This tab assembles information about the numerous illustrators of Lucile, placing their work in chronological order by date of appearance.

Lucile was first published in 1860; it was first illustrated in 1868 in an edition with text printed in Boston and 24 illustrations commissioned from George Du Maurier by Chapman & Hall and printed in England. Copies bound in England were then distributed by Chapman & Hall; those bound in Boston were distributed by Ticknor & Fields. There seems to have been a single Englsh edition with these plates, but Ticknor & Fields and its successor firms reprinted it numerous times.

Because the plates were printed and published in London, they enjoyed no copyright protection in the U.S. Consequently Du Maurier's images were used by American reprint publishers as early as 1877 (cf. Adams, Victor & Co.), sometimes re-engraved (as here) but more often photographically reproduced. Use of these illustrations by U.S. reprinters continued until at least 1920.

Since the Du Maurier plates were familiar to a large part of Lucile's readers, they are all reproduced here. Images of other, specifically and independently illustrated, U.S. editions are outlined below but are (or will be) linked to independent pages. Please note that not all illustrated editions are listed here; many reprint publishers, among them Altemus, Burt, Caldwell, and Hurst, pulled in illustrations from multiple sources on a seemingly ad hoc basis and prove difficult to describe (though some information is available on each of these publisher's pages).

Luciile's text was set in print between 50 and 75 times, so although stereo- and electroplates were widely used, page numbers nonetheless vary widely among editions. To find the text each image illustrates, click on the image to load the "large" version. Information is then entered in the caption as:

(a): The number of the page in the 1868 edition to which the plate has been inserted (i.e., the page it opposes). Even page numbers indicate the illustration is shown on an opposing recto whose verso is blank. Odd page numbers similarly indicate the illustration is on a verso facing the page. The blank rector faces the text page with one number lower.
(b): Part (I or II)/Canto (I-VI)/Verse (I-XVI). For example, I/II/IX = Part I, Canto II, Verse IX. Line number(s) are not cited but usually can be easily located.
(c): Text of Du Maurier's caption (if there is one); or text (partially) quoted.
(d): Explanatory note, bracketed.

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The second (and last) illustrated English editions used sheets of James R. Osgood's 1881 "Holiday Edition," as well as his later reduced-size editions, which were issued by Kegan Paul, Trench & Company.

James R. Osgood, 1881. "Holiday Edition" with lead illustrations by Mary Hallock Foote; E[dward] H. Garrett; E[dward] P[arker] Hayden; L. S. Ipsen; F. E. Lummis; Thomas Moran; J. E. Palmer; Granville Parker; F. B. Schell; W[illiam] L[add] Sheppard; James D.[avid] Smillie [1833-1909]; F. Hopkinson Smith; W. P. Snyder; and A[lfred] R[udolph] Waud (1828-1891); the engravings by [Varick Stout] Anthony, [John] Andrew & Son, [Victor L.] Chandler [Co., Engraving on wood and electrotyping], W. B. Closson, and other well-known engravers. For an informative biography of Taylor, see William Ladd Taylor (1854-1926), American Illustrator.

Marry Hallock Foote was a popular American illustrator who had moved from New England to Idaho by the time Osgood commissioned 12 full page drawings from her. A talented middle class woman who had not traveled in Europe, Foote knew little about the dress and demeanors of Meredith's characters and struggled with the assignment, completing just five full page illustrations (including a frontispiece) before resigning it. Foote's illustrations, and many of those by others, were reproduced in reduced size in Osgood's smaller and less expensive Tremont and Pocket editions.

Not all of the illustrations have been scanned, but a prefaced "List of Illustrations" gives a good impression of their range (click image to enlarge):

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T. Y. Crowell & Co., 1883. British Poets, Favorite Illustrated Edition. Designs by [William Ladd] Taylor, [F. T.] Merrill, [John Douglas] Woodward, [F. B.] Schell, [Robert Swain?] Gifford, [Edward H.] Garrett, [Edward Parker] Hayden, and others; engraving by George T. Andrew.

White, Stokes & Allen, 1886. Family edition. Illustrations by H[enry Newell] Cady (1849-1935), the poem being enclosed within graceful decorative borders printed in tints and designed by W[illiam] St. John Harper (1851-1910).

T. Y. Crowell & Co., 1888. Family Edition: [F. T.] Merrill, [Charles] Copeland, Edmund H. Garrett, et al. Crowell copyrighted the plates used in this edition "1883 & 1885". The text is printed on sheets pre-printed with floral borders in "tints," i.e., soft brown and green.

Houghton, Mifflin & Co., 1890. Family Edition. Houghton Mifflin copyrighted the plates used in this edition "1881 by James R. Osgood & Co.", i.e., selected plates taken over from the Holiday Edition following Houghton Mifflin's acquisition of Ticknor & Co. (which had earlier absorbed James Osgood & Co.).

F. A. Stokes & Brother, 1889. Vignette Edition, 100 new half-tone engravings by Frank N. Gregory. Only ten of the 100 half-tone illustrations in this edition were full-page, with the other 90 of varying size "set in the text in an artistic manner," all by illustrator Frank M. Gregory. This edition was continued by Frederick A. Stokes Co. in a large array of bindings, and sheets were also sold to other publishers, notably James Pott & Co. and Dodge Publishing Company.

Estes & Lauriat, 1893, a "holiday" edition. "Imperial 8vo" in size, with a frontispiece portrait of Lucile by W. L. Taylor plus "photogravures from landscape views and photographs of the scenery and localities mentioned in the poem."

Frederick A. Stokes Company, 1893. This folio edition carried "twelve [full page] fac-similes of water-color paintings," 12 half page half-tone drawings and a number of smaller illustrations by American artist and illustrator Thomas McIlvaine. It also carried over many of Gregory's half-tone drawings from the "Vignette Edition." Stokes also published the water-colors separately in the form a calendar.

Frederick A. Stokes Company. 1897. Another folio "Deluxe" edition, with title page designed by the prominent designer Will H. Bradley and binding by Amy Richards, this also contained chromolithographs of 12 paintings by popular French water-colorist Madelaine Lemaire and incorporated 100 half-tone engravings by C. McCormick Rogers. At the same time, Stokes issued a smaller format trade edition, with a reduced-size version of Bradley's title page and his binding design, entirely different from the deluxe edition; in this edition the Lemaire plates were printed in half-tone. The lithographic plates were also issued as a calendar.

Rand McNally & Co.. 1906-1907. American ilustrator, caricaturist, and editorial cartoonist W[illiam] W[allace] Denslow (1856-1915), now best remembered for his illustrations for L. Frank Baum's Wizard of Oz books, was commissioned to create title page designs (and perhaps binding designs) by the Chicago publisher Rand McNally & Co. He did not fully illustrate Lucile but designed the title page -- and almost certainly the binding -- for its 1906-1907 Full Leather Library Editon. Though not signed, design work in other editions seems very much like his known work.

Last revised: 27 November 2019