![[PERCEVAL LE GALLOIS] and Jessie Marion KING (illustrator, 1875-1949). The High History of the Holy Graal, London: J. M. Dent, 1904.](https://www.christies.com/img/LotImages/2001/CSK/2001_CSK_09122_0274_000(030436).jpg?w=1)
Details
[PERCEVAL LE GALLOIS] and Jessie Marion KING (illustrator, 1875-1949). The High History of the Holy Graal, London: J. M. Dent, 1904.
4°, frontispiece and 22 plates by Jessie M. King (occasional light spotting), original pictorial vellum gilt, top edge gilt, partly unopened (a little rubbed and discoloured).
NO. 51 OF 225 LARGE PAPER COPIES. Jessie M. King's delicate pen and ink line drawings were influenced by artists as far apart as Botticelli and Charles Rennie Mackintosh, by the Aesthetic and Art Nouveau movements and the Russian ballet. Besides working as a book illustrator and book cover designer, she also taught book decoration at the Glasgow School of Art where she trained. Her work has been compared with that of Aubrey Beardsley and Charles Ricketts yet remains individual. As John Russell Taylor declared: "the image she conjures up of pale ladies festooned in stars and attended by flights of birds, of wan haloed knights, lost in reverie and drifting through wispy landscapes of faint transfigured trees and insubstantial dream castles of the mind, is not quite like anything else in art, and once entered, never wholly escaped from" (quoted in Peppin and Micklethwait, pp. 173-74).
4°, frontispiece and 22 plates by Jessie M. King (occasional light spotting), original pictorial vellum gilt, top edge gilt, partly unopened (a little rubbed and discoloured).
NO. 51 OF 225 LARGE PAPER COPIES. Jessie M. King's delicate pen and ink line drawings were influenced by artists as far apart as Botticelli and Charles Rennie Mackintosh, by the Aesthetic and Art Nouveau movements and the Russian ballet. Besides working as a book illustrator and book cover designer, she also taught book decoration at the Glasgow School of Art where she trained. Her work has been compared with that of Aubrey Beardsley and Charles Ricketts yet remains individual. As John Russell Taylor declared: "the image she conjures up of pale ladies festooned in stars and attended by flights of birds, of wan haloed knights, lost in reverie and drifting through wispy landscapes of faint transfigured trees and insubstantial dream castles of the mind, is not quite like anything else in art, and once entered, never wholly escaped from" (quoted in Peppin and Micklethwait, pp. 173-74).
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