Evocatively

Spanish illustrator Raquel Aparicio blows us away time and time again with her delicate drawings and rich, but not overwhelming, color palette. Unlike other artists who have a single, trademark style, Aparicio uses a variety of techniques and styles that makes her work appear to be created by many different hands. For instance, in the series “Russian Fairy Tales,” some pieces are painted in what appears to be the Japanese style, while in others she makes her own twist on traditional folk art.

Though at first glance Aparicio’s work appears wholly sweet, you’ll notice when you look deeper that there is an almost sinister-like quality to many of of her images. Scissors with teeth, women strumming roaches like violins, and insane Cookie Monsters are just a few examples of the darker side of the images created by this woman who also, at times, illustrates children’s books and items for the New York Times.

Edmund Lodge (1756-1839), Portraits of Illustrious Personages of the Court of Henry VIII (London: John Chamberlaine, printed by W. Bulmer, 1812). Graphic Arts (GAX) 2009- in process


This is the second edition of 84 stipple engravings reproducing drawings by Hans Holbein, the younger (1497-1543), with biographical and historical descriptions by Edmund Lodge. It was Queen Caroline (1683-1737), who found the Holbein originals in a bureau at Kensington Palace and asked Richard Dalton (Keeper of the King’s drawings and medals) to have them copied and published. When Chamberlain took over Dalton’s position he also inherited the project. Chamberlain edited and published a folio edition of Holbein’s work in 1792, printed and issued in parts over the next 8 years by William Bulmer and Company, Shakespeare Printing-Office.


For the 1792 edition, Chamberlaine called on Francesco Bartolozzi (1725-1815), to prepare a set of prints. Bartolozzi had developed his own technique of stipple engraving with printed color to reproduce the look of chalk drawings, such as Holbein’s. The folio edition of Illustrious Personages was such a success that a large quarto edition was prepared in 1812 (seen here), using additional engravers working in the style of the elderly Bartolozzi, including Bourlier, Cardon, Cheesman, Cooper, Facius, Knight, Meyer, Minasi, and Nicholls.


Of the 84 portraits, 68 are identified by name. The last 12 could not be identified and are grouped at the front of the book without description. A letterpress index is included in the 1812 edition, seen on the left. In addition, portraits of Holbein and his wife serve as frontispieces to both editions.

James Leon Williams (1852-1932), The Home and Haunts of Shakespeare (New York: C. Scribner’s sons, 1892) Graphic Arts (GAX) oversize 2009- in process




American born dentist Dr. James Leon Williams (1852-1932) moved to London in 1887. He spent summers in Stratford-on-Avon making photographs and printing the negatives as photogravures. In 1890, his first project matched these gravures with the poem “Elegy Written in a Country Churchyard” written by Thomas Gray (1716-1771). Boston publisher Joseph Knight brought it out in a small edition.

Two years later, Williams followed this with a massive folio entitled The Home and Haunts of Shakespeare published by Charles Scribner’s Sons in New York. Reproductions of 15 watercolors by 15 different American artists are completely overshadowed by Williams’ 45 pictorialist gravures. The New York Times published a review before the book was even finished, crediting Williams with reviving America’s interest in Shakespeare.

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