For this October installment of The Printed Image, we’re continuing the exploration of Gustave Doré’s illustrated works within Special Collections while also journeying to an underworld of doom and darkness.

Doré’s illustrations for Dante’s Inferno have defined this literary masterwork for modern audiences, to the point where readers may know the images without knowing the artist. Doré began work on the illustrations in 1855 and eventually self-published his own edition in 1861, after he was unable to find a publisher willing to take the financial risk. Doré’s own risk paid off, and the Inferno illustrations became a defining point in his career. [1] (The edition in Falvey’s Special Collections was published later by P.F. Collier in New York.)

The image on the right, engraved by Héliodore Pisan, is composed with a density of lines and marks, many of them short cuts and stipples that create a gradual gradation from the dark landscape in the background to the bright flame within Farinata’s tomb.

This is contrasted with the illustration below, by an engraver only known as ‘Delduc,’ where the negative space dominates the image. We can see evidence of an engraver’s tools in its making, but it also closely resembles a pen-and-ink drawing, which is not an easy feat for a wood engraving. Pisan’s treatment creates an aura of dark menace while Delduc presents Hell’s torments with clarity and precision.

Over the course of the fall semester, I’ll be highlighting books from Falvey Library’s Distinctive Collections featuring the work of French illustrator Gustave Doré. This is in conjunction with the new exhibit Divine Inspiration: Revealing the Sacred in Biblical Texts and Imagery, now on display on the first floor of Falvey Library. Doré created over 200 biblical illustrations for an edition of the Bible published in 1866, and a case in the exhibit is dedicated to his work, as well as being included on the exhibit poster.

For this first entry in the series, we’re focusing on illustrations Doré created prior to his biblical illustrations with Doré Fairy Tales (formally titled “Popular Fairy Tales”), a 32-page volume that collects four stories, published in 1888. An author is not credited for the text, but Doré’s illustrations most likely derived from illustrations he created for Charles Perrault’s fairy tales, around 1862.

An artistic prodigy and enormously prolific, Doré earned acclaim for his book and newspaper illustrations while striving for acceptance in the traditional French art establishment. The majority of his illustrations were produced through wood engraving, a process where an image is carved into a block of wood by carving away the negative space of the image. Ink can then be rolled onto the carved surface and subsequently printed, though often metals plates were created from the blocks by means of electrotyping or stereotyping, allowing the images to be used in industrial printing, and for wider dissemination of the illustrations [1].

Doré was able to utilize the engraving medium to add a staggering level of detail to his illustrations, with expressive costuming, characters and locales. The illustrations have a strong grounding in realistic environments, but still leave room for the strange and fantastic, as seen in the illustrations for The Seven-League Boots. But these qualities are also due to the engravers who collaborated with Doré, as they were the ones who carved the woodblocks based on Doré’s drawings, thus bringing his visions to life. Doré often drew directly onto the woodblocks prior to carving, so not much evidence remains of his preparatory drawings prior to an engravers’ tools [1].

In many cases, the engraver’s signature would be included on the illustrations along with Doré’s, as can be seen in the bottom left corner of a Blue-Beard illustration. However, for many of the illustrations in this particular edition, Doré’s signature is the only one that is prominent. This could be due to the way the illustrations were formatted for this particular edition, or how the printing plates were disseminated to the publisher.

One final aspect I’ll note is the paper used for this edition. The paper has a significant texture or “tooth” to it that is detectable when reading, and brings a unique character to the illustrations. But it also creates an uneven surface for the ink to rest upon, which may account for spots where it appears the ink has been rubbed away. This is a reminder that every variable in printing will impact a book and its contents, and will be a factor in its preservation.