Poetical Works of Sir Walter Scott has a stamped centrepiece decoration containing an enamelled image of a vase and flowers. The use of cover designs like this diminished as publishers adopted the cheaper plain cloth covered boards and relied more heavily on the eye-catching components of the book jacket. Ward and Lock began publishing in 1854, and they developed a strong poetry line, reprinting old favourites such as William Cowper in uniform, easily recognisable, gilt-edged, colourful case-bound bindings. These two elaborate publisher’s bindings sit beside a Yellowback, the nickname for cheap, commercial paperbacks published by firms such as Routledge and Ward and Lock, and sold through W. H. Smith’s railway station bookstalls. Created by Edmund Evans about 1849, they featured a basic colour (usually yellow) as the background for the illustration. Yellowbacks also included hardbacks, like Besant’s All Sorts and Conditions of Men (1886).]]> Walter Besant]]> Alexander Gilchrist]]> All Sorts and Conditions of Men (1886).]]> William Cowper]]> Poetical Works of Sir Walter Scott has a stamped centrepiece decoration containing an enamelled image of a vase and flowers. The use of cover designs like this diminished as publishers adopted the cheaper plain cloth covered boards and relied more heavily on the eye-catching components of the book jacket. Ward and Lock began publishing in 1854, and they developed a strong poetry line, reprinting old favourites such as William Cowper in uniform, easily recognisable, gilt-edged, colourful case-bound bindings. These two elaborate publisher’s bindings sit beside a Yellowback, the nickname for cheap, commercial paperbacks published by firms such as Routledge and Ward and Lock, and sold through W. H. Smith’s railway station bookstalls. Created by Edmund Evans about 1849, they featured a basic colour (usually yellow) as the background for the illustration. Yellowbacks also included hardbacks, like Besant’s All Sorts and Conditions of Men (1886).]]> William Cowper]]> Susy. One illustration within this prairie-life romp is signed by J. A. Christie. Perhaps he designed the colourful ‘Suzette and Mrs Peyton’ on the cover? Other well-known artists designed covers. Aubrey Beardsley’s famous title-page design is repeated and gilt blocked on the royal blue cloth cover of Volume I of The Savoy, which was a rival publication to the Yellow Book. Irish-born Harry Furniss supplies a ‘gator’ and ‘Girlie’ image to George Farrow’s 1895 The Wallypug of Why, a children’s novel written in the tradition of Lewis Carroll’s Alice’s Adventures in Wonderland.]]> George Edward Farrow]]> Susy. One illustration within this prairie-life romp is signed by J. A. Christie. Perhaps he designed the colourful ‘Suzette and Mrs Peyton’ on the cover? Other well-known artists designed covers. Aubrey Beardsley’s famous title-page design is repeated and gilt blocked on the royal blue cloth cover of Volume I of The Savoy, which was a rival publication to the Yellow Book. Irish-born Harry Furniss supplies a ‘gator’ and ‘Girlie’ image to George Farrow’s 1895 The Wallypug of Why, a children’s novel written in the tradition of Lewis Carroll’s Alice’s Adventures in Wonderland.]]> George Edward Farrow]]> Susy. One illustration within this prairie-life romp is signed by J. A. Christie. Perhaps he designed the colourful ‘Suzette and Mrs Peyton’ on the cover? Other well-known artists designed covers. Aubrey Beardsley’s famous title-page design is repeated and gilt blocked on the royal blue cloth cover of Volume I of The Savoy, which was a rival publication to the Yellow Book. Irish-born Harry Furniss supplies a ‘gator’ and ‘Girlie’ image to George Farrow’s 1895 The Wallypug of Why, a children’s novel written in the tradition of Lewis Carroll’s Alice’s Adventures in Wonderland.]]> Bret Harte]]> Susy. One illustration within this prairie-life romp is signed by J. A. Christie. Perhaps he designed the colourful ‘Suzette and Mrs Peyton’ on the cover? Other well-known artists designed covers. Aubrey Beardsley’s famous title-page design is repeated and gilt blocked on the royal blue cloth cover of Volume I of The Savoy, which was a rival publication to the Yellow Book. Irish-born Harry Furniss supplies a ‘gator’ and ‘Girlie’ image to George Farrow’s 1895 The Wallypug of Why, a children’s novel written in the tradition of Lewis Carroll’s Alice’s Adventures in Wonderland.]]> ___]]> Susy. One illustration within this prairie-life romp is signed by J. A. Christie. Perhaps he designed the colourful ‘Suzette and Mrs Peyton’ on the cover? Other well-known artists designed covers. Aubrey Beardsley’s famous title-page design is repeated and gilt blocked on the royal blue cloth cover of Volume I of The Savoy, which was a rival publication to the Yellow Book. Irish-born Harry Furniss supplies a ‘gator’ and ‘Girlie’ image to George Farrow’s 1895 The Wallypug of Why, a children’s novel written in the tradition of Lewis Carroll’s Alice’s Adventures in Wonderland.]]> ___]]> Reveries Over Childhood & Youth was executed by T. Sturge Moore (1870-1944), the English poet, wood-engraver under the tutelage of Charles Ricketts, dramatist and stage-designer. Moore – whose name is pressed on the front cover – designed a number of covers for Yeats’s later books and bookplates for his family.]]> W. B. Yeats]]> Magazine of Science and School of Arts (1840) is plain and ordinary, as befits a mass-produced low-cost title aimed at a growing reading public. However, on closer inspection, the cover has delicate patterns of foliage on both covers and spine which gives an added depth and detail to the design. As technologies improved, numerous patterns such as bead, bubble, criss-cross, honeycomb, and diaper styles evolved that aimed to beautify these more modest publications.]]> ___]]>