Bruce Kennettさんのイラストまとめ

Second stanza of Keats’s “To Autumn” (Püterschein-Hingham, 1951). Prelim sketch shows that WAD was first thinking about having a color illus/decoration with each stanza. Final book had color only on title page.

Original art for a decoration by Dwiggins. After nearly a hundred years, WAD’s careful retouching with white opaque is failing.

The 1923 book celebrating Franklin’s arrival in Phildelphia was designed by WAD, but lots of others had a hand in the production, too. Including the great N. C. Wyeth, who painted the frontispiece. #ncwyeth

More experimentation with colors for the “Marooned” print, 1925. As in all states of the image, that distant sail sits beyond reach on the horizon . . .

Another Sinbad image made for the 1925 Society of Calligraphers portfolio: “Marooned.” WAD’s simple shapes carry such powerful emotion . . .

Two variations of the print “Departure” from the SoC’s 1925 Sinbad portfolio. (For a reason unknown to me, WAD titled one of these “Allegro.”) Standard pochoir technique with gouache applied through celluloid stencils with fine artist brushes & sawed-off shaving brushes.

Decoration from Joseph Hergesheimer’s “Java Head” (Knopf, 1946). WAD often cited French painter-designer Jean-Baptiste Pillement (1728–1808) as his inspiration for these. If you do not yet know Pillement’s work, go find it!

Decoration for section III opening, “Java Head” (Knopf, 1946).

Chapter opening, Robert Nathan’s “One More Spring” (The Overbrook Press, 1935). Illustration and design by WAD.

Chapter opening, Robert Nathan, “One More Spring” (The Overbrook Press, 1935).