Lot Essay
In the opening paragraph of Alice in Wonderland Alice, tired of her sister being engrossed in a book, wonders 'what is the use of a book without pictures or conversation'. These recently rediscovered watercolours are part of twelve illustrations for the first edition of Alice in Wonderland to appear after the copyright of the original edition with illustrations by Tenniel had expired in 1907. Judging from their exceptional detail and delicate palette it would appear that the illustrator fully appreciated Alice's query.
Their creator, Millicent Sowerby, was principally active as an illustrator of children's books in the first two decades of this century. She is also known to have exhibited at the Royal Institute of Painters in Water-Colour, in addition to contributing to magazines such as Tatler. Her father, John G. Sowerby (fl. 1876-1925), a painter of flowers and landscapes who was greatly influenced by Kate Greenaway, is likely to have contributed to the development of her illustrative style. Millicent also worked on a series of books written by her sister Githa. Although the sisters clearly displayed an aptitude for children's literature their careers were instigated by financial difficulties on their father's part.
Given the family's active involvement in publishing Millicent Sowerby would have been aware of the difficulties in transposing an original watercolour into a printed version. The published illustrations are readily perceived as exceptionally fine and detailed, yet when compared to the originals one realizes that her subtle application of pastel shades was diminished in reproduction. The blending of rose and mauve on Alice's sash, or the shading of the rose petals which creates an effect bordering on iridescence, became a monochromatic cerise or red in publication. These illustrations can therefore be appreciated not only as examples of significant artistic competence but also as a reflection of the artist's desire for her readers to enjoy illustrations that were as vibrant and detailed as possible.
This group of watercolours relates to the following chapters: Chapter 1 - 'Down the Rabbit-Hole', Chapter II - 'The Pool of Tears', Chapter III - 'The Caucus-Race and A Long Tale', Chapter VII - 'A Mad Tea-Party', Chapter VIII - 'The Queen's Croquet Ground' and Chapter X - 'The Lobster Quadrille'.
The illustrations are similar to those Millicent Sowerby painted for R. L. Stevenson's A Children's Garden of Verses (Macmillan, 1908). Both show equal attention to detail and delicacy in execution. She produced new illustrations for a different edition of Alice in Wonderland in 1913 but these were on a much simpler scale and possibly aimed at a younger audience.
Judging from her illustrations, Millicent Sowerby does not appear to have been impervious to the influence of other artists. Although it is her father who is known to have been influenced by Kate Greenaway, a certain similarity to Greenaway can be discerned, particularly where Alice is shown in profile. Sowerby's apparent preference for pastel shades and the attention she devoted to flowers brings to mind stylistic features associated with Scottish artists of the period.
Sowerby's earliest works appear to be her most successful as they lent themselves to reproduction. Later in life she concentrated solely on the task of 'how to gather about her other little children, and make their eyes bright and eager with many a strange tale, perhaps even with the dream of Wonderland of long ago: and she would feel with all their simple sorrows, and find a pleasure in all their simple joys, remembering her own child-life, and the happy summer days' (Chapter XII - 'Alice's Evidence').
Their creator, Millicent Sowerby, was principally active as an illustrator of children's books in the first two decades of this century. She is also known to have exhibited at the Royal Institute of Painters in Water-Colour, in addition to contributing to magazines such as Tatler. Her father, John G. Sowerby (fl. 1876-1925), a painter of flowers and landscapes who was greatly influenced by Kate Greenaway, is likely to have contributed to the development of her illustrative style. Millicent also worked on a series of books written by her sister Githa. Although the sisters clearly displayed an aptitude for children's literature their careers were instigated by financial difficulties on their father's part.
Given the family's active involvement in publishing Millicent Sowerby would have been aware of the difficulties in transposing an original watercolour into a printed version. The published illustrations are readily perceived as exceptionally fine and detailed, yet when compared to the originals one realizes that her subtle application of pastel shades was diminished in reproduction. The blending of rose and mauve on Alice's sash, or the shading of the rose petals which creates an effect bordering on iridescence, became a monochromatic cerise or red in publication. These illustrations can therefore be appreciated not only as examples of significant artistic competence but also as a reflection of the artist's desire for her readers to enjoy illustrations that were as vibrant and detailed as possible.
This group of watercolours relates to the following chapters: Chapter 1 - 'Down the Rabbit-Hole', Chapter II - 'The Pool of Tears', Chapter III - 'The Caucus-Race and A Long Tale', Chapter VII - 'A Mad Tea-Party', Chapter VIII - 'The Queen's Croquet Ground' and Chapter X - 'The Lobster Quadrille'.
The illustrations are similar to those Millicent Sowerby painted for R. L. Stevenson's A Children's Garden of Verses (Macmillan, 1908). Both show equal attention to detail and delicacy in execution. She produced new illustrations for a different edition of Alice in Wonderland in 1913 but these were on a much simpler scale and possibly aimed at a younger audience.
Judging from her illustrations, Millicent Sowerby does not appear to have been impervious to the influence of other artists. Although it is her father who is known to have been influenced by Kate Greenaway, a certain similarity to Greenaway can be discerned, particularly where Alice is shown in profile. Sowerby's apparent preference for pastel shades and the attention she devoted to flowers brings to mind stylistic features associated with Scottish artists of the period.
Sowerby's earliest works appear to be her most successful as they lent themselves to reproduction. Later in life she concentrated solely on the task of 'how to gather about her other little children, and make their eyes bright and eager with many a strange tale, perhaps even with the dream of Wonderland of long ago: and she would feel with all their simple sorrows, and find a pleasure in all their simple joys, remembering her own child-life, and the happy summer days' (Chapter XII - 'Alice's Evidence').