Book Illustration and Trollope's Novels

The novels are listed by first year of book publication, providing the names of the book publishers and (when known) illustrators

1855 The Warden: Longman; F. C. Tilney
1858 Dr Thorne: Chapman & Hall; H. L. Schindler
1861 Framley Parsonage: Smith, Elder; John Everett Millais
1862 Orley Farm: Chapman & Hall; John Everett Millais
1863 The Small House at Allington: Smith & Elder; John Everett Millais
1864 Rachel Ray: Chapman & Hall; John Everett Millais(a 'seventh edition' which first included the engraving made from a watercolour painting which now serves as a frontispiece for the novel in some editions)
1864 Tales of All Countries, First Series: Chapman & Hall; Marcus Stone
1865 Can You Forgive Her?: Chapman & Hall; Hablôt Knight Brown ('Phiz') and Miss E. Taylor
1865 The Three Clerks: Bentley (a new edition; the novel was first published in 1857); J. Mahoney and Edward Whymper
1866 Miss Mackenzie: Chapman & Hall; Walter Crane
1867 The Claverings: Smith, Elder; Mary Ellen Edwards
1867 The Last Chronicle of Barsetshire: Smith, Elder; George Housman Thomas
1869 Phineas Finn, the Irish Member: Virtue; John Everett Millais
1869 He Knew He Was Right: Strahan; Marcus Stone
1870 The Vicar of Bullhampton: Bradbury, Evans; Henry Woods
1870 The Struggles of Brown, Jones, and Robinson: Smith, Elder; anonymous illustrator
1871 Ralph the Heir: Hurst & Blackett; Francis Arthur Fraser
1872 The Golden Lion of Granpère: Tinsley (an associate of Strahan); Francis Arthur Fraser
1873 Harry Heathcoat of Gangoil: Sampson Low; anonymous group of illustrators
1874 Phineas Redux: Chapman & Hall; Francis Montague Holl
1875 The Way We Live Now: Chapman & Hall; Lionel G. Fawkes
1876 The Eustace Diamonds (a later edition) and The Prime Minister: Chapman & Hall, Frontispieces, Francis Arthur Fraser (?)
1876 'Christmas at Thompson Hall': The Graphic, Christmas number, reprinted as single volume in 1876 by American firm, Harper & Bros; William Small
1878 Five Barsetshire novels (Dr Thorne omitted): Chapman & Hall, Frontispieces, Francis Arthur Fraser
1882 Marion Fay: illustrated when serialised in The Graphic from 3 December 1881 to 3 June 1882; William Small
1882 Kept in the Dark: Chatto & Windus; John Everett Millais

The short stories are listed, with date of publication, under the name of the periodical in which they appeared.

• Cassell's Illustrated Family Paper:

  'An Unprotected Female at the Pyramids' (6 and 13 October 1860); 'The Château of Prince Polignac' (20 and 27 October 1860); 'Miss Sarah Jack of Spanish Town, Jamaica' (3 and 10 November 1860); 'John Bull on the Guadalquivir' (17 and 24 November 1860).

• Illustrated London News:

  'The Mistletoe Bough' (21 December 1861, Christmas Supplement).

• Good Words (or Good Cheer, the name of the annual Christmas number of Good Words):

  'The Two Generals' (December 1863); 'The Widow's Mite' (January 1863); 'The Last Austrian Who Left Venice' (January 1867); 'Why Frau Frohmann Raised Her Prices' (February - May 1877); 'The Telegraph Girl' (December 1877); 'Alice Dugdale' (December 1878); 'The Two Heroines of Plumpington' (December 1882).

• The Argosy:

  'The Adventures of Fred Pickering' (September 1866).

• St Paul's (after 1871 not illustrated):

  'The Turkish Bath' (October 1869); 'Mary Gresley' (November 1869); 'Josephine de Montmorency' (December 1869); 'The Panjandrum' (January to February 1870); 'The Spotted Dog' (March to April 1870); 'Mrs Brumby' (May 1870).

• Trollope, Anthony. Christmas at Thompson Hall. New York: Harper Bros, 1876. Produced as a separate novella, this edition contains all eight of the comic illustrations of William Small as they originally appeared in the 1876 Graphic Christmas number. They are comic and appropriate. If not very carefully drawn, they tell a good deal about how the publisher and illustrator thought the public would read this short story.
• -----------------. The Claverings, introd. Norman Donaldson. New York: Dover, 1977. A republication of novel as it first appeared in the 1867 Cornhill. It includes the final page of Chapter VI mistakenly excluded from all other editions, and all sixteen full-page illustrations and chapter heading rubrics drawn by Mary Ellen Edwards. See http://www.JimandEllen.org/trollope/picture3.htm.
• -----------------. Can You Forgive Her?, introd. David Skilton. London: The Trollope Society, 1989. This edition includes the complete original set of 40 illustrations, 20 by Hablôt Knight Browne('Phiz') and 20 by Miss E. Taylor. See my commentary and discussion: http://www.JimandEllen.org/trollope/picture2.htm
• -----------------. Framley Parsonage, introduced by Antonia Fraser. London: The Trollope Society, 1996. This edition contains all six of John Everett Millais's original full-page illustrations for the first serialisation and edition of the novel. See my description and commentary: http://www.JimandEllen.org/trollope/picture1.htm
• -----------------. The Golden Lion of Granpère. New York: Harper and Bros., 1872. This is the first American edition of the novella and includes the eight full-page, eight half-page and eight quarter-page illustrations by Francis Arthur Fraser, each aligned or dropped into precisely the appropriate point in the text. (The complete set of twenty-four illustrations may also be found in copies of the serialisation in Good Words which ran from January through August 1872.)
• -----------------. He Knew He Was Right, ed., introd. P. D. Edwards. St. Lucia, Queensland: University of Queensland Press, 1974. This edition is a reprint of the 1869 edition corrected by a study of Trollope's manuscript. It includes all the rubrics and full-page illustrations by Marcus Stone; however, they are placed at the back of the book.
• -----------------. He Knew He Was Right, introd. Robertson Davies. London: The Trollope Society, 1994. This edition includes the complete set of Marcus Stone's full-page illustrations placed as they appeared in the original edition. However, it does not include the rubrics.
• -----------------. Kept in the Dark, introd. Derek Parker. London: The Trollope Society, 1997. Includes as frontispiece the original full-page frontispiece by John Everett Millais.
• -----------------. The Last Chronicle of Barset. New York: Harper and Bros, 1867. Contains all thirty-two full-page illustrations and twenty-eight of thirty-two vignettes. George Housman Thomas drew sixty-four illustrations for the 1867 Smith, Elder first edition. This is the best edition to study. The engravings are beautifully reproduced; the book numbers also include the original dustjackets which are relevant to understanding how the book was perceived and who was its original audience. See my description and commentary: http://www.JimandEllen.org/trollope/picture4.htm
• -----------------. The Last Chronicle of Barset, introd. A. N. Wilson. London: The Trollope Society, 1997. Twelve of the original set of thirty two full-page illustrations are reprinted. The choice of illustration is very puzzling.
• -----------------. Orley Farm. 1862; reprinted New York: Dover, 1981. A reprint of the 1862 Chapman and Hall edition; it contains all forty of John Everett Millais's full-page illustrations. See http://www.JimandEllen.org/trollope/picture1.htm
• -----------------. Orley Farm, introduced by John Mortimer. London: The Trollope Society, 1993. It too contains all forty of Millais's illustrations.
• -----------------. Phineas Finn, The Irish Member, introduced by J. Enoch Powell. London: The Trollope Society, 1989. This edition contains all twenty of the original full-page illustrations by John Everett Millais.
• -----------------. Phineas Redux, introduced by Robin Gilmour. London: The Trollope Society, 1990. This edition contains all twenty-four of the original full-page illustrations by Francis Montague Holl.
• -----------------. Rachel Ray, introduced by John Letts. London: The Trollope Society, 1990. Includes as frontispiece the original watercolour painting of the heroine by John Everett Millais. See http://www.JimandEllen.org/trollope/picture2.htm
• ------------------. Ralph the Heir. 1871; reprint New York, 1978. This is a reprint of the Strahan edition, which contains eleven (not twelve) of the original eighteen full-page illustrations by Francis Arthur Fraser.
• ------------------. The Small House at Allington, introduced by Margaret Markwick. London: The Trollope Society, 1997. This edition contains all eighteen of John Everett Millais's full-page illustrations (dropped into the appropriate place) and, somewhat reduced, six of the original nineteen vignettes. See my description and commentary: http://www.JimandEllen.org/trollope/picture2.htm
• -----------------. The Struggles of Brown, Jones, and Robinson by One of the Firm. 1870; reprinted New York: Arno Press, 1981. This edition contains all four of the original full-page illustrations of the novel.
• -----------------. The Vicar of Bullhampton. 1870; reprinted New York: Dover 1979. A reprint of the Bradbury, Evans edition, which contains all thirty-five of Henry Woods's full-page illustrations.
• ------------------. The Way We Live Now. 1875; reprinted New York: Dover, 1982. A reprint of the first American Harper and Bros edition, which contains all forty of Lionel G. Fawkes's full-page illustrations.

• Ash, Russell. A full-page colour reproduction of Trust Me in Sir John Everett Millais. London: Pavilion, n.d, Plate 23. This painting has long been thought to be of Lady Mason and Sir Pergrine Orme in Orley Farm. The problem is there is no scene which corresponds to it: it shows an elderly man asking a mature woman for a letter which she places behind her back. Ash associates it with The Small House at Allington. There is no scene which corresponds there either; it is a scene which epitomises how people remember Trollope's novels; see my commentary, http://www.JimandEllen.org/trollope/picture1.htm
• Bayley, John. 'Novels and Pictures', The Listener Review of Books, 105 (1980-81), pp. 115-16. A review of N. John Hall's Trollope and His Illustrators (see directly below).
• Bradbrook, Frank W. 'N. John Hall's Trollope and His Illustrators, Notes and Queries, 29 (1980), pp. 252-54.
• Gresty, Hilary. 'Millais and Trollope, Author and Illustrator', The Book Collector, 30 (1981), pp. 43-61.
• Hall, N. John. 'Millais' Illustrations for Trollope', University of Pennsylvania Library Chronicle, 42 (1977), pp. 23-43.
• -------------. Trollope and his Illustrators. New York: St Martin's Press, 1980. The best, indeed the only book-length study thus far of the original illustrations to Trollope's novels. Hall's study is valuable for its many reproductions of the original illustrations, for its analyses of these in the context of the facing text, and for the amount of information it pulls together about the original illustrations to Trollope's novels. However, it is marred by incompleteness: by no means are all the original illustrators clearly named, described nor the dates for the books given. He overvalues Millais and underrates the other illustrators whose work he judges by how closely theirs resembles Millais's; he dismisses the work of illustrators who do not come with a well-known name, without describing their work; he pronounces the illustrations of Henry Woods 'wretched'.
• Hemstedt, Geoffrey. 'Some Victorian Novels and their Illustrators', unpublished Ph.D. diss. Princeton University, 1971.
• Hennessy, James Pope. Anthony Trollope. Boston: Little and Brown, 1971. Hennessy includes a large number of the original book illustrations, and his choices are unusual so you can see pictures here you won't find in print elsewhere.
• Lehmann-Haupt, Hellmut. 'English Illustrators in the Collection of George Arents', The Colophon, 4 (1940), pp. 341-64. Contains a discussion and a number of reprints of the drawings of Marcus Stone and John Everett Millais for Trollope's novels.
• Life, Allan R. 'The Periodical Illustrations of John Everett Millais and Their Literary Interpretation', Victorian Periodicals Newsletter, 9 (1976), pp. 50-68.
• Markwick, Margaret. Trollope and Women. London: Hambledon Press, 1997. Markwick reprints 18 of the original illustrations to Trollope's novels which she argues reinforce her conclusions about Trollope's attitudes towards women in the novels.
• Mason, Michael. 'The Way We Look Now: Millais' Illustrations to Trollope', Art History, 1 (1978), pp. 309-40. An excellent study in which a number of Millais's illustrations are reprinted.
• McMaster, Juliet. Trollope's Palliser Novels: Theme and Pattern. Oxford: Oxford University Press, 1978. She studies the visual landscapes and dramatic imagery in the novels.
• Moody, Ellen. Trollope on the Net. The Hambledon Press and the Trollope Society, 1999. Chapter Six: 'The Original Illustrations for Trollope's Novels', pp. 127-55. My book includes a description, discussion and reproduction of the illustrations by Arthur Francis Fraser for The Golden Lion of Granpère, of Miss E. Taylor's illustrations for The Small House at Allington, Henry Wood's for , as well as commentary and reproduction of numbers of the more commonly discussed illustration of Millais, Edwards, Stone, Holl, and Fawkes. I also reprint 23 of the original illustrations to the novels, and discuss the various schools of illustration to which they variously belong.
• ------------. 'A Description and Commentary on the original illustrations for The Warden: http://www.JimandEllen.org/trollope/picture1.htm
• ------------. 'A Description and Commentary on the original illustrations for Dr Thorne: http://www.JimandEllen.org/trollope/picture1.htm
• ------------. 'A Description and Commentary on the Original illustartion for Rachel Ray by John Everett Millais: http://www.JimandEllen.org/trollope/picture2.htm
• ------------. 'A Description and Commentary on the Original illustrations for The Three Clerks: http://www.JimandEllen.org/trollope/picture3.htm
• ------------. 'A Description and Commentary on the Original illustartion for Miss Mackenzie: http://www.JimandEllen.org/trollope/picture3.htm
• Morse, Deboarh Denenholz. Women in Trollope's Palliser Novels. London: Ann Arbor, 1997. Morse reprints a number of the original illustrations to the novels and discusses how the visualisation reflects and shapes a feminist interpretation of the books.
• Sadleir, Michael. Trollope: a bibliography. London: Dawson, 1928. This book tells the reader which books were originally illustrated, gives the caption and page of the specific early publication of the novels.
• ----------------. 'Luke Fildes', Time Literary Supplement, 5 April 1947, p. 157, and Hilda F. Finberg, Time Literary Supplement, 19 April 1947, p. 183.
• Skilton, David. 'The Relation between Illustration and Text in the Victorian Novel: A New Perspective', Word and Visual Imagination: Studies in the Interaction of English Literature and the Visual Arts, edd. Karl Josef Höltgen, Peter M. Daly and Wolfgang Lottes. Erlangen-Nürnberg, 1988, pp. 303-325.
• Stone, Marcus. The Illustrations for Our Mutual Friend which are reprinted in Charles Dickens, Our Mutual Friend. Oxford: Oxford University Press, 1952. This is a rare easily available source for studying Stone's work.

• Allentuck, Marcia. 'Narration and Ilustration: Problems in Richardson's Pamela, Philological Quarterly, 51 (1972), pp. 874-76.
• Arnheim, Rudolf. Visual Thinking. Berkeley: University of California Press, 1969.
• ---------------. Towards a Psychology of Art: Collected Essays. Berkeley: University of California Press, 1972.
• Bachelard, Gaston. The Psychoanalysis of Fire, translated by Alan C. M. Ross. Boston: Beacon Press, 1964.
• -----------------. The Poetics of Reverie, translated by Daniel Russell. Boston: Beacon Press, 1969.
• Baker, C. H. Collins. 'Sir James Thornhill as Bible Illustrator', Huntington Library Quarterly 10 (1946-47), pp. 323-27.
• Benjamin, Walter. 'The Work of Art in the Age of its Technical Reproducibility', Benjamin: Philosophy, History, Aesthetics, ed. Gary Smith. London: 1989, pp. 158-74.
• Bentley, G. E., Jr. Annual compiled bibliographies of Blake's illustrative work in An Illustrated Blake Quarterly; e.g. (most recently) "William Blake and His Circle: A Checklist of Publication and Discoveries in 1999", An Illustrated Blake Quarterly, 32 (2000), pp. 135-67; index.
• Burton, Anthony. 'Cruikshank as an Illustrator of Fiction', The Princeton University Library Chronicle, 35 (1973-74), pp. 93-178.
• ---------------. 'Thackeray's Collaborations with Cruikshank, Doyle, and Walker', Costerus, 2 (1974), pp. 141-87.
• Cameron, Julia Margaret. Victorian Photographs of Famous Men and Fair Women, introduced by Virginia Woolf and Roger Fry. 1926; reprinted London: Chatto and Windus, 1992.
• Chazal, Gilles. 'Gustave Doré', The Dictionary of Art, ed. Jane Turner. New York: Macmillan, 1996. 34 Vols. Vol 9, pp. 169-71.
• Cohen, Jane R. Charles Dickens and his original illustrators Columbus : Ohio State University Press, 1980.
• Crane, Walter. The Decorative Illustration of Books. 1896; reprinted London: Studio Editions, 1994. As an important illustrator of the period, Crane is well-placed to talk of the choices his contemporaries made; this is also a sensible book about how books are put together and what the artist's role is.
• Daniels, Morna. Victorian Book Illustration. London: The British Library, 1988. Much information, many reproductions and perceptive discussions.
• Doré, Gustave; see his Dante, Inferno, Purgatorio & Paradiso, translated by Henry Francis Cary and illustrated by Gustave Doré. 2 vols, 1861, 1868; reprinted London, 1988.
• Eaves, T. Duncan. 'Graphic Illustrations in the Novels of Samuel Richardson', Huntington Library Quarterly, 14 (1950-51), pp. 349-438.
• ----------------. 'The Harlowe Family by Joseph Highmore: The Illustration of Richardson's Clarissa', Huntington Library Quarterly, 7 (1943-44), pp. 89-96.
• Engen, Rodney K. Dictionary of Victorian Wood Engravers. Cambridge, England, 1985.
• Fildes, Paul. 'Phototransfer of Drawings in Wood-block Engravings', Journal of the Printing Historical Society, 5 (1969), pp. 87-97.
• Finley, Gerald. Landscapes of Memory: Turner as Illustrator to Scott. London: 1980.
• Fish, Arthur. John Everett Millais. New York: Funk and Wagnalls, 1923. Rich in full-page coloured plates.
• Fried, Michael. 'Absorption: A Master Theme in Eighteenth-Century French Painting and Criticism', Eighteenth-Century Studies, 9 (1976), pp. 139-77.
• Goldman, Paul. Victorian Illustrated Books, 1850-1870: The Heyday of Wood-Engraving. Boston: David R. Godine, 1994. An indispensable book for any study of book illustration in the period; rich in reproducations and information.
• -------------. Victorian Illustration: The Pre-Raphaelites, the Idylllic School and the High Victorians. Aldershot, England: Scolar Press, 1996. An important source for reproductions, bibliographies and sensitive analyses of the idyllic school.
• Gombrich, E. H. The Essential Gombrich: Selected Writings on Art and Culture, ed. Richard Woodfield. London: Phaidon, 1996. if the reader wants one book which is a 'must read' before proceeding to think about whatever illustrations he or she means to write about or meditate, this is the one. It contains his 'The Visual Image: its Place in Communication', 'Psychology and the Riddle of Style', 'Truth and the Stereotype', 'The Necessity of Tradition'.
• --------------. Meditations on a Hobby Horse and Other Essays on the Theory of Art. London, 1963, pp. 12-29, 95-105, 120-42.
• Gordon, Catherine. 'The Illustration of Sir Walter Scott: Nineteenth-Century Enthusiasm and Adaptation', Journal of Warbourg and Courtauld Institutes, 34 (1971), pp. 297-317.
• Gray, Basil. The English Print. London: Adam and Charles Black, 1937. A lucid, thorough and intelligent study.
• Grigaut, Pual. 'Marmontel's Shepherdess of the Alps in Eighteenth-Century Art', Art Quarterly, 1949.
• Hammelmann, Hans. Book Illustrators in Eighteenth-Century England.
• Harrison, Martin and Bill Waters. Burne-Jones. London: Barrie and Jenkins, 1974.
• Harvey, John. Victorian Novelists and their Illustrators. New York: New York University Press, 1971. Harvey trashes the idyllic school in favor of the caricaturists, but otherwise this is one of the best twentieth century studies of the relation of book illustrations to their texts in the period.
• Hemstedt, Geoffrey. 'Some Victorian Novels and their Illustrators', unpublished Ph.D. diss. Princeton University, 1971.
• Hilton, Timothy. The Pre-Raphaelites. London: Thames and Hudson, 1970. Perceptive historical book.
• Hobson, Anthony. J. W. Waterhouse. London: Phaidon, 1989.
• Hodnett, Edward. Five Centuries of Book Illustration. Aldershot, England: 1988.
• Höltgen, Karl Josef, Peter M. Daly and Wolfgang Lottes, edd. Word and Visual Imagination: Studies in the Interaction of English Literature and the Visual Arts, ed. Erlangen-Nürnberg, 1988. Includes: Allen Samuels, 'Thomas Rowlandson and the Business of Art', pp. 209-21; Wolfgang Lottes, 'The Lady of Shallott: Tennyson's Poem and Some Victorian Illustration', pp. 269-99; Peter M. Daly, 'Modern Advertising and the Renaissance Emblem: Modes of Verbal and Visual Persuasion', pp. 369-71.
• Houfe, Simon. The Dictionary of Nineteenth Century British Book Illustrators and Caricaturists. Woodbridge, Suffolk: Antique Collectors Club, 1996. Essential encyclopedic source of information; it contains many reproductions of the original illustrations.
• Hunt, John Dixon. The Pre-Raphaelite Imagination. Baltimore: Johns Hopkins Press, 1973.
• ---------------. The Figure in the Landscape. Baltimore: Johns Hopkins Press, 1976.
• Hussey, Christopher. The Picturesque. London: Frank Cass & Co, 1967.
• Kitton, Frederic G. Dickens and his Illustrators. 1899; reprinted London, 1975.
• Landow, George P. 'William Holman Hunt's The Shadow of Death', The Rylands University Library,
• Life, Allan R. 'The Periodical Illustrations of John Everett Millais and Their Literary Interpretation', Victorian Periodicals Newsletter, 9 (1976), pp. 50-68.
• -------------. '"Poetic Naturalism": Forrest Reid and the Illustrators of the Sixties', Victorian Periodicals Newsletter, 10 (1977), pp. 47-68.
• Lucie-Smith, Edward and Celestine Dars. How the Rich Lived: The Painters as Writers, 1870-1914. London: Paddington Press, 1976. Rich in reproductions.
• Lukitsh, Joanne. 'Julia Margaret Cameron's Photographic Illustrations to Alfred Tennyson's The Idylls of the King', Arthurian Women, ed., introd. Thelma S. Fenster. London: Routledge, 2000, pp. 247-62.
• Lutman, Stephen. 'Reading Illustrations: Pictures in David Copperfield', Reading the Victorian Novel: Detail into Form, ed. Ian Gregory, New York, 1980, pp. 196-225.
• Lutyens, Mary, ed. Young Mrs Ruskin in Venice: Her Picture of Society and Life with John Ruskin, 1849-52. New York: Vanguard, 1965. Effie Ruskin sounds like one of Trollope's heroines.
• -------------. Millais and the Ruskins. New York: Vanguard, 1967. Given Trollope's close relationship with Millais, this book is important for a study of the illustrations to Trollope's novels.
• Macmillan, John Duncan. 'Holman Hunt's Hireling Shepherd: Some Reflections on a Victorian Pastoral', The Art Bulletin, 54 (1972), pp. 187-97.
• Maidment, B. E. Reading Popular Prints, 1790-1870. Manchester: Manchester University Press, 1996.
• Mancoff, Debra N. The Return of King Arthur: The Legend Through Victorian Eyes. New York: Harry M. Abrams Pub, 1995. This is a study of the relationship between the paintings and illustrations of the legend and Victorian mores; there are numbers of collocations between the illustrations of the idyllic school and those studied here (e.g., the closeness of the depiction of King Arthur by Charles Ernest Butler to the idyllic depictions of Arthur Fletcher in Trollope's Prime Minister).
• Manners and Morals: Hogarth and British Painting, 1700-60. London: Tate Gallery, 1987. A set of twelve paintings taken from the illustrations of Pamela by Joseph Highmore, Catalogue Nos. 134-45, also pp. 156-59.
• May, Jim. "Recent Studies of Illustrations and Prints", The East-Central Intelligencer, The Newsletter of the EC/ASECS, N. S. Volume 15, No. 1 (January 2001), pp. 58-77. This is a superb selective bibliography which surveys publications since 1988 on scholarship on 18th century engraved prints and book illustrations for books in English, but includes studies of atlases, cartography and maps. A longer version may be found at http://www.personal.psu.edu/special/C18/c18-l.htm.
• Meynell, Alice. 'How Edwin Drood was Illustrated', Century Illustrated Monthly Magazine, 27 (February 1884), pp. 522-28.
• Millais, John Everett. Illustrated Edition of The Parables of Our Lord, introduced by Mary Luytens. 1864; reprinted New York: Dover, 1975.
• Miller, J. Hillis. Illustration. Cambridge: Harvard University Press, 1992.
• Newell, Christopher. Victorian Watercolours. London: Phaidon, 1987. Lavishly illustrated, it contains two interesting chapters on book illustration.
• Panofsky, Erwin. Meaning in the Visual Arts New York: 1955.
• Paulson, Ronald. Rowlandson: A New Interpretation. New York: Oxford University Press, 1972.
• ---------------. Hogarth: His Life, Times and Art. New Haven: Yale University Press, 1974.
• Pennell, Joseph. 'A Golden Decade in English Art', The Savoy, 1 (January 1896), pp. 112-24.
• ---------------. 'English Book Illustration, 1860-70', Journal of the Society of Arts, 44 (3 April 1896), pp. 455-64.
• Peters, Robert L. Victorians on Literature and Art. New York: Appleton-Century Crofts, 1961. A rich source book filled with significant essays by Victorians.
• Poggioli, Renato. 'The Added Artificer', On Translations, ed. Reuben Brower. Oxford: 1966, pp. 137-47.
• Quennell, Peter. Romantic England: Writing and Painting 1717-1851. London: Wiedenfeld and Nicolson, 1970.
• Ray, Gordon. The Illustrator and the Book in England from 1790 - 1914. 1976; reprinted New York: Dover, 1991. A definitive chronicle of book illustration in the period. Ray has another much longer volume on illustration from the fifteenth through twentieth century (much material on the Renaissance across Europe), written as an exhibition catalogue for the Pierpont Morgan Library.
• ------------. Art of the French Illustrated Book, 1700-1914. New York: Pierpont Morgan Library in associaton with Dover, 1986.
• Reid, Forrest. Illustrators of the Eighteen Sixties: An Illustrated Survey ofthe Work of 58 British Artist. 1928; reprinted New York: Dover, 1975. This extraordinary book, with its sensitive informed analyses of the illustrations and styles of the period and its 91 plates is indispensable for any serious study of the famous decade's visual art in illustrations and its significance. See also Glesson White (below).
• Rosenberg, John D. The Darkening Glass: Portrait of Ruskin's Genius. New York: Columbia University Press, 1961. Remains central for understanding this influential man.
• Rothstein, Eric. '"Ideal Presence" and the "Non Finito" in Eighteenth-Century Aesthetics', Eighteenth-Century Studies, 9 (1976), pp. 307-32.
• Steig, Michael. Dickens and Phiz Bloomington, Indiana: 1978.
• Stevens, Joan. 'Thackeray's Vanity Fair', Review of English Literature, 6 (1965), pp. 19-38.
• -------------. '"Woodcuts Dropped into the Text": The Illustrations in The Old Curiosity Shop and Barnaby Rudge', Studies in Bibliography, 20 (1967), pp. 113-34.
• Sullivan, Edmund J. 'Arthur Boyd Houghton: An Artist's Artist', The Print Collectors' Quarterly, February 7, 1923, pp. 91-122; April 1923, pp. 124-48. Includes interesting reproductions of this popular idyllic artist.
• Sussman, Herbert. 'Hunt, Ruskin and The Scapegoat, 12 (1969), pp. 83-90.
• Sypher, Wylie. Rococo to Cubism in Art and Literature. New York: Vintage, 1963, pp. 91-145. Although condescended to, this brilliant book contains an illuminating and useful explanation of the development of psychologically picturesque style.
• Thorpe, J. English Illustrators: The Nineties. New York: Hacker Art Books, 1975
• Treuherz, Julian. Victorian Painting. London: Thames and Hudson, 1993. An informative book filled with reproductions and perceptive commentary.
• The Victorians: British Painting, 1837-1901. Washington, D. C.: The National Gallery of Art, 1997. A significant exhibition catalogue, filled with information, perceptive commentary, and many reproductions of significant paintings.
• Ward, Mrs. E. M. Memories of Ninety Years, ed. Isabel G. McAllister. New York, 1925.
• Whiteley, William T. Artists and Their Friends in England, 1700-1799. 1928; reprinted New York: Benjamin Blom, 1968. Two Volumes. This book is particularly rich in details on the lives of more obscure painters and illustrators of books.
• Wildman, Stephen and John Christian. Edward Burne-Jones, Victorian Artist-Dreamer. With essays by Alan Crawford and Laurence des Cars. New York: The Metropolitan Museum of Art, 1998.
• Witemeyer, Hugh. George Eliot and the Visual Arts. New Haven, Connecticut: Yale University Press, 1979.
• Whitaker, Muriel. 'The Women's Eye: Four Modern Arthurian Illustrations', Arthurian Women, ed., introd. Thelma S. Fenster. London: Routledge, 2000, pp. pp. 263-87.
• White, Gleeson. English Illustration 'The Sixties', 1855-70. 1897; reprinted Bath: Kingsmead, 1970. Together with Forrest Reid's book (see above), this thorough listing of periodicals which carried illustrations, their preferred styles and short biographies and analyses of the included illustrations is indispensable. It forms a basis for beginning.
• Heinrich Wöfflin, Heinrich. Principles of Art History: The Problem of the Development of Style in Later Art, translated by M. D. Hottinger. 1932; reprint New York, 1950
• Wood, Christopher. Victorian Painters: A Dictionary of British Art. Woodbridge, Suffolk: Antique Collectors Club, 1990. 4 Volumes. Essential encyclopedic volumes overflowing with colour and black-and-white reproductions.
• -----------------. Victorian Panorama: Paintings of Victorian Life. London: Fabet and Faber, 1976.
• -----------------. Paradise Lost: Paintings of English Country Life and Landscape, 1850-1914. London: Barrie and Jenkins, 1997. A rich resource of coloured reproductions.

There are scattered comments on the visual nature of Trollope's imagination and his illustrators scattered in books and essays on Trollope's work in general, his art or in essays focused on other novels. Trollopiana often includes contemporary illustrations of Trollope's novels in its issues.