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 original drawings as examples of his decorative work, rather than with his books. Rackham is one of the few English illustrators whose originals have sold readily. When he wrote a note to accompany his will, in 1934, concerning the relatively small number of his drawings still in his possession, Rackham was depressed at the state of the art market. ‘But the better drawings may well find buyers by degrees,’ he said, ‘the smaller ones not infrequently to book-collectors, rather than picture-buyers. For some years, I have found that a nett price of about £50 as an average (say from £30 to £60 – rarely more) is a possible price for the more important drawings, while smaller and less important drawings are sold at £15 to £30.’ This position had not materially altered in 1960.

Rackham has had many imitators; but they have lacked his finesse and imaginative power; he remains unique. Max Reinhardt admitted his debt to Rackham’s Midsummer-Night’s Dream drawings in his production of the play, and, whether or not Rackham can be proved to have influenced Walt Disney – as, considering Rackham’s American popularity, seems most likely – he undoubtedly anticipated his work. What of his effect on more serious artists? The influence of Rackham was felt most deeply in England by children who grew up during the first quarter of this century in those upper- and middle-class homes where his books were chiefly treasured. Two such sons of professional men were Graham Sutherland and John Piper, both born in 1903 and both educated at Epsom College. In this connection Sutherland’s pre-occupation with trees and their roots could be significant; one could see it as part of the general subconscious influence of Rackham’s art which has remained with all who knew it as children.

It would be idle to deny that Rackham has detractors, who fail to distinguish between the Master and his imitators and competitors, who mock at ‘Fairies-at-the-bottom-of-the-garden’, and who associate him, most unfairly, with terracotta gnomes outside seaside