Vol 3 Section 0330

280                                                                        1899

“Following the Equator,” illustrated by A. B. Frost, Frederick Dielman, and others, two volumes.

“Roughing It,” illustrated by B. W. Clinedinst, two volumes.

“Life on the Mississippi,” illustrated by E. H. Garret, one volume.


“The Gilded Age,” illustrated by W. T. Smedley, two volumes.

“The Adventures of Tom Sawyer, “ illustrated by J. G. Brown, one volume.

“Huckleberry Finn,” illustrated by E. W. Kemble, one volume.

“Pudd’nhead Wilson,” illustrated by E. W. Kemble, one volume.

“The Prince and the Pauper, “ illustrated by Frank T. Merrill, one volume. “Connecticut Yankee in King Arthur’s Court,” illustrated by Dan Beard, one


“Joan of Arc,” illustrated by F. V. DuMond, two volumes


Vol. I., illustrated by F. B. Opper, one volume.

Vol. II., illustrated by A. B. Frost, one volume

Vol. III, illustrated by Dan Beard, one volume.

Literary Essays, one volume.

A special feature of this edition is the series of frontispieces, which will be reproductions of photographs and paintings of the author made at a period near the time when the different tales were written. The portraits are etchings or photogravures, and include a reproduction of the latest portrait of Mark Twain, painted by Spiridon in Vienna, in 1898. With two exceptions the illustrators of the volumes are Americans. Their names are J. G. Brown, A. B. Frost, W. T. Smedley, Peter Newell, B. W. Clinedinst, Dan Beard, F. B. Opper, Frank T. Merrill, E. W. Kemble, T. De Thulstrup, E. H. Garrett, F. V. DuMond, Frederick Dielman, Allan Gilbert, Thomas Fogarty, John Harley, and W. H. W. Bicknell.

July 30 SundayIn Sanna, Sweden Sam wrote to Phyl:

Ah well, this is discouraging! I had just reached page 114 of my “History of Nature, Politics & Astronomy, for Children,” & was getting along greatly to my satisfaction, when along comes this dainty & lovely “Make-Believe” & crushes me down & takes away all my pride in my book, all my joy in my work; for I was doing my book almost wholly for the sake of the illustrations, & now I am ashamed of them. I thought they were delicate & beautiful & full of a gracious spirituality; but now I know that they are coarse & poor & that they will never stir any one’s emotions. I loved this unicorn yesterday—if it is a unicorn. I think it is a unicorn, but

it may be a rhinorceros; I know it is those or a kangaroo, but the way it holds up its head & looks at you in that friendly way makes me feel that it is a unicorn. For that is their style, they have a good heart. But I do not take any pride in this one any more. When you hold him to the right of the picture on page 9, so that he can have the appearance of coming to take a hand & be a part of “the Meeting,” he does not seem to be of the same family of Art at all, but rude & ill-formed & provincial. And I had a passion for drawing animals. But I am not going to draw any more of them. I am not personally acquainted with animals, I only drew them from inspiration, & that is why it was always so hard for me to tell which kinds of animals they were when I got them done; but if I could find out which kind this one is I would write his name underneath, so that he

could not deceive any more people. They are not a good kind for Art, anyway, because their nose is too much to one side & there is not room enough for their tail.

Note: Sam’s words and tones imply an existing knowledge of or relationship with Phyl’s parents. The old MTP catalog “Note” has the addressee as “either Charles Robinson, illustrator, or Henry Dawson Lowry (1869-1906), author of Make Believe” (London; 1896); illustrated by Robinson. See Gribben for Lowry, p. 427.

SLC used mourning border for most letters from Susy’s death on, then from Livy’s death on.