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onfused with his namesake--is one who has rarely illustrated works for little children, but in the famous "British Workman" series in _Fun_, in dozens of Tom Hood's "Comic Annuals," and elsewhere, has provoked as many hearty laughs from the nursery as from the drawing-room. In "The Flame Flower" (Dent) we find a side-splitting volume, illustrated with 100 drawings by the author. For this only Mr. J. F. Sullivan has plunged readers deep in debt, and when one recalls the amazing number of his delicious absurdities in the periodical literature of at least twenty years past, it seems astounding to find that the name of so entirely well-equipped a draughtsman is yet not the household word it should be. E. J. Sullivan, with eighty illustrations to the Cranford edition of "Tom Brown's Schooldays," comes for once within our present limit. J. D. Batten is responsible for the illustration of so many important collections of fairy tales that it is vexing not to be able to reproduce a selection of his drawings, to show the fertility of his invention and his consistent improvement in technique. The series, "Fairy Tales of the British Empire," collected and edited by Mr. Jacobs, already include five volumes--English, More English, Celtic, More Celtic, and Indian, all liberally illustrated by J. D. Batten, as are "The Book of Wonder Voyages," by J. Jacobs (Nutt), and "Fairy Tales from the Arabian Nights," edited by E. Dixon, and a second series, both published by Messrs. J. M. Dent and Co. "A Masque of Dead Florentines" (Dent) can hardly be brought into our subject. Louis Davis has illustrated far too few children's books. His Fitzroy pictures show how delightfully he can appeal to little people, and in "Good Night Verses," by Dollie Radford (Nutt), we have forty pages of his designs that are peculiarly dainty in their quality, and tender in their poetic interpretation of child-life. "Wymps" (Lane, 1896), with illustrations by Mrs. Percy Dearmer, has a quaint straightforwardness, of a sort that exactly wins a critic of the nursery. J. C. Sowerby, a designer for stained glass, in "Afternoon Tea" (Warne, 1880), set a new fashion for "aesthetic" little quartos costing five or six shillings each. This was followed by "At Home" (1881), and "At Home Again" (1886, Marcus Ward), and later by "Young Maids and Old China." These, despite their popularity, display no particular invention. For the real fancy and "conceit" of the books yo
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