Arthur Rackham (1867-1939) made comprehensive contributions of suites - in each monotone and colour - to greater than 25 illustrated books throughout his career in addition to a lot more in other publications. His illustrations interpreted a diversity of subject matters, including: myths; legends; fables; and mythology. Works needing Rackham's contributions included titles by: Barrie; Barham; Carroll; Shakespeare; the Brothers Grimm; de la Motte Fouqu?; Wagner; Aesop; Dickens; Malory; Swinburne; Stephens; Milton; Hawthorne; Irving; Moore; Andersen; Poe; and Ibsen.
Implementing the critical and commercial success that met his illustrative interpretation of "Peter Pan in Kensignton Gardens" (Hodder & Stoughton, London; 1906), Rackham turned his considerable talents to illustrating Lewis Carroll's fantasy, "Alice's Adventures in Wonderland" (William Heinemann, London; 1907) and Shakespeare's "A Midsummer-Night's Dream" (William Heinemann, London; 1908).
He then relied on work towards three suites of illustrations to accompany Germanic tales, the first to be published being "Undine" (William Heinemann, London; 1909). In the next few year, his magnificent illustrations interpreting Wagner's Ring Cycle were published in "The Rhinegold and also the Valkyrie" (William Heinemann, London; 1910) and "Siegfried and also the Twilight of many Gods" (William Heinemann, London; 1911).
Between 1912 along with the beginning of Ww 1, a further three books were published with suites of illustrations from Rackham, including a 'second' First Edition of "Peter Pan in Kensington Gardens" (Hodder & Stoughton, London; 1912) or a published with a new colour illustration because the frontispiece plus a plethora of additional monotone illustrations. Throughout same year, Aesop's Fables (William Heinemann, London; 1912) carrying colour and monotone artwork by Rackham was published and in the following year, "Mother Goose: The existing Nursery Rhymes" (William Heinemann, London; 1913) was published with artwork by Rackham to accompany some classic rhymes chosen because of the illustrator.
While Rackham had begun work on a set of illustrations interpreting Shakespeare's "The Tempest", the outbreak of hostilities in Ww 1 compelled his publishers to commission other work in the short-term and also as a result, that project was delayed. Instead, between 1914 and 1919, First Editions benefiting from Rackham's contributions included: "A Christmas Carol" (William Heinemann, London; 1915); "The Allies' Fairy Book" (William Heinemann; London, 1916); "The Romance of King Arthur with his fantastic Knights of many Round Table" (Macmillan and Co. Ltd, London; 1917); "English Imagination" (Macmillan and Co. Ltd, London; 1918); and "The Springtide of Life" (William Heinemann, London, 1918).
These fundamental decade proved to be no less intense for Rackham, along with suite of illustrations to traditional ballads of his homeland being published in 1919 as "Some British Ballads" (Constable & Co. Ltd, London, 1919). Soon thereafter, his Celtic-inspired suite to accompany the difficult work of Stephens was published in "Irish Imagination" (Macmillan and Co. Ltd, London, 1920). His depictions of scenes from Milton's "Masque of Comus" was published in 1921 as "Comus" (William Heinemann, London; 1921) as well as the following year, his suite to accompany classic work by Hawthorne was published in "Hawthorne's Wonder Book" (Hodder & Stoughton, London; 1922). In 1926, his suite for "The Tempest" - a working that had been delayed for better part of your decade - was published in "The Tempest" (William Heinemann, London; 1926) and two after a few years, his work to accompany classic tale by Irving was published in "The Legend of Sleepy Hollow" (George G Harrap, London; 1928).
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Rackham continued Painter London to become productive across the final decade of his life and commissions published ahead of his death included: "The Night Before Christmas" (George G Harrap, London; 1931); "Poe's Tales of Mystery and Imagination" (George G Harrap, London; 1935); and "Peer Gynt" (George G Harrap, London; 1936). An added suite of illustrations was published posthumously as "The Wind throughout Decorator London Willows" (Limited Editions Club, New York; 1940).
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