A House of Pomegranates, 1891
Category: Charles Ricketts
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The Dial No. 5
The Dial, vol. 5, 1897. Dial Digital Edition, edited by Lorraine Janzen Kooistra, 2018-2020. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2020. https://1890s.ca/dialv5-all/
THE DIAL FOR MDCCCXCVII
Full-page Illustrations “THE INFANCY OF BACCHUS” AN ORI-
GINAL LITHOGRAPH DRAWN ON THE STONE BY
C. H. SHANNON“DECEMBER” AN ORIGINAL WOODCUT DESIGNED
AND CUT UPON THE WOOD BY
C. H. SHANNON“THE DRESSING ROOM” FROM THE “STONE BATH
SERIES” A PAPER LITHOGRAPH BY
C. H. SHANNON“PAN ISLAND” AN ORIGINAL WOODCUT DESIGNED
AND CUT UPON THE WOOD BY
T. STURGE MOORE“CENTAUR WITH A BOUGH” AND “THE HARE MAKING
CIRCLES IN HER MIRTH” BEING TWO ORIGINAL
WOODCUTS DRAWN AND CUT UPON THE WOOD BY
T. STURGE MOORE“THE VISION OF KING JAMES THE FIRST OF SCOT-
LAND” ❧ AFTER A PEN DESIGN BY
C. RICKETTS“PAN HAILING PSYCHE ACROSS THE RIVER” ❧
AFTER A PEN DESIGN BY
C. RICKETTS“RUTH, ORPAH, AND NAOMI” AND “RUTH THE
GLEANER” BEING TWO ORIGINAL WOODCUTS DRAWN
AND CUT UPON THE WOOD BY
LUCIAN PIZZARRO.CONTENTS
“LA VIE ELARGIE” BY
EMILE VERHAEREN“OPEN THE DOOR, POSY” BY
LAURENCE HOUSMAN“THE PHANTOM SEA-BIRD” BY
T. STURGE MOORE“THE FATE OF THE CROSS-WAYS” BY
MICHAEL FIELD“ST. IVES, CORNWALL” BY
JOHN GRAY“THE CENTAUR” BY MAURICE DE GUERIN, TRANS-
LATED BY
T. STURGE MOORE“THE ART OF OUTAMARO” BY
CHARLES STURTTHE WRAPPER AND INITIAL LETTERPIECES IN THE TEXT
HAVE BEEN DESIGNED AND ENGRAVED ON THE WOOD BY
CHARLES RICKETTS. THE TWO FULL PAGE PEN DESIGNS
MARKED ABOVE WITH A DEVICE HAVE BEEN REPRODUCED
BY MESSRS. HENTSCHEL AND BY THE SWAN ELECTRIC
ENGRAVING COMPANY. THE LITHOGRAPHS HAVE BEEN
PRINTED BY MR. THOMAS WAY. -
The Dial No. 4 1896
The Dial, vol. 4, 1896. Dial Digital Edition, edited by Lorraine Janzen Kooistra, 2018-2020. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2020. https://1890s.ca/dialv4-all/
THE DIAL NO IV MDCCCXCVI
ART CONTENTS“DELIA” AN ORIGINAL LITHOGRAPH DRAWN UPON THE
STONE BY CHARLES H. SHANNON“A STUDY OF MICE” ❧AFTER A SILVERPOINT DRAWING BY
CHARLES H. SHANNON“ATALANTA” AN ORIGINAL LITHOGRAPH DRAWN UPON THE
STONE BY CHARLES H. SHANNON“LE PETIT CHAPERON ROUGE” AN ORIGINAL WOODCUT
DESIGNED AND CUT ON THE WOOD BY
LUCIEN PISSARRO“DEATH OF THE DRAGON”AN ORIGINAL WOODCUT
DESIGNED AND CUT ON THE WOOD BY
T. STURGE MOORE“BABY GIANTS” AN ORIGINAL WOODCUT DESIGNED AND
CUT ON THE WOOD BY T. STURGE MOORE“AN ILLUSTRATION TO THE KING’S QUAIR”❧AFTER A
DESIGN BY CHARLES RICKETTSTWO PAGES OF THE VALE TYPE (WITH INITIAL) DESIGNED
BY CHARLES RICKETTS“WOTAN AND LOGI DEPART IN SEARCH OF THE REINGOLD”
❧AFTER A PEN DRAWING BY REGINALD SAVAGECONTENTS
‘THE FLYING FISH” A POEM BY JOHN GRAY
“EN ROUTE” AN ARTICLE BY JOHN GRAY
“A PRAYER TO VENUS” A POEM BY T. STURGE MOORE
“THE BEAUTIES OF NATURE” BY JOHN GRAY
“A SONNET” BY MICHAEL FIELD
“THE WRITING ON THE WALL” BY W. DELAPLAINE SCULL
“BATTLEDORE” TWO POEMS BY JOHN GRAYTHE WRAPPER AND INITIAL LETTERPIECES IN THE TEXT
HAVE BEEN DESIGNED AND ENGRAVED ON THE WOOD BY
CHARLES RICKETTS. THE THREE FULL PAGE ILLUSTRATIONS
MARKED ABOVE WITH A DEVICE HAVE BEEN REPRODUCED,
THE FIRST BY THE SWAN ELECTRIC ENGRAVING COMPANY
THE SECOND AND THIRD BY MESSRS. WALKER AND BOU-
TALL. THE LITHOGRAPHS HAVE BEEN PRINTED BY MR.
THOMAS WAY. -
The Dial No. 3, 1893
The Dial, vol. 3, 1893. Dial Digital Edition, edited by Lorraine Janzen Kooistra, 2018-2020. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2020. https://1890s.ca/dialv3-all/
THE DIAL NO III MDCCCXCIII
Full-page Illustrations “CENTAURS” AN EXPERIMENT IN LINE
DESIGNED BY
REGINALD SAVAGE
DRAWN AND ENGRAVED ON THE WOOD BY
CHARLES S. RICKETTS“A ROMANTIC LANDSCAPE” AN ORIGINAL LITHO-
GRAPH DRAWN UPON THE STONE BY
CHARLES HAZELWOOD SHANNON“PHÆDRA AND ARIADNE”,—“AND YOU WILL SEE
ARIADNE GAZING AT HER SISTER PHÆDRA WHO
HANGS BY A ROPE” PAUSANIAS ❧ A REPRO-
DUCTION OF A PEN DRAWING BY
CHARLES RICKETTS“WHITE NIGHTS” AN ORIGINAL LITHOGRAPH BY
CHARLES SHANNON“PAN MOUNTAIN” AN ORIGINAL WOODCUT DE-
SIGNED AND ENGRAVED ON THE WOOD BY
T. STURGE MOORE“IN THE THEBAID” AN ILLUSTRATION TO A POEM
“THE SPHINX” BY OSCAR WILDE TO BE PUBLISHED
AT THE SIGN OF THE BODLEY HEAD ❧ A REPRO-
DUCTION OF A PEN DRAWING BY
CHARLES RICKETTSAN INTRUDER” AN ORIGINAL LITHOGRAPH DRAWN
UPON THE STONE BY
CHARLES SHANNON“SOLITUDE” AN ORIGINAL WOODCUT DRAWN AND
ENGRAVED ON THE WOOD BY
LUCIEN PISSARRO“THE TOPMOST APPLE” AN ORIGINAL WOODCUT
FROM THE VALE EDITION OF DAPHNIS AND CHLOE
DESIGNED AND ENGRAVED ON THE WOOD BY
CHARLES SHANNON“THE LOTOS-EATERS” ❧ A REPRODUCTION OF A
PEN DRAWING BY
REGINALD SAVAGECONTENTS
“DANAE” BY
T. STURGE MOORE“A NOTE ON GUSTAVE MOREAU” BY
CHARLES R. STURT“SOME SHADOWS OF A THOUGHT” “SONNET AFTER
RONSARD” “THE PIMPERNEL” “ENFANCE” AND
“THROUGH A CHILDS EYES” AFTER RIMBAUD
“CHORUS OF GREEK GIRLS” BY
T. STURGE MOORE“OLD KITTY” BY
T. STURGE MOORE“A HYMN TRANSLATED FROM THE ITALIAN OF
ST FRANCIS OF ASSISI” BY
JOHN GRAYTHE WRAPPER AND INITIAL LETTERPIECES IN THE
TEXT HAVE BEEN DESIGNED AND ENGRAVED ON
THE WOOD BY CHARLES RICKETTS. THE SMALL
WOODCUT ON PAGE 20 IS BY T. STURGE MOORE.
THREE FULL PAGE ILLUSTRATIONS MARKED ABOVE
WITH A DEVICE HAVE BEEN REPRODUCED BY
MESSRS. WALKER AND BOUTALLPERSONAL NOTE
“POEMS DRAMATIC AND LYRICAL” THE PLATE
FACING PAGE 200 AND APPEARING TO ILLUSTRATE
THE POEM “THE PRODIGAL (AFTER ALBERT
DURER)” WAS DONE AS AN ILLUSTRATION TO A
DIFFERENT POEM BY LORD DE TABLEY ON THE
SAME SUBJECT “THE PRODIGAL” PAGE 189 “RE-
HEARSALS.” THROUGH INADVERTENCE NO MEN-
TION WAS MADE OF THIS MISTAKE IN THE SECOND
EDITION OF “POEMS DRAMATIC AND LYRICAL” -
The Dial No. 2 1892
The Dial, vol. 2, 1892. Dial Digital Edition, edited by Lorraine Janzen Kooistra, 2018-2020. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2019. https://1890s.ca/dialv2-all/
Image from the Dial, No. 2, 1892 ❧ ❧ CONTENTS. ❧ ❧
“THE MARRED FACE”. . . . by
CHARLES RICKETTS.“PARSIFAL” IMITATED FROM
THE FRENCH OF PAUL VERLAINE
JOHN GRAY.“TO THE FLOWERS, TO WEEP” by
HERBERT P. HORNE.“TO THE MEMORY OF ARTHUR
RIMBAUD”. . . . . . . by
T. STURGE MOORE.Unsigned “MAURICE DE GUERIN”
“ON A PICTURE BY PUVIS DE CHA-
VANNES”
“BITTEN APPLES”
“LOVE LIES BLEEDING”
“THE LITTLE BROWN WOOD-MOUSE”
“GUST-DISGUSTED GEESE”
“LES CHERCHEUSES DE POUX” FROM
THE FRENCH OF ARTHUR RIMBAUD
“PYGMALION”
“ON A DRAWING BY C. H. S.” . by
T. STURGE MOORE.“KING COMFORT”. by
T. STURGE MOORE.“HEART’S DEMESNE”
“LES DEMOISELLES DE SAUVE” by
JOHN GRAY.Unsigned “THE UNWRITTEN BOOK”
“THE BRIDAL”
“ELLA THE SHE-BEAR”
“SNOW IN SPRING” by
CHARLES RICKETTS.The issue is strictly limited
to two hundred copies, numbered,
of which this is . .N°…
THE VALE
1892THE DIAL ❧ No 2 ❧
OF THE SERIES.
Full Page Illustrations“THE PALACE BURNS
AND BEHEMOTH” DESIGNED AND
ENGRAVED ON THE WOOD BY
REGINALD SAVAGE.“SHEPHERD IN A MIST” DRAWN
ON THE STONE AND BITTEN BY
CHARLES HASLEWOOD SHANNON.“SISTER OF THE WOODS” DESIGNED
AND ENGRAVED ON THE WOOD BY
LUCIEN PISSARRO.“REPEATED BEND” AN ORIGINAL
LITHOGRAPH BY
CHARLES H. SHANNON.“WITH VIOL AND FLUTE” AN
ORIGINAL LITHOGRAPH BY
CHARLES H. SHANNON.“MY HAIR IS FILLED WITH THE DROPS
OF THE NIGHT” DESIGNED AND EN-
GRAVED ON THE WOOD BY
CHARLES RICKETTS.The cover and decorations in the
text, have been designed and engraved
on the wood by . . . CHARLES RICKETTS. -
Dial No 1 1889
The Dial, vol. 1, 1889. Dial Digital Edition, edited by Lorraine Janzen Kooistra, 2018-2020. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2019. https://1890s.ca/dialv1-all/
TABLE OF CONTENTS
PUVIS DE CHAVANNES.. . . . . . . . C. Ricketts
A SIMPLE STORY. . . . . . . . C. H. Shannon.
LES GONCOURT. . . . . . . . John Gray.
THE GREAT WORM. . . . . . . . John Gray.
A GLIMPSE OF HEAVEN. . . . . . . . C. Ricketts.
NOTES. . . . . . . . R. Savage.
THE CUP OF HAPPINESS. . . . . . . . C. Ricketts.
LIST OF ILLUSTRATIONS
AA. Illustration to THE GREAT WORM. Lithograph
designed by C. Ricketts..Executed by M. and N. Hanhart.AB. RETURN OF THE PRODIGAL. . . . . . . . C. H. Shannon.
AC. THE MIRACLE OF THE ROSES. . . . . . . . Reginald Savage.
AD. THE QUEEN OF SHEBA (after a pastel). . . . C. H. Shannon.
AE. Illustration to THE GREAT WORM. Etched
by C. Ricketts.AF. Illustration to A GLIMPSE OF HEAVEN. . . . C. H. Shannon.
AG. CIRCE THE ENCHANTRESS (after a watercolour). C. H. Shannon.
The cover, initials, and tail pieces are designed by C. Ricketts.
The cover is engraved by C. H. Shannon.This number is published by C. H. Shannon, The Vale, Kings
Road, Chelsea, S.W., from whom copies can be obtained; price seven
shillings and sixpence. -
The Sphinx. Wilde.
Description
First-edition illustrated copy of Oscar Wilde’s The Sphinx.
- Oscar Wilde (English).
- Illustrated by Charles Rickets (English).
- London: Elkin Mathews & John Lane at The Sign of The Bodley Head, 1894.
- Limited edition of 200 copies.
- Bound in original art nouveau gilt decorated vellum.
- Housed in a half red morocco clamshell slipcase with raised bands and gilt decorated spine.
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Daphnis and Chloe. Vale Press
[Vale Press] Ricketts, Charles and Charles Shannon [Longus, Geo Thornley]
London: Ballantyne Press, Sold by Elkin Mathews, 1893. First edition thus. Large 4to. Original olive green cloth, gilt lettering on spine. One of 210 copies. The first of three pre-Vale Press books, Daphnis and Chloe represents Charles Ricketts and Charles Shannon first and arguably their best book design and illustration. With spacious margins, expressive and symbolist woodcut illustration and dense, Morrisian block text, this book made a huge splash in the Nineties resurgence of excellence in the bookarts. The book took an entire year to put together and stands a a cornerstone of fin-de-siecle book design. Side and bottom edges, untrimmed. A fine copy of an extremely scarce and important early Ricketts’ book. Very few copies have come to market in past decade. Housed in superb maroon cloth backed paper coved boards folding box with paper label on spine.
Longus. Daphnis and Chloe, translated by George Thornley, one of 210 copies, wood-engraved illustrations by Charles Shannon and Charles Ricketts, decorative initials, 4pp. prospectus loosely inserted, light offsetting, browning to endpapers, small red ink ex-libris stamp beneath colophon, original green cloth, uncut, corners very slightly bumped, [Watry A6], 4to, [The Vale for Elkin Mathews and John Lane], 1893.
⁂ Although not strictly a Vale Press item “The Vale” appears at the foot of the spine; the first true Vale Press publication was Milton’s Early Poems issued in 1896.
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Charles Ricketts and Oscar Wilde’s Woman’s World (addendum)
392. Charles Ricketts and Oscar Wilde’s Woman’s World (addendum)
Ricketts is known to have drawn a honeycomb after an original in the natural history museum, and his early drawings display his knowledge of what was on display at the London museums at the time. His Pompeian woman is surrounded by objects that would have attracted visitors, such as a home altar and a tripod with figures of a sphinx and a goat’s leg. But Ricketts didn’t need to consult a friend at the museum (when young, he probably didn’t have one), or bring a letter of recommendation. He would roam the museum on his own, and look for objects that he could use in his illustrations, where they would not be depicted for their scientific interest, or for the idea of novelty, but to suggest a certain epoche, or cultural phase.
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Two Gentlemen of Verona, Vale Press
The Two Gentlemen of Verona by William Shakespeare 1901
one of 310 copies printed on handmade paper
Ransom #44The type used for the Shakespeare volumes was the Avon type which was basically a smaller version of the Vale type.
This page is of interest to bibliophiles and those interested in the printing and construction of books. Note the “c” below the word “day” at the bottom of the image. The “c” means that this is the first page of the third signature in the book. All Vale Press books I have examined are printed in this fashion.The watermark used for the Vale Shakespeare.
From 1900 to 1903 the Vale Press printed the works of Shakespeare in 39 volumes. Ransom has the following to say about the Vale Shakespeare:
310 sets on special H M [hand made paper] with a mermaid watermark; none on vellum. Tragedies, 1-13; Comedies, 14-27; Histories and Poems, 28-39. The first volume was published in April, 1900, followed by the others at monthly intervals. Three different borders were used, one for each group.