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Kate Greenaway was born into a family of artists, her father an engraver,
and friend of both the colour printer Edmund Evans and Myles Birket
Foster, one of the most famous of Victorian artists. Greenaway trained
at the Slade, and began work as a book illustrator, designing Valentine
and Christmas cards and bookplates. It was through Edmund Evans that
Greenaway became widely known: having seen a portfolio of her drawings
and poems he was enchanted and immediately published them as the collection
Under the Window. After the volume's runaway success Greenaway produced
book after book for children, Mother Goose and the Pied Piper of Hamelin
being among the most famous; already in her day these works were being
published in editions of tens of thousands.
Greenaway's illustrations were celebrated for the magical Regency world
they captured. Her style was largely derived from artists such as Stothard,
yet is distinct in its child-like innocence, charm and sentimentality,
which greatly appealed to Victorian taste. Her pen drawings in outline
are particularly fine, exquisitely and meticulously drawn; her watercolours
are in fact pen drawings washed over with muted colours.Greenaway became
an intimate friend of John Ruskin, who admired her work and encouraged
her engagement with nature.
Her legacy is widespread, and her work spawned numerous imitators, and
was even reproduced in the designs of clothing and accessories. She
is still among the most beloved and collected of nineteenth-century
artists.
References: Susan Ruth Thompson. Kate Greenaway A Catalogue
of the Kate Greenaway Collection, Detroit Public Library, 1977.
Ina Taylor. The Art of Kate Greenaway: A Nostalgic Portrait of Childhood,
1991.
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Throwing the peel to get a letter
pencil on paper, titled on the reverse
15 X 11 cm (image); 19.2 x 14 cm. (sheet)
Exhibited/Provenance: Chris Beetles Gallery. The British Art
of Illustration, 1800-1998, no. 278.
£650 (framed)
This pencil drawing relates to the early period of Greenaway's
career when she produced a number of similar drawings of figures in
Medieval dress for valentine cards and for the book "The Quiver
of Love" published in 1876 which consisted of colour plates of
medieval couples by Kate Greenaway and Walter Crane to accompany love
poems in the form of valentines. "Miss greenaway worked very hard
at the production of the designs for birthday cards and valentines.
They constantly improved in harmony of colour and delicacy of effect.
A curious chance revealed to her the wonders of medieval illumination."
Indeed, the drawing's caption "Throwing the Peel to get a letter"
implys that the girl is attempting to secure a valentine or love note
from her companion. It seems likely that this was a sketchbook drawing
produced around 1876 given the piece's strong relationship with those
designs finally published as valentine cards and in book form. (Spielman
and Layard. Kate Greenaway. 1905).
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