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The Book Cover Designs of John Leighton, F.S.A

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The Book Cover Designs of John Leighton, F.S.A THE BOOK COVER DESIGNS OF JOHN LEIGHTON, F.S.A. EDMUNDM. B.KING THE chief aim of this article is to identify and describe the signed cover designs by John Leighton on books in the British Library.^ What follows is a summary of work in progress.^ This reveals the enormous creativity and versatility of Leighton's cover designs, of which over four hundred have been traced to date. Leighton worked with many publishers, all of whom had London offices, or were based exclusively in the capital. Between 1845 and 1902, he was employed by nearly seventy.^ Of this number, he provided three designs or less for forty publishers, and it is likely that his skill as a designer made many different publishers or printers keen to commission his services. Leighton is now distinguishable from the other cover designers of his period by his sheer proficiency, as well as his artistic talent. He designed covers for a wide range of subject material, including religion, engineering, history, natural history, and particularly imaginative literature. He had work over a long span of years from at least four publishers - Bogue, Griffith and Farran, Blackie and William Mackenzie. His spine designs are frequently a marvel of intricate line within a confined space. Above all, Leighton provided designs that the publishers wanted, often incorporating deft flourishes of humour. Previous evaluations of Leighton's achievements in the wider context of Victorian design developments have been made by Pantazzi^ and by Ball.^ There is also much Leighton material in the Bodleian Library.*^ John Leighton was a long-lived man (1822-1912), of exceptional ability, with wide-ranging interests."^ His work as a cover designer was but one aspect of his activities.^ He was also a prolific book illustrator. Leighton's family was a large one, he being the eldest of seven. His mother, Sarah, was the daughter of the artist James Baynes.^ His father, John, was in business with his uncle James, as J. & J. Leighton, bookbinders.^** Leighton studied as an artist in the studios of Henry Howard, R.A., and Thomas Seddon.^^ He wrote and illustrated a number of works in the 1840s under the pseudonym of Luke Limner, almost certainly taking his pseudonym from St Luke, the patron saint of artists. Small bookplates that he used add weight to this.^*^ Leighton executed the artwork for at least three publications for David Bogue at this time. The lithographic press of Leighton and Taylor printed Comic Art-Manufactures, possibly in 1845, issued in orange paper covers. In this work, the sincere efforts of Henry Cole, and like-minded 234 contemporaries, to raise the standard of art in design are satirized.^' David Bogue also published The Ancient Story of the Old Dame and Her Pig [1847]. This shows on the front paper cover a farmyard setting for the Old Dame.'^ Bogue published London Out of Town. Or the Adventures of the Browns at the Sea Side [1847]. The upper cover of this work features medallions depicting events in 'watering places'.^^ Grant & Griffith published Leighton's The Cries of London [1847].^^ This work is distinctive for Leighton signing the majority of the twenty-four plates with the monogram *JL\ with the 'J' crossing the 'L'. You have to look hard in the illustrations to find them. For instance, in plate 3, the monogram is on a small poster affixed to railings in the background. In these early works, we see the beginning of Leighton's habit of signing his work with monograms. The monogram is used habitually later on his cloth cover designs. The covers of these works all possess characteristic features which mark the work out as Leighton's. The designs occupy the whole of the cover space available. There is much humorous detail, with groups of figures, or of animals. Leighton has instinctive sympathy with the British traditions of social comedy and satire. The designs of Cries of London., and of the Old Dame, show how Leighton was experimenting with figures in very diflFerent settings. In the same period, but undated, Ackermann & Co. published Contrasts and Conceits for Contemplation., a series of twenty plates, featuring social contrasts, such as ' tragedy-comedy';' wedding clothes-funeral clothes';' before and after the railway'.^^ For The Royal Picture Alphabet (fig. i), Leighton drew the plates, and his brother Henry Leighton engraved them. Some of the plates are signed with Henry Leighton's monogram, a joined 'H' and 'L'.^^ The Great Exhibition of the Works of Industry of All Nations in 1851 offered Leighton great scope for his talents. He executed a number of bookbinding designs for the firm of J. & J. Leighton, under his pseudonym of Luke Limner. His design for King William IV's royal Bible is reproduced in the Official Descriptive and Illustrated Catalogue.'^^ Leighton also designed the commemoration shield of the Great Exhibition, which was executed in electrotype by the Elkington company.^^ The shield was used as ornamentation on blotting books.^'^ Leighton was awarded a prize medal for his designs by the Jury of Fine Arts (Class XXX).^^ Amidst these endeavours, Leighton found time, under his pseudonym, to draw some seventy illustrations for The Rejected Contributions to the Great Exhibition of All Nations. This is a delightful series of fictitious exhibits which 'failed' to be accepted.^^ In 1852 and 1853, David Bogue issued Leighton's Suggestions in Design. In this work, Leighton's mastery of hne in relation to the design of all past ages is readily apparent. The work was issued in parts in paper covers. In the British Library copy, only the cover to issue no. i has been bound in. Plain as the design is on light green-dyed paper, Leighton took obvious pride in the medal he was awarded at the Great Exhibition of 1851, as it features prominently on the cover.^""^ From it comes much of the inspiration for Leighton's designs for cloth covers in the 1850s and 1860s. In it, examples of Leighton's monogram are on every plate. This work was updated and reissued by Blackie 235 Fig. I. The cover design of The Royal Picture Alphabet, designed by John and engraved by Henry Leighton; 12985.e.46 (lower cover) 236 in 1880, with an introductory letterpress text by J. K. Colling. In this later work, Leighton's monogram is a single capital 'L'. • j • Leighton's designs for cloth covers arose quite naturally. He had provided designs which were executed on paper, and it would have been logical for him to extend the scope of his work. There are cloth designs by Leighton before 1850. One of the most conspicuous is that for The Keepsake.'^'^ This annual had commenced publication in 1828. Westley's may have carried out the binding for the early years, as the 1830 and 1848 volumes contain their binder's tickets.'^ The year 1849, which was also bound by Westley, has Leighton's design. This was used again for the years 1850-1857. The years 1853 and 1855 have binder's tickets of Leighton, Son & Hodge. All the volumes of the British Library set for 1849-1857 were produced in the same way, with red morocco- grain cloth. The design is blocked identically on both covers, with the upper cover blocked in gold, and the lower cover in blind. The spine is fully blocked in gold. The design has an intricate tracery of vine leaves and grapes, intermingled with strapwork. The title, in fanciful letters, is surmounted by an oriental style 'vase bowl' hd. The volume for 1850 has inexact registration of the blocking on the upper cover, which suggests the design may have been cut as two blocks, which were assembled, together with the title letters, on the blocking press. Another example of work for Bogue was a series of Leighton's designs for The Court Album, which was issued annually from 1850 to 1857. The covers for 1851 and 1852 are light green morocco horizontal-grain cloth. Both covers are fully blocked in gold, with an identical design. There is an elaborate tracery of branches and flowers surrounding the title, which is blocked in relief within a small central diamond lettering-piece, blocked in gold. For 1853 and 1854, the same cloth is used as for 1851 and 1852. However, a different design of Leighton's was used. This features rose branches, stems and leaves on the borders and on the corners. The centre-piece shows two small figures, under a cupola, surrounded by stars, creating an 'open sky at night' effect. The volume for 1855 has light green ripple vertical-grain cloth and the same blocking in the borders and the corners as for 1853 and 1854. Leighton has designed a new centre-piece, a large recessed diamond with a border pattern blocked in blind, and a small vignette of a rose and a crown blocked in the centre of the diamond. For 1856, there is a break. The block used is on red leather, and is consciously imitating an earlier binding style. In 1857, Leighton provides a renaissance design, of elaborate lines. The centre-piece has two ovals, joined by strapwork and a tracery of leaves and stems.^^ In 1856, Grant and Griffith issued Geraldine Jewsbury's Angelo; or the Pine Forest in the Alps. This book is blocked in blind on the borders and on the corners of both covers. The vignette is typical: a small group, blocked in gold on the upper cover only, with the title in fanciful lettering. Leighton's monogram is frequently situated at the base of these designs, as is done in this instance.^^ In 1857, Griffith and Farran, the successors to Grant and Griffith, issued jfulia Maitland; or^ Pride Goes Before a Fall by Mary and Elizabeth Kirby.
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