Page:Dictionary of National Biography, Second Supplement, volume 1.djvu/485

 preters as the Dalziels. Their aim was to preserve each line intact when the drawings were made, as Gilbert and Tenniel made them, by a pure line method, but they often had the more difficult task of reproducing in facsimile a mixture of line and brush work, touched on the block with Chinese white, a practice habitual with later illustrators, such as Pinwell and Small. During the latter part of this period Joseph Swain [q. v. Suppl. II] and other engravers were doing interpretative work of equal merit, but no other firm combined technical skill with initiative to the same degree as the Dalziels. The most important books for the illustration of which they were wholly or in large part responsible are Staunton's Shakespeare, illustrated by Gilbert (1858–61), 'Lalla Rookh' illustrated by Sir John Tenniel (1861), Birket Foster's 'Pictures of English Landscape' (1862), John Dawson Watson's 'Pilgrim's Progress' (1863), Millais's 'Parables' (1864), 'The Arabian Nights' Entertainments' (1864), illustrated largely by Hough ton and Thomas Dalziel, Goldsmith's works, illustrated by Pinwell (1865), and Dalziel's 'Bible Gallery' (1880). Complete sets of India proofs of the woodcuts to all these books, except the 'Arabian Nights' and 'Bible Gallery,' are in the print room of the British Museum. The Dalziels' work is also well represented in the Victoria and Albert Museum, and a framed collection of 226 India proofs was presented by Mr. Gilbert Dalziel in 1909 to the Hampstead Central Library. A complete illustrated record of the brothers' work in chronological sequence remains in Mr. Gilbert Dalziel's possession. The 'Bible Gallery,' completed in 1880 after many years of preparation, was the last important undertaking of the Dalziels on the artistic side. In the next decade the photo-mechanical processes were already beginning to prevail in competition with the slower and more expensive methods of the wood-engraver. The Dalziels' energies were thenceforth more devoted to the business of printing and the production of illustrated newspapers, chiefly comic. In 1870 they had become proprietors of 'Fun,' which they continued to publish until 1893, and in 1871 they acquired 'Hood's Comic Annual,' to which George Dalziel frequently contributed poems and stories; he also wrote much in 'Fun.' Several volumes of stories and three volumes of verse from his pen were published by the firm. In 1872 the Brothers Dalziel acquired another comic paper, ' Judy,' which they sold to Mr. Gilbert Dalziel in 1888. George Dalziel and his brother Edward were joint authors of a volume of reminiscences, 'The Brothers Dalziel, a Record of Fifty Years' Work. . . 1840-90,' published in 1901.

George Dalziel had no issue by his marriage, in 1846, to Mary Ann, daughter of Josiah Rumball, of Wisbech. After his wife's death he resided with his brother Edward at Hampstead, removing with him in 1900 to 107 Fellows Road, South Hampstead, where he died on 4 Aug. 1902; he was buried in old Highgate cemetery.

 DALZIEL, THOMAS BOLTON GILCHRIST SEPTIMUS (1823–1906), draughtsman, youngest and last surviving member of the firm of the Brothers Dalziel [see, and ], was seventh son of Alexander Dalziel by his wife Elizabeth Hills. Born at Wooler, Northumberland, on 9 May 1823, he was educated at Newcastle-on-Tyne. Unlike his brothers, he was brought up as a copperplate engraver, but did not pursue that vocation after completing his apprenticeship. He came to London in 1843, and worked as an independent illustrator for the Dalziels among others, until he joined the firm in 1860. He did not take part in the engraving of blocks, but devoted himself to drawing on wood. He also undertook the important improvements to be carried out before a finished proof was submitted to the artist. He also painted both landscape and figure subjects in water-colour, and made drawings of coast scenery in charcoal. As an illustrator Thomas Dalziel holds a higher rank than any of his brothers. The hundred illustrations to the 'Pilgrim's Progress' (Ward & Lock, 1865) are entirely by him, and he contributed eighty-nine illustrations to the 'Arabian Nights' (1864), twenty to Jean Ingelow's 'Poems' (1867), twenty-five to Robert Buchanan's 'North Coast' (1868), fourteen to the 'Bible Gallery' (1880), and a smaller number to several anthologies, illustrated by various artists and produced by the Brothers Dalziel. In designing the illustrations to the 'Arabian Nights' he profited by the oriental costumes and objects of art in the collection of his collaborator, Arthur Boyd Houghton, with whom, as with Pinwell and Walker, he was on terms of intimate