 'The baby's own Aesop: being the fables condensed in rhyme', adapted from William James Linton. Walter Crane, 'King Log & King Stork' (The Frogs Desiring a King) ![]() He still illustrates, working now with the Inky Parrott Press on Lewis Carroll's 'Alice in Wonderland'. His past work includes an album cover for Deep Purple's 'The Book of Taliesyn' in 1968 and book illustrations to 'The Giant Jam Sandwich' in 1972 and 'The Nonsense Verse' by Edward Lear in 1984, both published by Jonathan Cape. Lord has been a prolific illustrator for nearly fifty years as well as teaching illustration at Brighton Art College. In an essay on 'Hatching', Lord wrote "The editing and selection of gap-making is fundamental to drawing… A picture is made up of a balancing between the making, the removing, and the not-making of marks." Wax was sometimes added to the paper to resist the ink, giving a luminescence to some of the backgrounds. Lord used mapping and Rotring pens and sometimes a blunted ruler for parallel lines. His pen and ink drawings are painstaking in their detail and resemble wood engravings. John Vernon Lord (born 1939) used the area around his home in Ditchling, Sussex, as setting for his Aesop's Fables illustrations. ![]() John Vernon Lord, 'The Frogs Asking for a King'įrom 'Aesop's Fables', retold in verse by James Mitchie Now this made Jove angry, so he sent among them a big Stork that soon set to work gobbling them all up. But this did not suit them, so they sent another petition to Jove, and said to him, "We want a real king one that will really rule over us." Then the greatest hero of the Frogs jumped upon the Log and commenced dancing up and down upon it, thereupon all the Frogs came and did the same and for some time the Frogs went about their business every day without taking the slightest notice of their new King Log lying in their midst. The Frogs were frightened out of their lives by the commotion made in their midst, and all rushed to the bank to look at the horrible monster but after a time, seeing that it did not move, one or two of the boldest of them ventured out towards the Log, and even dared to touch it still it did not move. "Mighty Jove," they cried, "send unto us a king that will rule over us and keep us in order." Jove laughed at their croaking, and threw down into the swamp a huge Log, which came down - kerplash! - into the swamp. But some of them thought that this was not right, that they should have a king and a proper constitution, so they determined to send up a petition to Jove to give them what they wanted. 'The Frogs were living as happy as could be in a marshy swamp that just suited them they went splashing about caring for nobody and nobody troubling with them. The following extract is taken from The Fables of Aesop by Joseph Jacobs (London: Macmillan & Co., 1894), accompanied by a selection of images from the Library's collection. The National Art Library has a large collection of illustrated Aesop's Fables dating from the 15th century to the present day. Agnes Miller Parker, 'Of the Frogges and of Jupyter' (The Frogs Desiring a King), wood-engraved illustration, from 'The Fables of Esope: translated out of Frensshe in to Englysshe' by William Caxton, Published by Gregynog Press, about 1932.
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