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Maidens Monsters and Heroes The Fantasy Illustrations of H J
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Djun’s Magic in the House of the Chief
THE STORY OF DJUN
The Strange Story Book, 1913
At Dover Publications we’re committed
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Maidens, Monsters and Heroes was
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Copyright
Copyright © 2010 by Dover Publications, Inc.
Text copyright © 2010 by Jeff A. Menges All rights reserved.

Bibliographical Note
Maidens, Monsters and Heroes: The Fantasy Illustrations of H. J. Ford, first
published by Dover Publications, Inc., in 2010, is an original compilation of
illustrations from the following sources, all selected and edited by Andrew Lang,
illustrated by H. J. Ford, and published by Longmans, Green, and Co., London
and New York, except where noted: The Blue Fairy Book, 1889; The Red Fairy
Book, 1890; The Green Fairy Book, 1892; The Yellow Fairy Book, 1894; The
Red True Story Book, 1895; The Pink Fairy Book, 1897; The Arabian Nights
Entertainments, 1898; The Red Book of Animal Stories, 1899; The Grey Fairy
Book, 1900; The Violet Fairy Book, 1901; The Book of Romance, 1902; The
Crimson Fairy Book, 1903; The Brown Fairy Book, 1904; The Orange Fairy
Book, 1906; The Olive Fairy Book, 1907; Tales of Troy and Greece, 1907; The
Book of Princes and Princesses, selected by Mrs. Lang and edited by Andrew
Lang, 1908; The Lilac Fairy Book, 1910; The All Sorts of Stories Book, selected
by Mrs. Lang and edited by Andrew Lang, 1911; The Book of Saints and
Heroes, selected by Mrs. Lang and edited by Andrew Lang, 1912; The Strange
Story Book, selected by Mrs. Lang and edited by Andrew Lang, 1913;
Introduction to American History by James Albert Woodburn and Thomas
Francis Moran, 1916; and Pilot and Other Stories by Harry Plunket Greene, The
Macmillan Company, New York, 1916.

Library of Congress Data

Maidens, monsters and heroes: the fantasy illustrations of H.J. Ford / selected
and edited by Jeff A. Menges.
p. cm.
Original compilation of illustrations from a variety of sources published between
1889 and 1916.
9780486139791
1. Ford, H. J. (Henry Justice), 1860–1941–Themes, motives. 2. Fantasy in art. I.
Ford, H. J. (Henry Justice), 1860–1941. II. Menges, Jeff A.
NC978.5.F65A4 2010
741.6092–dc22

2009052977

Manufactured in the United States by Courier Corporation

47290601
www.doverpublications.com
INTRODUCTION

Henry Justice Ford grew up in the heart of the Victorian age. He was born in the
environs of London in 1860, and spent most of his life there. The visual work he
produced would have the input and support of Britain’s Victorian painters,
including the Pre-Raphaelites, and he became part of—and influenced—the
Golden Age of illustration. Ford’s fairy-tale illustrations are some of the best
known and most frequently reproduced works of the period.

Regarded as a strong student, H. J. Ford attended both the Slade School of Fine
Art and the School of Art at Bushey, where he studied under Alphonse Legros
and Sir Hubert von Herkomer. Though mostly remembered for his illustration
work, Ford also was close to the fine artists of the period. Counted among the
pre-Raphaelites himself, he was a good friend to prominent painter Edward
Burne-Jones. In the earlier part of his career, Ford often exhibited landscape and
imaginative works, but the success of his illustration work would steer the
course of his later years.
 The Giant’s Shadow
THE KING OF THE WATERFALLS
The Lilac Fairy Book, 1910

Beginning in childhood, our experience with literature imprints certain concepts,

including the battle between good and evil, the presence of magic, the expression
of bravery, and the meaning of love. They are built upon the foundations of the
stories collected by Grimm, D’Aulunoy, and Andersen, and are passed on down
to us from the earliest myths and legends. Many of the iconic elements that
populate the tales of youth of the Edwardian era sprang from the pages of author
and editor Andrew Lang’s “Color” fairy books. In fact, some of the earliest,
most widely printed imagery came from this series, produced in Britain from
1889 to 1910. Over that twenty-one-year stretch, Andrew Lang combed through
a sizable collection of tales to select the best stories; the resulting twelve
volumes are full of imagery. The initial volume, the Blue Fairy Book, was
released in 1889, and contained illustrations by G. P. Jacomb Hood, as well as
twenty-nine-year-old Henry Justice Ford. Lang’s second volume featured
artwork by Ford and Lancelot Speed. As the series became increasingly popular,
and as more volumes were released, other illustrators were dropped from the
project. In 1892, with the Green Fairy Book, H. J. Ford became the sole
illustrator, and he would remain so for the next nine volumes, over the next
eighteen years. In this series alone, Ford produced a staggering number of
images—more than 1,000—each volume presenting approximately 100
illustrations.
Grendel’s Mother drags Beowulf to the bottom of the Lake THE STORY OF
BEOWULF, GRENDEL, AND GRENDEL’S MOTHER
The Red Book of Animal Stories, 1899
 How Atalanta and Meleager slew the Wild Boar of Caledon MELEAGER THE
HUNTER
The All Sorts of Stories Book, 1911

The relationship between Andrew Lang and H. J. Ford was mutually beneficial.
There were few books in British children’s literature that were as popular as the
“Color” fairy books, and the pairing was so successful that, after Andrew Lang’s
passing in 1912, Longman’s, Green and Co. continued to publish works with
Lang’s name—along with Mrs. Lang’s (she contributed greatly to the later
volumes). Ford worked with Mrs. Lang on titles such as The Book of Princes
and Princesses, The Book of Saints and Heroes, and The All Sorts of Stories
Book. After World War I, with the resulting drop in book production and the
Lang fairy books behind him, Ford found fewer assignments. His last book,
issued in 1921, was an edition of Bunyan’s Pilgrim’s Progress. Ford died in
1941, leaving a wealth of images deeply planted in the imaginations of a
generation.

Jeff A. Menges
October 2009
Table of Contents

Title Page
Copyright Page
INTRODUCTION
Part I: Early Line Work
Part II: The Addition of Color
Kynon meets with the black master of the Beasts
THE LADY OF THE FOUNTAIN
The Lilac Fairy Book, 1910
Part I: Early Line Work

In the original “Blue” book of Andrew Lang’s fairy series, the work done by H.
J. Ford was competent and capable, but Ford had not yet defined a signature
style. While the stories were fantastic and full of magic, Ford’s earliest
illustrations were typical of the period. The artwork that Lang’s books required
was daunting—the books averaged one hundred drawings per volume, and while
the first two volumes featured two illustrators, Ford took on the remaining
volumes alone. While not every image filled a full page, most did, and many
were extremely complex. Horses, multiple figures, period and regional dress and
armor—all became the necessary ingredients for the illustrations in the books
that Lang produced. Ford became very good at assembling imagery that
contained both the reference of real history and the wildest imaginings. By the
fourth volume, the Yellow Fairy Book, Ford’s work had developed a character of
its own—complex and defined—and his inking had become masterful. He
developed an excellent sense of how values and textures could be used to move
the viewer around the image.
 The Three Grey Sisters
THE TERRIBLE HEAD
The Blue Fairy Book, 1889
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