Nature
Untitled, 1896
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Beauty and the Beast at supper (illustration for Beauty and the Beast), c. 1875
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from Boyle’s 1875 retelling of Beauty and the Beast, a fairy tale where a woman is imprisoned by a monster and falls in love with him. Unlike other illustrated versions before or since, Boyle gave her beast walrus-like tusks and flippers. In several of her illustrations, Boyle used shell gold – a mixture of finely ground gold powder and gum arabic (tree sap) that would have been stored in a shallow seashell. In the final publication, the caption for this illustration reads, "After supper, every night, the Beast asked Beauty to be his wife: every night she said him nay."
Untitled (Haddo House), Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled (Napoule), Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled, Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled (illustration for Child's Play, 'Little boy blue'), c. 1851
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from her first book, Child’s Play (1851). Boyle provided her publishers with black and white drawings that were then converted into etchings by the printer. These were later reproduced as lithographs, in colours chosen by Boyle.
![Teremok [The cabin]](https://cdn.sanity.io/images/n83t80i6/production/f9ec00295d1de824a94cc9766b91be8edf5b57ff-1624x2000.jpg?auto=format&fit=max&q=75&w=1624)
Evgenii Charushin , Teremok [The cabin], 1931
Evgenii Charushin (1901-1965) was an illustrator and author, known for his children’s books on nature and animals. He said, “More than anything else, I love to depict young animals, touching in their helplessness and interesting, because within them one can already see signs of the full-grown beast.” This book is a cumulative story about a hole in an oak tree that is inhabited by a series of different animals as it gets bigger. It was published in Leningrad (Saint Petersburg), Russia at a time when children’s books became a mass media phenomenon. Over a ten-year period, almost 10,000 titles were published in several editions of up to 200,000. Many of these books took experimental approaches to storytelling, design and layout.
Untitled illustration for Jackanory (Just So Stories: The Butterfly who Stamped) , 1973
Janina Ede (1937-2018) created covers and illustrations for over 100 books in the 1960s, 70s and 80s. Many of her illustrations feature animals, which she drew from life. In the 1970s, Ede was commissioned to create large colourful illustrations for the BBC children’s television series, Jackanory. Each episode was dedicated to a story read by an actor, while specially commissioned illustrations were shown on screen during each programme. Some of these illustrations were for programmes featuring stories by author Rudyard Kipling. His ‘Just So’ stories were short tales that imagined how various animals attained their distinguishing features. Kipling set the stories in parts of India, West Asia and Africa. His descriptions of places and people included racist and exoticised stereotypes. Ede’s illustrations draw extensively on Kipling’s descriptions, and therefore reflect the racism in his work, as well as the prevailing stereotypical views that existed in 1970s Britain. Her own personal views are not documented. This storyboard illustration was produced by Janina Ede for Jackanory episode #1453, 'Just So Stories - The Butterfly that Stamped'. It aired on 4 January 1973.
Untitled (illustration for Child's Play, 'O That I Were Where I Would Be'), c. 1851
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from her first book, Child’s Play (1851). Boyle provided her publishers with black and white drawings that were then converted into etchings by the printer. These were later reproduced as lithographs, in colours chosen by Boyle.
Untitled (draft illustration for Child's Play, 'Little boy blue'), Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This draft illustration was finalised and featured in her first book, Child’s Play (1851).
Untitled (Ruined Farm), 1863
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
![Raznye Zveri [Different Beasts]](https://cdn.sanity.io/images/n83t80i6/production/4842f601d9ba1427cd6013f75b3d855946b271f9-1795x2381.jpg?auto=format&fit=max&q=75&w=1795)
Evgenii Charushin , Raznye Zveri [Different Beasts], 1931
Evgenii Charushin (1901-1965) was an illustrator and author, known for his children’s books on nature and animals. He said, “More than anything else, I love to depict young animals, touching in their helplessness and interesting, because within them one can already see signs of the full-grown beast.” This book shows a series of animals found in Russia. It was published in Leningrad (Saint Petersburg) at a time when children’s books became a mass media phenomenon. Over a ten-year period, almost 10,000 titles were published in several editions of up to 200,000. Many of these books took experimental approaches to storytelling, design and layout.
Untitled
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Animals of India, 1942
The Puffin Picture Books series was established by designer and editor Noel Carrington (1895-1989). In 1933, artist Pearl Binder (1904-1990) sent Carrington a package of Soviet children’s books. “They were produced by the million on very cheap paper, but the drawings were vigorous and the colour delightful” he later remembered. These books inspired Carrington to edit a series of affordable books that would encourage “the child’s awakening interest in its surroundings... I felt that colour was essential, and that artists could... be more successful in books of this nature than the camera”. Many artists and illustrators worked on the series, adapting their ways of working to lithographic printing and the Puffin Picture Book format. Most of the 120 books in the series were printed on one large sheet of paper: one side in colour and one in black-and-white. Each sheet was cut, folded and stapled to create a softcover book.
Untitled, Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
![Snezhnaia kniga [The Snow Book]](https://cdn.sanity.io/images/n83t80i6/production/ac7aa5362234ac30d32360d4ee86c8ab5be0d685-2000x2732.jpg?auto=format&fit=max&q=75&w=2000)
Nikolai Tyrsa, Snezhnaia kniga [The Snow Book], 1926
Nikolai Tyrsa (1887-1942) was an illustrator and designer. This book follows a hare evading a fox, only to be caught by an owl. It was published in Leningrad (Saint Petersburg), Russia at a time when children’s books became a mass media phenomenon. Over a ten-year period, almost 10,000 titles were published in several editions of up to 200,000. Many of these books took experimental approaches to storytelling, design and layout.
Illustration for 'A Dream Book', 1864-7
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled, Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled, 1846
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Illustration for Beauty and the Beast (the Merchant and the Beast), c. 1875
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from Boyle’s 1875 retelling of Beauty and the Beast, a fairy tale where a woman is imprisoned by a monster and falls in love with him. Unlike other illustrated versions before or since, Boyle gave her beast walrus-like tusks and flippers. In several of her illustrations, Boyle used shell gold – a mixture of finely ground gold powder and gum arabic (tree sap) that would have been stored in a shallow seashell. In the final publication, the caption for this illustration reads, "Upon the strange prickly leaves, some one had curiously carved Beauty's name ......... The Beast came near, and the roses fell from his grasp."
Untitled, Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled, Unknown date and 1890
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Illustration for 'A Dream Book', 1864
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled, Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled (illustration for Child's Play, 'Tom Tiddler's Ground'), c. 1851
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from her first book, Child’s Play (1851). Boyle provided her publishers with black and white drawings that were then converted into etchings by the printer. These were later reproduced as lithographs, in colours chosen by Boyle.
Untitled (childhood sketchbook), 1833
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. Boyle learnt how to draw and paint from her mother and older sister, Alba. She kept this sketchbook when she was eight years old. It includes miniature drawings, cut out paper shapes, and tiny books that she made as gifts for family.
Untitled (illustration for Child's Play, 'Draw a pail of water'), c. 1851
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from her first book, Child’s Play (1851). Boyle provided her publishers with black and white drawings that were then converted into etchings by the printer. These were later reproduced as lithographs, in colours chosen by Boyle.
Untitled (drawing of south of France), Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled, c. 1968
British illustrator Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s.
Untitled (Gecko), Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled (From Isola Bella), Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled, Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled, c. 1893
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. These drawings were used as some of the final illustrations printed in the artists' publication A Book of Heavenly Birthdays (1893, London Elliot Stock)
Untitled, 1875
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled (illustration for Child's Play, 'Ladybird, Ladybird'), c. 1851
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from her first book, Child’s Play (1851). Boyle provided her publishers with black and white drawings that were then converted into etchings by the printer. These were later reproduced as lithographs, in colours chosen by Boyle.
Untitled, Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled (illustration for Child's Play, 'I have a little sister'), c. 1851
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from her first book, Child’s Play (1851). Boyle provided her publishers with black and white drawings that were then converted into etchings by the printer. These were later reproduced as lithographs, in colours chosen by Boyle.
Butterflies in Britain, 1943
The Puffin Picture Books series was established by designer and editor Noel Carrington (1895-1989). In 1933, artist Pearl Binder (1904-1990) sent Carrington a package of Soviet children’s books. “They were produced by the million on very cheap paper, but the drawings were vigorous and the colour delightful” he later remembered. These books inspired Carrington to edit a series of affordable books that would encourage “the child’s awakening interest in its surroundings... I felt that colour was essential, and that artists could... be more successful in books of this nature than the camera”. Many artists and illustrators worked on the series, adapting their ways of working to lithographic printing and the Puffin Picture Book format. Most of the 120 books in the series were printed on one large sheet of paper: one side in colour and one in black-and-white. Each sheet was cut, folded and stapled to create a softcover book.
Illustration for Beauty and the Beast (the Merchant entering the Beast's Garden), c. 1875
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from Boyle’s 1875 retelling of Beauty and the Beast, a fairy tale where a woman is imprisoned by a monster and falls in love with him. Unlike other illustrated versions before or since, Boyle gave her beast walrus-like tusks and flippers. In several of her illustrations, Boyle used shell gold – a mixture of finely ground gold powder and gum arabic (tree sap) that would have been stored in a shallow seashell. In the final publication, the caption for this illustration reads, "The Merchant found a little door in the wall, and he opened it, and went into the Beast's Garden."
Untitled (illustration for Child's Play, 'Little Miss Muffit'), c. 1851
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. This illustration is from her first book, Child’s Play (1851). Boyle provided her publishers with black and white drawings that were then converted into etchings by the printer. These were later reproduced as lithographs, in colours chosen by Boyle.
Untitled, c. 1893
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes. These drawings were used as some of the final illustrations printed in the artists' publication A Book of Heavenly Birthdays (1893, London Elliot Stock)
Untitled (Poor Mop!), Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Jacqueline Ayer, Untitled, c. 1965
In the early 1960s, Jacqueline Ayer founded textile and garment company Design Thai, funded by IBEC (International Basic Economy Corporation) under Norman Rockefeller. The first printed fabrics were inspired by ancient Thai designs from carvings, temples, porcelains, and printed cloths in the vaults of the National Museum Bangkok. Design Thai opened a shop in Bangkok in 1962, and expanded to offer a line of ready-to-wear clothing. Design Thai's collection of garments showcased Ayer's own pattern designs within the textiles used. This drawing demonstrates her approach to forming a motif towards print production.
Untitled (Moujin)
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
Untitled, Date unknown
Eleanor Vere Boyle (1825 – 1916) illustrated poetry and prose by some of the most popular authors of her time. She regularly drew and painted using ink and watercolour, sketching landscapes, animals and her children from life. She also made drawings from her imagination, often reflecting spiritual themes.
My Apprenticeships - Chapter 5 - Untitled, c. 1968
Janina Ede (1937-2018) created covers and illustrations for over 100 books from the 1950s to the 1980s. She often worked using just black ink, combining pen and brushwork to create bold illustrations with fine details. To represent plant life, Ede sometimes dipped leaves and grasses into ink and pressed them onto paper.
The Story of Ming, 1944
The Puffin Picture Books series was established by designer and editor Noel Carrington (1895-1989). In 1933, artist Pearl Binder (1904-1990) sent Carrington a package of Soviet children’s books. “They were produced by the million on very cheap paper, but the drawings were vigorous and the colour delightful” he later remembered. These books inspired Carrington to edit a series of affordable books that would encourage “the child’s awakening interest in its surroundings... I felt that colour was essential, and that artists could... be more successful in books of this nature than the camera”. Many artists and illustrators worked on the series, adapting their ways of working to lithographic printing and the Puffin Picture Book format. Most of the 120 books in the series were printed on one large sheet of paper: one side in colour and one in black-and-white. Each sheet was cut, folded and stapled to create a softcover book.
