A catalogue of the extraordinary arhchive of British illustrator Horace Knowles, famous for his depictions of Fairyland and his edition of The Bible. The catalogue details the extent of the archive offered for sale, which includes over 200 catalogued items comprising over 1,200 original illustrations, Knowles's own copies of his published work, as well as revealing correspondence, his sketchbooks and work relating to his brother Reginald Knowles.
HORACE J. KNOWLES Beyond Fairyland
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HORACE J. KNOWLES Beyond Fairyland The Archive Of An Illustrator
JONKERS RARE BOOKS MMXXI I
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CONTENTS
Introduction Book Illustration
p. 11 p. 23 p. 109 p. 125 p. 129
Annuals & Childrens Magazines Unpublished Illustrative Artwork Music & The Theatre Nature & Topography
p. 135 Religious Commissions & Bible Stories p. 141 Knowles’s Sketchbooks & Personal Pieces p. 153 Reginald Knowles p. 159
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Introduction “I can think of no other artist so capable of feeling.”
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ORACE KNOWLES, DESPITE NOT ACHIEVING THE GREAT COMMERCIAL SUCCESSES OF his contemporaries, was one of the most talented artists of the Golden Age. Once, in a letter begging him to illustrate another of her books, Enid Blyton could “think of no other artist so capable of feeling.” Today, Knowles is remembered chiefly for his timeless depictions of Fairyland and his edition of the Bible, but he was an artist of great versa- tility and ability, reflected in his prolific output over forty years as a profes- sional illustrator. His personal archive, an extensive collection of original illustrations, entire book mock-ups, preparatory sketches and published examples of his work, shows his passion for the beautiful, well-designed book, with watercol- our, line, calligraphy and decoration all executed in his hand. Horace Knowles was the fourth and youngest child in an artistic family. His father Ebenezer Caleb Knowles, who hailed from Worcester- shire and came to London as a young man, was a poet, playwright and mu- sician. Though he never earned enough to live by his art, supplementing his earnings with clerical work, Ebenezer had his first book of verse published when just eighteen years old (much of it having been composed five years earlier) and followed it with three further volumes and a tragic play titled Wild Notes . In later life he taught the violin, and a family biography by Hor-
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Opposite: Photograph of Horace J. Knowles, appended to The Family Of Knowles, by Horace J. Knowles, 1951. Above From Clockwise: “He’s Sharpening The Fiddle” , pen and ink drawing by Horace Knowles of his father, 1912 (Item 202). Photograph of Reginald L. Knowles, dated June 1951 and appended to The Family Of Knowles, by Horace J. Knowles, 1951.
ace notes that he played piano and concertina and “at one particular concert he was presented to the Emperor Napoleon III.” In the autumn of 1875 he married Emma Dece Scutt, about whom little is recorded beyond her com- ing to London from Wareham in Dorset with her sister Sarah. Emma, whose middle name Horace would later give his daughter, taught at the local in- fant’s school and, later, worked as a housekeeper for a local gentleman. The family settled in Poplar, East London. Horace had three elder brothers; a sister, Marion Charlotte, had died in infancy two years before his birth. Charles Francis, the eldest, was born in 1876 and, having attended the Hove School of Art, was the first of the Knowles boys to become an artist. Impaired by disability - for which his mother resigned her teaching job in order to aid his care - he nonethe- less had success, joining his brother Reginald at the Carlton Studio during the First World War and writing a number of self-illustrated short stories. A keen Dickensian, his style varied from that of his brothers, showing the influence of Hogarth and Cruikshank in his period sketches. In spite of aes- thetic differences, Charles had clearly inherited his father’s taste for verse, and contributed some lines for Horace’s early drafts of Peeps Into Fairyland. Reginald was born three years later. After school, he spent some time in his mother’s native Dorset with an aunt and uncle before returning to London to take his first job as an artist. It was at the publishing house of J. M. Dent, where he honed his skills as a designer and illustrator. Horace recalls how Reginald made “countless drawings for the firm and met many
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of the famous artists and writers of the day”. The most lasting of these con- tributions were his distinctive conceptions of cover designs, endpapers, cal- ligraphy and title sections for the Everyman’s Library, the first fifty volumes of which Dent published in February 1906, and were used for thirty years until the duo of Eric Ravilious and Eric Gill updated the series. A third brother, Hubert Knowles, was born in October 1882 and little is recorded of his life. While he did not follow his brothers into artistic careers, he did share Horace’s love of the theatre, starring alongside him in a production of A Midsummer Night’s Dream around 1903. Hubert played Nic Bottom and Horace played Peter Quince, and an illustration by Horace of Nic Bottom, dating from around this time, is present in the archive. Like Horace, his first job after school was for a engineering firm, though while his brother was a draughtsman for the firm, Hubert’s work was clerical and he later went on to work at the Labour Exchange. Horace was born two years later on the 22nd July, by which time the family had moved to 57 Bow Lane, a dwelling converted from Esther Hawes’s seventeenth century almshouses and adjacent to Collier’s, the lo- cal furniture maker. In the evenings after school, along with Charles and Reginald, he took classes at the Craft School in Aldgate at a time when Gilbert Cooke, a disciple of Ruskin, was its principal. During his schooldays, no doubt influenced by his father’s brief foray into playwriting, Horace and his brother Hubert joined a local dramatic society started by Sir Hu- bert Llewellyn Smith, playing first Peter Quince in A Midsummer Night’s Dream and then Doctor Caius in The Merry Wives Of Windsor. As Horace later wrote these performances “fostered a love of acting which was there already, and many times since the artist became actor and portrayed many roles on stage”. This early love of the theatre is recalled in his archive by his costume designs and illustrations for Alice Buckton’s play Eager Heart. After leaving school he was apprenticed as an engineering draughts- man with a Millwall firm called Samuel Cutler and Sons. Remembering this time, Knowles wrote “the least said about this period the better for it was a most unhappy time for the miserable wretch who wanted, most desperately, to draw (but NOT IRON and STEEL THINGS) all the day and not just in the evenings when he was tired.”
Above: Nic Bottom , pen and ink drawing by Horace J. Knowles, 1903 (Item 197). Below: Reginald Knowles’s designs for J.M. Dent’s Everyman’s Library.
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Though he was miserable, the evenings given to illustration estab- lished his stylistic foundations and produced his first published book Legends From Fairyland , drawn throughout 1906 and published in 1907. This illustrat- ed edition of Holme Lee’s popular collection of fairy stories, a collaboration with his brother Reginald, lavishes its pages with head- and tailpieces, initial letters and marginals to accompany the full-page plates and constitutes an excellent example from book illustration’s Golden Age, with friend and col- league Charles Robinson providing the design for the gilt upper cover. Their mother, widowed six years earlier, is the dedicatee of “this our joint attempt in the illustration & decoration of a book.” Three years later Norse Fairy Tales was published, the second product of these evening drawing sessions. Reginald drew the cover illustration, the endpapers and all the colour plates except that of ‘The Blue Belt’, which was designed and executed by both brothers in collaboration. A more artisanal production than their previous work, the vignettes and full-page illustra- tions show Horace’s preference for pen and ink over his brother’s command of watercolour. After the success of his first two books, Horace decided to quit Cutler’s and start up on his own as a full-time freelance artist. His first commission was two illuminated addresses drawn onto vellum and then coloured in gold and full colour, followed by a number of commissions of drawings for church magazines. When war came, Knowles did not enlist until 1916, spending the first two years continuing work on costume design and preparing the body of work which became Peeps Into Fairyland . On entering the army he took the trade test for draughtsmanship and, naturally enough, passed. This had him removed to Bedford and Cardington Aerodrome in the 5th Bedfordshire Regiment, where he would “make drawings for the large rigid airships of the zeppelin type being constructed then.” He remained there from enlist- ment in May 1916 until discharge in January 1919, having remained a private for the war’s duration. Just as he had found time for creativity when em- ployed as an engineer’s draughtsman, he too worked on two commissions for Methuen while a military draughtsman. These two works, a book of fairy verse, Cowslips and Kingcups, by Char- lotte Drewilt Cole, and a colour frontispiece for Among The Innocents by
Above and below: Finished pen and ink drawings by Horace J. Knowles for Legends From Fairyland, 1907 (Items 1-5).
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Austin Latham, developed his trademark use of dashed lines for both the fantastical and the earthly - lending magic to fairy wings, castles and trees alike. The delicate touch of his line draws on illustrations he had already begun work on for his magnum opus Peeps Into Fairyland which would be published four years later. Though evidently executed by the same hand that contributed to Legends From Fairyland , this marks a noted departure from the collaborative work with his brother and the development of a personal style. This style found expression in works published in the postwar years, a prolific period whose publication history began with the two books mentioned above, but had its creative origins much earlier, with preparatory drawings made during the war itself. Work for the most enduring of these, Peeps Into Fairyland , was begun in 1915, some nine years before publication. The archive shows Knowles’s desire for an aesthetic unity across prose, calligraphy, decoration and illus- tration from the book’s infancy in the summer of 1915 until its final deco- rations drawn in 1923. Each page is conceived as an individual creation, and every element of the book has its original design in the archive. Evidently proud of his brother’s work, Reginald Knowles immedi- ately wrote to his publisher J. M. Dent commending Horace’s work to them: “I thought you would like to look through . . . my brother’s new book. It is rather unique in that he has both written & illustrated it, & drawn every scrap of it even to the printer’s
Above: Photographic portrait of Knowles, c. 1917, re- tained by his family. Below: Pen and ink drawing for Pixie-Land , an un- published early project, 1916 (Item 14). Opposite: Finished pen and ink drawings from Peeps Into Fairyland, 1924 (Item 24).
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“It is rather unique in that he has both written & illustrated it, & drawn every scrap of it even to the printer’s mark at end... & there is not an atom of type used anywhere”
mark at end . . . & there is not an atom of type used anywhere. I should like to hear what you think of it.“[14 Dec. 1924] ” Dent’s letter in reply to Reginald is not known, but he was obviously enthusiastic about Horace’s accomplishment as Reginald then wrote two days later: “[16 Dec.] . . . I was sure you would like the book. You say you could tell him some things he wants & I should like him to come along to see you with some of his actual drawings. He is too good an artist & too wise a man to wish to neglect any opportunity that would help him towards perfecting his work. . . .” The style developed in Peeps Into Fairyland was to become a hallmark of Knowles’s creative ambitions, seeking to produce printed books as if they were illuminated manuscripts, with the illustrator taking complete control of the production. His edition of Alice Buckton’s popular Christmas play
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Eager Heart , a most exquisite production published in 1931, followed this method. On its publication, his publishers Elkin Mathews wrote “Mr Hor- ace Knowles has written out and illustrated the text from beginning to end; the work of his pencil replaces printer’s type from cover to cover, and the Publishers believe that the labour, technical skill, and artistic imagination which he has brought in such full measure to the execution of his commis- sion cannot fail to meet with the high appreciation they deserve.” Horace married Laura Mary Pallister, known affectionately to him in his inscriptions and little love notes as “Laurie darling”. The card made by Horace pictured above, drawn for a trip home from wartime service, is one of the many relics of their love in the archive. They had one daughter, Elizabeth Dece Knowles who grew up to be a teacher. Following the coronation of Queen Elizabeth II in 1953, Knowles was commissioned by the Bible Society to produce an illuminated address for the occasion. Meanwhile he was engaged to commemorate the sesqui- centennial of the society by producing some five hundred illustrations and maps for a new edition of the Bible , published in 1954. When the Queen Mother visited Bible House in May 1954 to receive copies of the Knowles Bible for Prince Charles and Princess Anne, Horace was presented to her. The life of the artist in the first half of the twentieth century was
Above: Original pastel drawing and greetings card giv- en by Knowles to his wife, 1917 (Item 278). Illuminated address executed on behalf of The British And Foreign Bible Society for Queen Elizabeth II’s coronation, 1953 (Item 90). Opposite: Correspondence relating to, and one of Knowles sketchbooks for The Bible , 1954 (Item 91).
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not an easy one, and ultimately Knowles’s commissions for great fully-illus- trated books were fewer than his talents deserved. Nevertheless, the works with every element executed by Knowles still number four; Peeps Into Fair- yland (1924), Eager Heart (1931), Countryside Treasures (1946) and The Legend Of Glastonbury (1948). Knowles would confide to fellow Poplar resident A. J. L. Hellicar late in his life that “during his career he had suffered difficulties, disappointments and despair but, in his own words, it had been ‘worth it all in the end’”. Less than a year before his death, in the autumn of 1953, Knowles contributed an article to The Georgian, the magazine of the George Green’s School in East London. It finds Knowles in a reflective mood, but at the age of sixty-nine struggling to find the words to describe the artist’s life. The passage is worth quoting in full: “I wish I could convey to you a little of the joy and peace and satisfaction that the artist has in drawing some of the beautiful things that are about, with as much care, skill and tenderness as he is capable of: almond blossom, say, or a lovely little bud, a cluster of berries, a fallen leaf with its edges beginning to curl up in the most delightful of ways, the markings on a tree trunk, and a thousand and one things.”
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he completeness of the archive catalogued in the following pages, featuring original illustrations from practically all of Knowles’s published work, and its remaining in the artist’s family since his death, explains the absence of his original artwork from modern commerce. There is a corollary ab-
sence of his work held in public institutions and libraries, except for the gift of two small drawings he made to Poplar Central Library in April 1951. The survival of such an archive is most uncommon for an illus- trator of this period. His contemporaries, such as Arthur Rackham and Edmund Dulac, routinely sold their original artwork throughout their own lifetimes, whereas Knowles’s illustrations stayed with him. The opportunity to acquire an unpilfered archive of this type is, perhaps, unique. The following catalogue sets out the contents of the archive in its en- tirety, which include over 1,200 original illustrations by Knowles for pub- lished books, stories in magazines, individual commissions and preparatory sketchwork, offering an extraordinarily broad insight into the illustrator’s creative processes. There are a number of complete original manuscripts for his fully-illus- trated books, including his magnum opus Peeps Into Fairyland , as well as The Legend Of Glastonbury , Countryside Treasures, and My First Book Of Prayers. Here,
Adjacent and opposite: Finished pen and ink drawings for The Months, 1936 (Item 57).
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“I can think of no other artist so capable of feeling and interpret- ing the allegorical and symbolic theme of the book.”
the entire aesthetic design for each page is meticulously laid out on thick, large sheets with the impeccable detail of its finished form. The archive also reflects how Knowles worked industriously to the end of his life. His work on the Bible was comprehensive, with four sketchbooks filled with illustrations, plans, and assiduously checked off lists of events deserving pictorial representation. Equally, the drawings he produced for children’s annuals and magazines number in the hundreds and date from the final decade of his life. As you explore the archive it becomes clear that he forged a path distinct from that of his peers, not merely furnishing much-reprinted stories with a dozen or so colour plates, but instead seeking to create whole books in a sin- gle aesthetic harmony. Those who commissioned and saw his work agreed, and his advocates ranged from J.M. Dent to Enid Blyton. His working re- lationship with the latter spanned two decades, and their correspondence reveals how much Blyton clamoured to find more work for him. Indeed, in March 1942 Blyton had to resort to a pleading tone in convincing Knowles to illustrate The Land Of Far Beyond : “I simply can’t tell you how much I would like you to do it. I can think of no other artist so capable of feeling and interpreting the allegorical and symbolic theme of the book” She was not often given to hyperbole, and spending time in the company of the twelve-hundred illustrations in the archive certainly bears out Bly- ton’s conclusion. Tom Ayling Henley on Thames, 2022
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Book Illustration 1908-1954
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2.
3.
4.
5.
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Legends From Fairyland Narrating The History Of Prince Glee & Princess Trill, The Cruel Persecutions & Con- dign Punishment Of Aunt Spite, The Adventures Of The Great Tuflongbo & The Story Of The Blackcap In The Giant’s Well. KNOWLES, Horace J; KNOWLES, Reginald L.; LEE, Holme Knowles’s first book, a collaboration with his brother, lavishes these Victo- rian tales of fairyland with illustration and decoration on every page. It was drawn in evenings throughout 1906 and 1907 after returning home from his job as an engineer’s draughtsman, and of this time he wrote “the least said about this period the better for it was a most unhappy time for the miserable wretch who wanted, most desperately, to draw (but NOT IRON and STEEL THINGS) all the day and not just in the evenings when he was tired.” Knowles’s style, though not yet fully developed, is distinctive from the illustrations in his brother’s hand. Knowles’s archive retains four of his eight full-page illustrations, as well as headpiece and marginal illustrations, both used and unused: 2. “He Became the Ugliest Cat in all Sheneland” 1906 . Original pen and ink drawing on board. 39cm x 27cm. Initialled and dated by Knowles. Illustration clean, browning to the margins. [32984] 3. “We Have Brought You the Two Little Birds, Aunt Spite” 1906 . Original pen and ink drawing on board. 39cm x 27cm. Initialled and dated by Knowles. Illustration clean, abrasions to the corners, not affecting the drawing. [33013] 4. “The Trial Was Long, Careful & Interesting” 1906 . Original pen and ink drawing on board. 39cm x 27cm. Initialled and dated. Knowles’ signature, date and annotation in pencil to the lower mar- gin. A little spotting to the margins. [33014] 5. “Carried Her Away Through the Wildest Wilds of Elfin Wood” 1906 . Original pen and ink drawing on board. 39cm x 27cm. Initialled and dated by Knowles. Knowles’ pencilled signature to the lower right hand margin. Knowles’ name and address in ink to the verso. Remains of a card mount around the margins. [33015]
1. Legends From Fairyland Chatto & Windus, 1908 . First edition. 8vo. Original red pictorial cloth, decorated in gilt. 351 illustrations. Spine decoration after Reginald Knowles, upper cover design af- ter Charles Robinson. Endpapers, half-title, frontispiece, title page, dedication and nine full page illustrations by Reginald Know- les. Eight full page illustrations by Horace Knowles. Twenty headpieces, seventeen in- itials, fourteen tailpieces, and 275 margin- als, with the work divided roughly evenly between the brothers. A good only copy. Some dampstaining. A couple of the full- page plates coloured in. [39357]
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6. “List Of Illustrations” 1906 . Original pen and ink drawing on board. 13cm x 22.5cm. Initialled by Knowles. Headpiece design, with calligraphic title “List Of Illustra- tions” below. In good condition, with some spotting, particularly heavy to the left side of the image. [40317]
7. Initial Letters And Marginals 1906 . Original pen and ink drawings on board. 28cm x 20cm. Signed and dated by Knowles. In very good con- dition. [40476] Decorated initial and four marginal illustrations from Chapter 15.
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8. “How The Giants Changed Their Mind” 1906 . Original pen and ink drawing on board. 9cm x 21cm. Initialled by Knowles. Headpiece design for the beginning of Chapter 15. In very good condition, the image rather toned though. [40470]
9. Unused Headpiece Illustration 1906 . An unfinished original pen, pencil and ink drawing on board. 18cm x 33cm. Initialled and dated by Knowles. In very good condition. [40484] An evidently unused and unfinished illustration made during the prepara- tions for Knowles’s first book. The chainmail, plated armour and Pre-Raph- aelite profiles of some of the figures gives an Arthurian feel.
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Norse Fairy Tales Selected And Adapted From The Translations By Sir George Webbe Dasent KNOWLES, Horace; KNOWLES, Reginald L. His second published book, like the first, is a collaboration with his older brother. The colour plates are by Reginald, with the exception of the colour plate illustrated opposite, which is a joint collaboration between the broth- ers. Line drawings mainly signed by the relevant artist. In total there are 25 fairy tales, including The Billy Goats Gruff and East of the Sun and West of the Moon . The success of this book, along with that of Legends From Fairyland gave Horace the confidence to leave his job at the firm of engineers and take up illustration as a full-time occupation. 12. Archive Of Original Drawings For Norse Fairy Tales 1907-1910. Fifty-nine (of sixty-one) original pen and ink drawings on board. Mainly either 35.5cm x 24.5cm or 27cm x 19cm. Each piece either initialled or signed and dated by Knowles. Each is also annotated by Knowles, either in the margin or on the verso, giving the title of the piece. [32986] Illustrated overleaf. 13. “It Flew Up To The Sandhill and Flapped Its Wings” [c.1910]. Original pastel crayon artwork on board, with card mount. Image 29cm x 19cm. Initials of Horace and Reginald Knowles to the lower left hand corner. [32985]
10. Norse Fairy Tales Freemantle, 1910. First edition. 8vo. Beautiful pictorial cloth fully illustrated in colour in the original dustwrapper with drawings in dark green to both upper and lower panel, printed price of 6/- net to the spine. Own- ership signature of Horace Knowles to the verso free endpaper. Double page pictorial endpapers, colour frontis, colour illustrated title page and 6 colour plates. There are also lots of line drawings, some full page, one of which has been neatly hand coloured in. A very good copy in remnants of dustwrap- per. [32930] 11. Norse Fairy Tales Lippincott, 1910. First American edition. 8vo. Identical to UK edition except for having Lippincott printed at the bottom of the spine and no printed price. A near fine copy in a very good dustwrapper, a couple of line drawings coloured in. [32929]
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Selections from the fifty-nine pen and ink drawings for Norse Fairy Tales present in the archive ( 12. )
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Pixie-Land KNOWLES, Horace J; KNOWLES, Charles A beautiful series of unpublished illustrations for a project titled ‘Pixie-land’. Mostly drawn between 1916 and 1918, the designs accompany poetry by his brother Charles Knowles, and are the early signs of the distinctive artistic style and vision that would reach its maturity in Peeps Into Fairyland (1924). 14. Pixie-Land : Original Ink Drawings [c.1916-1918]. Twelve original pen and ink drawings on paper. Mainly 39cm x 28cm, one sheet mounted on board. Some signed and dated by Knowles. Some with Knowles’s pencilled instructions in the margins. [33033]
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Cowslips And Kingcups COLE, Charlotte Druitt; KNOWLES, Horace J. Knowles’s style in his first post-war commission from Methuen is notably developed from his earlier published work, and one starts to see the dashed outlines and fairy wings and long elegantly drawn trees that later become trademark in his fairy illustrations. Cole’s fairy poetry proves to be the perfect impetus for developing this style, with ample opportunity to draw bands of winged fairies alongside animals, wooded glades, and castles in the sky. 16. Cowslips And Kingcups : Eight Original Ink Drawings 1920 . Eight (of fourteen) original pen and ink drawings on paper. Each of the five full page drawings (approx 40cm x 29cm) are signed and dated by Knowles. One page of vignettes and illustrations in the text. All are annotat- ed by Knowles in pencil, with printers’ instructions. Full page drawings are titled in pen by Knowles. [32987]
15. Cowslips And Kingcups Methuen, 1920 . First edition. 8vo. Brown cloth with dark brown lettering. Colour frontis and fourteen line drawings by Hor- ace Knowles. A very good copy. [32927]
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Among The Innocents KNOWLES, Horace J; LATHAM, Austin Also commissioned by Methuen was a watercolour to be used as the fron- tispiece for a collection of Austin Latham’s poems for children titled Among The Innocents . The watercolour, of which a preparatory version survives in his archive and is pictured opposite, illustrates the fairy poem ‘A Mother’s Rapture’ 18. Original Preparatory Watercolour 1920. Original preparatory watercolour on card. 38cm x 27cm. Signed and dated by Knowles to the lower right hand corner. Knowles’s pencilled in- structions to the printers in the margins. Additionally Knowles’s name and address pencilled in to the lower margin. Title of the piece in ink by Know- les. [32953]
17. Among The Innocents Methuen, 1920 . First edition. Navy blue cloth with lettering and decoration to the spine and upper board in gilt. Colour frontispiece by Horace J. Knowles. A near fine copy. [37792]
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Hans Andersen’s Fairy Tales KNOWLES, Horace Around the time that Knowles was finishing up his work on Peeps Into Fairy- land , this remarkable, bound, illustrated manuscript for Hans Andersen’s Fairy Tales seems to have been his next planned project. It provides a precious insight into his working process and his belief in the fully illustrated book, with decoration on every page and each line of planned type accommodat- ed for by the artist in his scheme. Intended to contain eighteen of Ander- sen’s stories, this mock up provides illustrated titles, headpieces and other illuminations for The Tinder Box and The Little Mermaid . He also completed a large original watercolour for the project, which appears in the maquette as a preparatory crayon sketch. 19. Maquette Of An Unpublished Book 1923 . Unpublished. 4to. 25.5cm x 19cm. Mock up for an edition of Ander- sen’s Fairy Tales, Bound note book with paper covered boards painted in black. Double page pictorial endpaper design, with Horace J. Knowles name and address pencilled into “this belongs to” box. Signed and dated 1923 in the lower left hand corner of the front pastedown. Ink drawings for the half title and initial page designs. Ink design and lettering for the title page. Fron- tis drawing in coloured crayon with caption for The Red Shoes. A further crayon drawing in colour for The Little Mermaid. Other page mock ups in- clude: contents, list of illustrations, story headings with line drawings, some text pages. Double page pictorial front endpapers, lettering, decoration, and illustrations in embryonic form. [33010] Includes two hand written sheets: 1) Details of The Tinder Box, with Knowles’s ideas for the number and style of illustrations and, to the verso, rough sketches for two illustrations. 2) “This is the Story I would like to make into a Book I thought it better not detach it from the other pages after all” (presumably this refers to The Tinder Box). 20. “Her only consolation was to be with her beautiful marble statue” [1923] . Original watercolour for Hans Andersen’s Fairy Tales. 56cm x 41cm. Signed by Knowles to the lower left hand corner. Glazed and framed. Image depicts a scene from The Little Mermaid. A fine copy, clean and bright. A crayon sketch of this image appears in the maquette. [33008]
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The Land Of Goodness Knows Where KNOWLES, Horace J.; PEDLEY, MURIEL The first major commission for Knowles from George Newnes, for whom he would draw hundreds of illustrations over the following thirty years, was Muriel Pedley’s Alice In Wonderland-inspired The Land Of Goodness Knows Where. Drawn towards the end of the long period while he was working on Peeps Into Fairyland , his dashed mountains and spindly fairies neatly foreshad- ow the publication of his great work the following year. 22. Eight Original Drawings For The Land Of Goodness Knows Where 1923 . Eight (of twenty-one) original pen and ink drawings on paper. From 30cm x 25cm to 10cm x 10cm. All are either signed or initialled by Knowles, and a few are dated 1923. Knowles’s instructions to the printers in pencil to the margins. [32989]
Inscribed To The Artist’s Wife 21. The Land Of Goodness Knows Where George Newnes Ltd., [1923] . First edition. 8vo. Salmon pink cloth lettered in black. In- scribed by Knowles to his wife on the front pastedown “To My Laurie Girl Christmas 1923”. Colour frontis, eight full page black and white illustrations and eleven drawings in the text, by Horace Knowles. A very good copy. [32952]
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Peeps Into Fairyland KNOWLES, Horace J. This book is Knowles’s undoubted tour de force, with every aspect of the book designed and executed by his hand. The text is presented in a decorative calligraphic style, each word carefully hand drawn by Knowles and in some cases fairy folk and elfin messengers intermingle with the text. There are delicate line drawings of ethereal fairies, leaves floating across pages, gossamer cobwebs hang on the page to provide fairy beds, all combining to make the reader feel as though their eyes have been rubbed with fairy magic. Chapter headings such as “The Way to Fairyland”, “The Home of Fairy Babies” and “ How Fairy Rings Are Made” hint at the magical journey the reader will make. Knowles’s drawings make frequent use of dashed lines giving a wonderful feeling of movement to the fairyland scenes. His figures are dressed in luxuriously patterned fabrics and coloured harlequins and the borders are frequently decorated with Art Nouveau style trees and figures. Reginald L. Knowles had designed covers and title pages for Dent’s Everyman Library series and had used his contacts there to implore Dent to consider publishing his brother’s future work on the back of Peeps’s tri- umph. Following its publication in November 1924, Reginald wrote to Dent: “[14 Dec. 1924] I thought you would like to look through . . . my brother’s new book. It is rather unique in that he has both written & illustrated it, & drawn every scrap of it even to the printer’s mark at end . . . & there is not an atom of type used anywhere. I should like to hear what you think of it. . . .” “[16 Dec.] . . . I was sure you would like the book. You say you could tell him some things he wants & I should like him to come along to see you with some of his actual drawings. He is too good an artist & too wise a man to wish to neglect any opportunity that would help him towards perfecting his work. . . .” Perhaps the highlight of Knowles’s archive, with the finished illustrations for every single page of the book, as well as finished designs for the covers and dustwrapper, and each of the original watercolours for the six full-page colour plates all present. 24. Complete Archive Of Original Manuscript And Drawings 1915-1923. Complete archive of the original manuscript for Peeps Into Fair- yland. Eighty-four sheets, chiefly 39cm x 28cm. Each piece either signed or initialled by Knowles, and most are dated from between 1915 to 1923. [32982]
A Gift For His Wife
23. Peeps Into Fairyland Thornton Butterworth, 1924. First edition. Large 4to. Pale tan coloured cloth with gilt letter- ing and vignettes. In the original pictorial dustwrapper, with original printed price of 15 shillings net. The this belongs to box has been completed by Horace Knowles with his wife’s name, Laurie M. Knowles, 1925 and loosely inserted is a Christmas card, with Knowles’s design in colour to the upper cov- er and the hand written dedication, “Horace to Laurie darling xxx for the Very Happiest Christmas.” Pictorial endpapers and line drawings on each of the 92 pages. There are six full page colour plates which are detailed and have an Art Nouveau feel to them. A very good example of this rare fairy book, occasional light foxing. The dustwrapper is in near very good condition with a couple of shallow chips. [32907]
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25. “The Fairy Musicians” 1922. Original watercolour painting on board. 37cm x 27cm. Signed and dated by Knowles to the lower left hand corner. [32980] This painting is the dustwrapper artwork and is reproduced on page 49 of Peeps into Fairyland.
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26. “Elves make the most beautiful armour for Fairy Queen’s Knights” 1923. Original watercolour on board. 38cm x 27cm. Signed and dated by Knowles to the lower right hand corner. [32975] Painting used as the frontispiece for Peeps into Fairyland.
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27. “The Land of Splendid Dreams which is on the way to Fairyland” 1923. Original watercolour painting on board. 37cm x 27cm. Signed and dated by Knowles to the lower right hand corner. [32977] Painting used on page 19 of Peeps into Fairyland.
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28. “Fairies take Morning Dew from the Flowers to make the Queen’s clothes” 1922. Original watercolour painting on board. 36.5cm x 26.5cm. Signed and dated by Knowles to the lower right hand corner. [32978] Painting used on page 31 of Peeps into Fairyland.
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29. “Fairy Queen will send some of her Elf Messengers to invite you” 1922. Original watercolour painting on board. 37cm x 26.5cm. Signed and dated by Knowles to the lower left hand corner. [32976] Painting used on page 61 of Peeps into Fairyland.
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30. “They hang the Leaf Cradle by Cobwebs from a tree” 1922. Original watercolour painting on board. 37.5cm x 27cm. Signed and dated by Knowles to the lower right hand corner. [32979] Painting used on page 73 of Peeps into Fairyland.
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Enid Blyton Book Of Fairies KNOWLES, Horace J.: BLYTON, Enid Knowles’s next commission from George Newnes was for forty-nine line drawings to illustrate a book of poems and stories of fairyland by the young and, at that time, little known author Enid Blyton. The stories and illustra- tions were then reproduced ten years later in News Chronicle’s Boys And Girls Story Book No.2 . 33. Forty Two Original Drawings For The Enid Blyton Book Of Fairies 1924 . Forty two (of 49) original pen and ink drawings on paper. One has a delicate colour wash. Mainly 31cm x 25cm.. All are initialled or signed and dated by Knowles. In the margins are Knowles’s pencilled instructions to the printers plus his titles for each drawing. [32990]
31. The Enid Blyton Book Of Fairies Newnes, 1924. First edition. 4to. Red cloth spine and pictorial paper covered boards. With ownership signature of Horace J. Knowles and date of 1924 on the front past- edown. Upper cover illustration and col- our frontis by Lola Onslow. Line drawings throughout by Horace Knowles, including a fold out map. A very good copy indeed. [32918] 32. Boys And Girls Story Book No.2 News Chronicle, [1934]. First edition. 4to. Red cloth spine and paper covered boards with colour illustration by Ernest Aris. The first story illustrated with one colour plate and line drawings by Kathleen Nixon. The sec- ond story has one colour plate by Lola On- slow and many line drawings by Horace Knowles, plus a fold out map of The Land of the Fairies printed in blue. A good copy. [32928]
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Christ Legends Translated from Swedish by Velma Swanston Howard KNOWLES, Horace J.; LAGERLÖF, Selma
This most attractively designed book of Christian legends marks the begin- ning of Knowles’s relationship with Elkin Mathews & Marrot, for whom he would illustrate five books over the next three years. The twelve full-page drawings, of which one is present in Knowles’s archive, serve as the frontis- piece and the opening illustration to each story. Knowles’s line is typically intricate, with dreamlike visions cast in dashed figures, and exceptional de- tail in his furnishing of flowers, grasses and animals around the principal figures. 35. “The Emperor’s Vision” 1930. An original ink drawing on board used on page 12. to accompany the story The Emperor’s Vision. 27cm x 18cm. Signed on the lower right hand corner. The image is in very good clean condition, with pin holes to the outer margins of the board. [40603]
34. Christ Legends Elkin Mathews & Marrot Limited, 1930. First edition. 8vo. Blue cloth with red lettering and vignettes. White dustwrapper with design printed in blue to the upper panel. Printed price of 8s 6d. net to front flap. Twelve full page black and white drawings, plus numerous line drawings in the text. The book is a near fine copy in near fine dustwrapper. [32931]
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Eager Heart A Christmas Mystery Play KNOWLES, Horace J.; BUCKTON, Alice .M.
Knowles’s love for the theatre begun at a young age when he fostered an interest both for acting and costume. Morality plays were popular, and one such play was Alice Buckton’s Eager Heart and he drew and painted his cos- tume designs for these in 1923. When it came to publishing an illustrated edition of the play in 1931, Knowles was the natural choice. The publishers had high praise for this fully-illustrated masterpiece, saying “Mr Horace Knowles has written out and illustrated the text from beginning to end; the work of his pencil replaces printer’s type from cover to cover, and the Pub- lishers believe that the labour, technical skill, and artistic imagination which he has brought in such full measure to the execution of his commission cannot fail to meet with the high appreciation which they deserve.” 37. Eight Original Drawings For Eager Heart [1931]. Eight original pen and ink drawings and calligraphic text on paper. Six sheets 39cm x 28cm. Endpapers 53cm x 37cm. Drawings either initialled or signed by Knowles . [32992] 38. Eager Heart : Costumes Designed For The Christmas Play 1923. Unpublished. 4to. Brown card wrappers with title label pasted onto the upper cover. Twelve original colour drawings on paper. Each page signed and dated by Knowles. [32996] Illustrated overleaf.
36. Eager Heart Elkins Mathews & Marrot Ltd., 1931 . First edi- tion illustrated by Knowles. Edition de Luxe 4to. Full white vellum, lettered and decorat- ed in gilt on the spine and upper cover, in original printed dustwrapper, with a price of 21/- net on the front flap. Annotated by Knowles on the copyright page “Of fifty special signed copies this is no. 12”. Signed by Knowles and Alice Buckton. Pictorial endpapers. Illustrated throughout in black and white by Horace Knowles. A very good copy, offsetting to the endpapers, in a very good dustwrapper which has browning to the spine and extremities. [32991]
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My First Book Of Prayers KNOWLES, Horace J. A beautiful and compact example of Knowles’s aesthetic ideals, with everything that appears in the book, from endpaper to endpaper, executed in Knowles’s hand. It was originally printed in 1932 and by 1948 was in its eighth edition. 40. Complete Archive Of Original Drawings 1932 . Complete archive of the original artwork. Each page with either Knowles’s initials or signature. Twenty three original pen and ink drawings used in the book, which includes full page drawings, drawings in the text, calligraphic text and one amended image. Most sheets 30cm x 25cm. All images in very good condition and most with the artist’s annotations and instructions to margins. [32954]
39. My First Book Of Prayers Athenaeum Press, 1948. Eighth edition. 16mo in eight. Original orange paper covered boards, with title label to the upper cover. Every page illustrated by Knowles, includ- ing pictorial endpapers, full page drawings, drawings in the text, and calligraphic text. A very good copy. [40604]
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The Beacon Books - A Book Of Thoughts Series KNOWLES, Horace J. Knowles produced these three books for Elkin Mathews & Marrot in 1932. Each is a collection of quotations pertinent to the titular theme, and both the calligraphy and illustration of each selection is executed in Knowles’s hand. 44. A Book Of Thoughts On Courage : Original Artwork [1932]. Original pen and ink drawings and calligraphic text on paper. Twen- ty four sheets 24cm x 31cm, plus three smaller sheets. All either signed by Knowles.. Includes two unused drawings for “A Testament of Valour”. [32998] 45. A Book Of Thoughts On Hope : Original Artwork [1932]. Original pen and ink drawings and calligraphic text, on paper. Twenty one sheets 25cm x 31cm. One smaller. Two endpaper designs 50cm x 31cm. All sheets either signed or initialled by Knowles. One page includes a pencil sketch of a hand in the margin. Includes a preliminary sketch on tracing paper, and two unused drawings.. [33000] 46. A Book Of Thoughts On Friendship : Original Artwork [c.1932]. Original pen and ink drawings and calligraphic text, on paper. Twenty one sheets 25cm x 31cm. Two smaller. Front endpaper design 50cm x 31cm. All sheets either signed or initialled by Knowles. [33002]
41. A Book Of Thoughts On Courage The Beacon Books No. 1 Elkin Mathews & Marrot, 1932 . First edition. 8vo. Black buckram spine, with black paper covered boards, lettered and decorated in orange. Double page pictorial endpapers, line drawings, decorative initials and cal- ligraphic text by Knowles. A near fine copy, lightly rubbed at the corners. [32997] 42. A Book Of Thoughts On Hope The Beacon Books No. 2 Elkin Mathews & Marrot, 1932 . First edition. 8vo. Red cloth spine, with black paper covered boards, lettered and decorated in fuschia. Knowles’s ownership signature to the half titles. Double page pictorial endpa- pers, line drawings, decorative initials and calligraphic text by Knowles. A very good copy. [32999] 43. A Book Of Thoughts On Friendship The Beacon Books No. 3 Elkin Mathews & Marrot, 1932. First edition. 8vo. Black buckram spine, with black paper covered boards lettered and decorated in green. Inscribed by Knowles’s eldest broth- er, “Mr Charles S Cadman, from Charlie with every good wish, March 25th 1933.” Double page pictorial endpapers, line draw- ings, decorative initials and calligraphic text by Knowles. A very good copy. [33001]
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Further original illustrations by Knowles from the Beacon Books se- ries (1932).
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47. “Hope To The Last!” 1932. Original pen and ink drawing on paper, with a calligraphic quote from Dickens underneath the illus- tration. 17cm x 13.5cm. Signed by Knowles, with his name and address to rear. An unused illustration from A Book Of Thoughts On Hope. In very good condition. [40304] A charming illustrated quotation from Nicholas Nickleby . 48. A Collection Of Illustrated Initials 1932. Ten original pen and ink draw- ings of initials. Each 7.5cm x 7.5cm. Each initialled by Knowles. In very good condition [40436] These drawings were used as initials in the three books Knowles illustrat- ed for Elkin Mathews in 1932 as part of the ‘A Book Of Thoughts’ series.
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For A Little Child Like Me KNOWLES, Horace J.; STIRLING, John This collaboration with the author John Stirling furnishes an ‘Alphabet Of The Life Of Jesus’ and life stories of twelve saints with detailed and distin- guished line drawings. Attractively produced, bound in quarter white cloth and printed in black and red, the book takes the child through the life of Jesus from the appearance of the Angel, to the promise of Zion. The drawings to illustrate twelve lives of saints, one for each month of the year, are particularly noteworthy and almost Beardsley-esque. Indeed, Knowles had the original drawings of Saint Monacella and Saint Francis framed to hang in his home. 51. Archive Of Original Artwork Ivor Nicholson and Watson, 1934. Fifty-six (of fifty-nine) original drawings used in John Stirling’s book. Mainly 30cm x 24cm. Some wonderfully at- mospheric images, including a nativity scene. Comprising full page draw- ings, vignettes, title page, half-title, and frontispiece designs. All images in very good condition and most with the artist’s annotations and instructions to margins. [32932]
Presentation Copy From Author To Artist 49. For A Little Child Like Me Ivor Nicholson and Watson Limited, 1934. First edition. Quarter white cloth, orange cloth boards, spine titles and upper cover deco- rated gilt. Glassine dustwrapper with print- ed price of 5/- net (fragments only of jacket present here). Signed by John Stirling to the front free endpaper. Line drawings to end- papers. 52 pages with many line drawings. Black and white frontis piece portraying the nativity. A near fine copy. [32933] 50. For A Little Child Like Me Scribners, 1934. First American edition. 8vo. Turquoise blue cloth with paste on labels printed in brown to the spine and upper cover. Pictorial dustwrapper, reproducing frontispiece to upper panel. Pictorial end- papers. Fifty-nine pages, most with black and white line drawings. A very good copy in very good price clipped dustwrapper. [37880]
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The Sermon On The Mount KNOWLES, Horace J. Knowles’s second book for Ivor Nicholson and Watson, following the suc- cess of For A Little Child Like Me the previous autumn. As before the book is beautifully produced, printed in red and black, and features chiefly large and exquisite drawings. The publishers were moved to comment that “not only are the drawings perfect examples of the artist’s craftsmanship but by them Mr Knowles has shown many phases of our Lord’s teaching in a new and searching light.” 55. Archive Of Original Artwork Twenty-five (of 31) original pen and ink drawings used in the book, plus two unused images. Mainly 39cm x 29cm. Full page drawings are signed by the artist, whilst smaller drawings are initialled HK. Includes seven full page drawings, designs for initial letters, title page and frontispiece designs. All images in very good condition and most with the artist’s annotations and instructions to margins. [32939]
Presented To His Daughter 52. Sermon On The Mount Ivor Nicholson & Watson Limited, 1935. First edition. 4to. White cloth spine titled in gilt, orange cloth boards with gilt vignette. Beige dustwrapper printed in red, price of 3s 6d net to front flap. Inscribed by the artist for his daughter “To Beth with love from Daddy, Christmas 1935” and signed by Horace Knowles on the half title. Pictorial endpapers, decorative initials printed in red. Frontispiece plus eleven full page black and white drawings. A very good copy, boards slightly discoloured, though contents and dustwrapper in excellent condition. [32936] Presented To His Brother 53. Sermon On The Mount Ivor Nicholson & Watson Limited, 1935. First edition. Inscribed by the artist for his brother “To Charlie with love from Horace, 11 December 1935” and signed by Knowles on the front free endpaper. [32937] Pre-Publication Proof Copy 54. Sermon On The Mount Ivor Nicholson & Watson Limited, 1935. Proof of the book. Printed card wrappers lettered in black. 4to. A very good copy, light wear to the spine . [32938]
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Author’s Copy With Correspondence And Ephemera 56. The Months Ivor Nicholson & Watson Limited, 1936 . First edi- tion. 4to. Green cloth with gilt titles and vignette. Tan dustwrapper printed in green, price of 8s 6d on front flap. 74pp. Printed dedication “To Laurie my wife”. Ownership signature of Horace J. Knowles to half ti- tle. Pictorial endpapers, with double page scene printed in green. 74pp. Frontispiece in black and white, plus 12 further full page drawings and many smaller drawings in the text. A fine copy in a chipped dustwrapper. [32940] Accompanying the book: i) typed letter in original envelope from publisher Graham Watson, dated 1936. The letter praises the drawings prepared for the volume, “some of the most beautiful work which you have done and something in which you will take an everlasting pride.” ii) draft reply from Knowles to Watson, written in pencil and with some modifica- tions, “it is indeed a very great satisfaction to me and compensation for the amount of work I have put in to learn how much they are appreciated”. iii) ALS to Knowles from Adela Greensheet, dated 18th January 1937 expressing sym- pathy at the passing of Knowles’s broth- er (Charles?). On the reverse of the paper Knowles has made notes in pencil, which seem to be listing reviews of the book. iv) collection of newspaper clippings bear- ing reviews of the book, all complimenta- ry and most praising the artist’s masterly drawing of trees.
The Months Descriptive of the Successive Beauties of the Year, by Leigh Hunt with drawings by Horace J. Knowles KNOWLES, Horace J.; HUNT, Leigh Knowles’s third successive book for Ivor Nicholson and Watson in as many years was this illustrated edition of Leigh Hunt’s musings on the changing beauties of nature throughout the year. The reviews in the press were so positive and multiple that Knowles was moved to place cuttings of many of them inside his personal copy. The reviewer for the Scotsman wrote: “Mr Knowles’s beautiful pen and ink drawings have a rare decorative qual- ity, and his fine, yet sensitive and vigorous line, and his exquisite use of detail are shown here to advantage. He has a rare feeling for trees, which are drawn to every stage from the bare tracery of leafless boughs to the rich masses and flowing curves of summer foliage.” (The Scotsman, Dec. 1936). 57. The Months : Original Ink Drawings 1936. Forty nine (of 65) original pen and ink drawings on paper. Most sheets 38.5cm x 28.5cm. Every drawing is either signed or initialled by Knowles. Pencilled instructions from Knowles to the printers in the margins. Ar- chive kept in a cream folder, annotated by Knowles in pencil, listing the contents. [33011]
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