Millicent Sowerby
Millicent Sowerby, 1907.
Millicent Sowerby was the earliest artist to re-illustrate Wonderland, infusing Carroll’s world with a delicate, dreamlike sensibility. Hers was the first British edition after the original copyright expired; published by Chatto & Windus in 1907, it featured twelve color plates and several black-and-white illustrations. New visual elements were introduced that were not in the Tenniel version, including an opening scene of Alice beside her sister, an illustration of her peering into the rabbit hole, and a redesigned Hatter’s hat. In 1913, Sowerby revisited Alice in a new edition published by Henry Frowde/Hodder & Stoughton. (ater reissued by Oxford University Press in 1926 and 1936.)
All the illustrations were completely reimagined. Alice and the White Rabbit underwent notable redesigns, including changes to Alice’s hair and clothing and adjustments to the White Rabbit’s costume. The Mad Tea Party scene, for instance, originally depicted Alice peeking at the table, while in the later edition she was already seated. Sowerby’s Alice evolves from ethereal delicacy to a more immersive presence, reflecting a deepening artistic interpretation and a shifting relationship with Wonderland.
Comment: Reillustrating is not mere repetition—it is an act of subtle or bold transformation. Sowerby’s Alice evolves from ethereal delicacy to a more immersive presence, reflecting a deepening artistic interpretation and a shifting relationship with Wonderland.
Harry Rountree
New Zealand–born, London-dwelling Harry Rountree illustrated Wonderland in three distinct phases. The first one, published by Thomas Nelson in 1908, featured 92 color illustrations, including twelve full-page ones. In 1925, Thomas Nelson adapted some of these illustrations into black-and-white line drawings for an edition that combined Alice with Bruno’s Revenge, altering or omitting certain details. Finally, in 1928, William Collins commissioned Rountree to create an entirely new illustrated edition that combined Wonderland and Looking-Glass, featuring eight new color plates and numerous black-and-white drawings. The later edition reflects a shift in Rountree’s artistic approach, moving beyond his earlier art nouveau style toward a more modern technique. The meticulous linework, combined with the vibrant impact of color plates, enhances both the whimsy and darker elements of the story. This evolution reveals not only Rountree’s refined craftsmanship but also his engagement with the graphic trends of the late 1920s.
[To dive deeper, see “The Rountree Illustrations,” KL 96:34.] link
Comment: Reillustrating is a dialogue between technique and time—Rountree’s Wonderland transforms from rich Art Nouveau ornamentation into a more dynamic interplay of movement and composition, mirroring the shifting artistic currents of his era.
Rene Cloke
Rene Cloke, 1934.
British illustrator Rene Cloke was known for her delicate depictions of fairy tales and children’s literature, often featuring fairies, elves, and anthropomorphic animals. In all, Cloke illustrated four versions of Wonderland and one of Looking-Glass. Her first venture into Alice came in 1934, when she contributed six illustrations to an anthology. In 1943, she produced a complete set of illustrations for an edition published by P. R. Gawthorn. She revisited Alice in 1965 and again in 1990. Her Looking-Glass was published in 1951 and later reprinted in various formats.
Cloke’s 1943 edition stands out for its more than 80 illustrations, many in color, employing a distinctive three-tone scheme. Cloke’s Alice is expressive and youthful, surrounded by rounded, charming characters rendered in vibrant colors and fluid lines.
The 1965 edition introduced an adapted text, allowing for greater interaction between words and images, which play across the page in a dynamic way. Her 1990 adaptation further developed this approach, creating a more inventive visual rhythm. They found their way into Award Publications’ Little Treasury of Alice in Wonderland, a box set of six tiny books (3½ by 3½ inches) with sturdy pages and colorful covers, introducing young readers to Alice’s adventures in a playful way. Cloke’s Alices, spanning five decades, shift from fairy-tale nostalgia to a more fluid and interactive storytelling, embracing movement and transformation.
Comment: Reillustrating can be a dialogue with one’s own artistic evolution—Cloke’s Alice, spanning five decades, shifts from fairy-tale nostalgia to a more fluid and interactive storytelling, embracing movement and transformation at each return to Wonderland.
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