Modern Illustration 1895 Illustrated First Edition by Joseph Pennell
 
Modern Illustration by Joseph Pennell – First Edition, 1895 | Chiswick Press | Ex-Libris Series
 
Bibliographic Details
Title: Modern Illustration
Author: Joseph Pennell
Editor: Gleeson White (Ex-Libris Series)
Publisher: George Bell & Sons, York Street, London
Printer: Chiswick Press, Charles Whittingham & Co., Tooks Court, Chancery Lane, London
Date of Publication: 1895
Edition: First Edition (Preface dated 30 September 1895)
Format: Octavo (19.2 × 14.3 × 4 cm)
Pagination: xxvi + 146 pages, with numerous in-text and full-page illustrations throughout
Frontispiece: Illustration by F. Walker, with original tissue guard present
Special Features: Illustrated title page, top edge gilt, part of the Ex-Libris Series edited by Gleeson White
Weight: Approx. 901g
 
Description
A fine example of late-Victorian art publishing, Modern Illustration (1895) by Joseph Pennell offers an authoritative survey of contemporary illustration at the height of the British Arts and Crafts and Aesthetic movements. This volume, printed at the renowned Chiswick Press, combines the quality of fine typography with a wealth of examples by some of the most influential illustrators of the nineteenth century.
The book opens with a frontispiece by F. Walker, protected by its original tissue guard, and an illustrated title page. The work is profusely illustrated throughout, showcasing the evolution of illustration techniques and aesthetics during a pivotal period in British visual culture.
Edited by Gleeson White, founder of The Studio magazine, this book formed part of the respected Ex-Libris Series, a collection dedicated to fine design and craftsmanship in the arts of the book.
 
Historical and Artistic Context
First published in 1895, Modern Illustration reflects Pennell’s deep engagement with the changing nature of art, printing, and reproduction. As an illustrator and critic, Joseph Pennell (1857–1926) was instrumental in shaping public appreciation for pen-and-ink draughtsmanship and modern illustration. His collaborations with Whistler, and his writings on printmaking and art criticism, positioned him among the most influential figures of his generation.
The Chiswick Press, where this edition was printed, was famed for its elegant typography and craftsmanship. Under Charles Whittingham & Co., it became synonymous with the revival of fine printing in England, aligning perfectly with the artistic ideals espoused by Pennell and White.
 
Physical Condition
Binding: Bound in green cloth over the boards, with a lighter green cloth over the spine. The spine cloth appears to be an older replacement or repair, now robust and neatly affixed. There are gilt titles on the upper board. Light wear is present, including rubbing at the edges, small nicks, faint surface marks, and areas of discolouration consistent with age. Tape residue marks on the front and rear boards indicate the former presence of protective wrapping or shelving labels.
Interior: The top page edge is gilt, with remaining edges roughly cut. The pages are lightly tanned with the occasional small mark or patch of foxing, but remain clean, bright, and predominantly uncreased. A small amount of pencil is visible on the index of illustrations and rear flyleaf.
All plates are present and intact, including the frontispiece and tissue guard. There is minor tape reinforcement at the margin of the plate (facing page 66) and a similar small repair on an adjacent leaf, and on the inner edge of one further plate between pages 66 and 67. Light cracks are visible between the pastedowns and endpapers, with tape remnants on the front pastedown; however, the binding remains secure and all pages are firmly attached.
 
Dimensions and Weight
Approx. 19.2 × 14.3 × 4 cm
Approx. 901 grams
 
Summary
A first edition of Modern Illustration (1895) – printed by the Chiswick Press, edited by Gleeson White, and authored by the influential Joseph Pennell.
Complete with all illustrations and original tissue-guarded frontispiece, this is a significant work of late-Victorian art criticism and book design. Despite sympathetic restoration to the spine and minor cosmetic wear, the book remains a sound and attractive example of this important study in the history of illustration and printing.