|This cover for Louisa May Alcott's first book, Flower Fables (New York: Hurst & Co., 1900) exemplifies the "poster craze" that swept America in the 1890s. The same design was used for the book and advertising poster.|
|E. J. Harvey Darton. Tales of the Canterbury Pilgrims. London: Wells Gardner, Darton & Co., 1906. Irish-born artist Hugh Thomson's cover design is a fabulous introduction to Chaucer's characters. The publisher's advertisement lists this edition for six shillings. Ours goes for $10—I wonder if that's comparable!|
Sarah Wyman Whitman (1842-1904) was one of the best artists who worked in book publishing. In Notes of an Informal Talk on Book Illustration … Given before the Boston Art Students Association, Feb. 14, 1895, she wrote, "You have got to think how to apply elements of design to these cheaply sold books; to put the touch of art on this thing that is going to be produced at a level price, which allows for no handwork, the decoration to be cut with a die, the books to [go] out by the thousand and to be sold at a low price." Whitman also created the Pocahontas cover, below. Both designs show her distinctive lettering style.
Like the two previous examples, this design by Amy M. Sacker for A Daughter of New France (Boston: Little, Brown, & Co., 1901) shows an intoxicating use of art nouveau themes, with the flowers taking on an almost human substance and aura. Sacker studied with Henry Hunt Clark at Boston's School of the Museum of Fine Arts and founded a school of her own in the late 1890s. Below, more opulence and a picturesque view of Vassar women, circa 1900?
|The cover for The Three Ronins exemplifies the "Japonisme" style, used for works by Lafcadio Hearn and others.|