Yellow Nineties 2.0Lorraine Janzen KooistraLorraine Janzen Kooistra2021GS_introYellow Nineties 2.0Ryerson University Centre for Digital HumanitiesEnglish Department350 Victoria Street,Toronto ON,M5B 2K3Canada
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Lorraine Janzen Kooistra Lorraine Janzen Kooistra “A Paper of Her Own”: Pamela Colman Smith’s The Green Sheaf (1903-1904)The Yellow Nineties OnlineRyerson University2021Kooistra, Lorraine Janzen. “'A Paper of Her Own': Pamela Colman Smith’s The Green Sheaf (1903-1904)" The Green Sheaf Digital Edition, Yellow Nineties 2.0, 2021, edited by
Lorraine Janzen Kooistra, Ryerson University Centre for Digital
Humanities, 2021, https://1890s.ca/green-sheaf-general-introduction/.
Our editorial method is informed by social-text editing principles. By “text” we
mean verbal and visual printed material, including non-referential physical
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outcome of collaborative processes that have specific manifestations at precise
historical moments. The Yellow Nineties Online publishes facsimile editions of a
select collection of fin-de- siècle aesthetic periodicals, together with
paratexts of production and reception such as cover designs, advertising
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2021EnglishEnglish literature -- 19th century -- PeriodicalsGreat Britain -- PeriodicalsBiographyNonfictionHistoriographyBibliographyPossible Genres (multiple): "Fiction," "Nonfiction," "Poetry,"
"Paratext" (TOC, prospecti, advertisements, frontmatter, titlepage),
"Review" (older reviews), "Criticism" (including critical
introductions), "Visual Art" (images, bio images), Historiography
(bios),"Bibliography" (intros, crit, bios, anything with a bibliography
attached), "Drama," "Ephemera," "Translation," "Religion," "Travel
Writing," "Music, Other,")
Interactive ResourcePossible Types (singular): "Periodical" (texts/most stuff),
"Interactive Resource" (current writing, biographies, not old reviews),
"Still Image" (images, visual art), "Physical Object" (posters,
prospecti)Book HistoryPossible Disciplines (multiple): "Book History (include for all
periodical items)," "Literature," "Art History (use for art, also use
for reviews)," "History (don't use in a general sense)," "Theatre
Studies," "Musicology," "Philosophy," "Anthropology," "Science"“A Paper of Her Own”: Pamela Colman Smith’s The Green Sheaf (1903-1904)
n May 1903, The Review of Reviews
published a brief item on “London Editors Who Are Women,”
excerpted from a leading article in Cassell’s
Magazine. The author, Rudolph de Cordova,
identifies nine female editors then based in London:
Rachel Beer (The Sunday Times);
Hulda Friederichs (Westminster Budget);
Ada S. Ballin (Baby and Womanhood);
Ethel Gordon Fenwick (Nursing Record);
J. Heale (Myra’s Journal);
Rita Shell (The Lady); E.
Macdonald (Ladies’ Field);
Emma Sarah Williamson (The Onlooker);
and Pamela Colman Smith (The Green Sheaf).
De Cordova goes on to name five women who shared, “when
they were editors, the distinction of owning her own
paper,” but neglects to include Smith among them
(“London” 485). Pamela Colman Smith (1878-1951),
however, occupies a unique place in this distinctive
group of early twentieth-century women who edited the
periodicals they owned and managed. In addition to
editing and publishing The Green Sheaf
(1903-4), Smith contributed to both its literary and
artistic contents. The periodical was available by
mail-order through transatlantic subscriptions and at a
few local places. In London, consumers could buy
The Green Sheaf in Vigo
Street at the bookshop of Elkin Mathews
and (after the 4th issue) at 14 Milborne Grove, Smith’s
premises. After the 7th issue, The Green Sheaf
could also be purchased at Brentano’s Bookstore in
Union Square, New York.
Unlike her sister editors, who were pioneers in the
burgeoning mainstream press, Smith aimed The Green Sheaf
at a niche market interested in fine printing, folklore,
and the mysticism associated with the Irish Celtic
movement. The Green Sheaf
contested the industrial methods of the commercial press
through an arts-and-crafts production model, which
included hand-made paper and hand-coloured illustrations.
Like other arts-and-crafts little magazines such as
The Dial
(1889-1897) and The Evergreen
(1895-96/7), The Green Sheaf
was produced by a coterie of like-minded artists and
writers, had an explicit manifesto and a short print
run, and was linked with international networks of
modern art. In the largely male-dominated world of
little magazines in fin-de-siècle Great Britain,
The Green Sheaf is remarkable
for its female leadership, eclectic content, and
artisanal design. Its acknowledged place among other
little magazines of the period is long overdue.
In addition to The Green Sheaf’s
Celtic affiliations, Pamela Colman Smith, who was not
Irish, brought a transnational interest in fluidity and
border crossing to the magazine. This is not surprising
in someone who claimed to have crossed the Atlantic 25
times by the time she was 22 (Armstrong 526). Assuming
the name “Pixie” given to her by Victorian actress
Ellen Terry, Smith cultivated an “in-between” persona
whose fluid identity encompassed the Irish pixie, the
Jamaican Anansi (a trickster figure in Caribbean
folklore), and even, on occasion, the Japanese girl
(O’Connor, “Primitivism” 158, 167). Born to American
parents in London, Smith triangulated among the United
Kingdom, Jamaica, and New York throughout her formative
years. Living in Kingston as a young girl, she enjoyed
Jamaican folklore in oral culture, and Irish mythology
and the ballad tradition in print culture. These twin
influences can be seen throughout her career, coupled
with the Japanese design principles and colour theory
she developed as a student of Arthur Wesley Dow at the
Pratt Institute in Brooklyn. Arts-and-crafts ideals were
embedded in the school’s curriculum, and Smith developed
a method of hand-colouring her distinctively flat,
black-bounded designs using stencils (Parsons 358).
The artisanal Green Sheaf
enabled Smith to bring together her interests,
influences, and inspirations. The magazine’s manifesto
identified “pictures, verses, ballads of
love and war;
tales of pirates and the
sea” as its subject matter.
Appearing with the back matter in early issues, this
manifesto was published prominently on the cover, along
with the self-referential Green Sheaf
iconography, from volumes four through thirteen (fig. 1).
Figure 1. Title Page for The Green Sheaf, vol. 4 (1903)
While The Green Sheaf was
the first publication over which Pamela Colman Smith
exercised sole control, she had previously co-edited
A Broad Sheet, and had
made significant contributions to both The Kensington:
A Magazine of Art, Literature and the Drama and
A Celtic Christmas, the
seasonal supplement to The Irish Homestead.
The Kensington had a brief
print run of seven monthly issues in 1901. A regular
feature on “The Drama” by Christopher St. John (born
Christabel Marshall) typically focused on Ellen Terry’s
performances at the Lyceum Theatre in London. Terry was
the mother of St. John’s partner Edith Craig; all three
women were close with Pamela Colman Smith personally and
professionally. Interested in stage and costume design
from her youth, when she first created a toy theatre
and began performing its plays in Jamaica and New York,
Smith went on to design sets and costumes for Henry
Irving and Ellen Terry at the Lyceum, W.B. Yeats’s early
plays for the Irish Literary Society, and Craig’s
suffrage plays for the Pioneer Players. Smith’s earliest
commercial illustration work included hand-coloured
prints of scenes from Shakespeare, which she sold
through the Macbeth Gallery on Fifth Avenue in New York,
and a calendar featuring Shakespeare’s Heroines,
commissioned by R. H. Russell in 1899. She also produced
a souvenir booklet for her cousin, William Gillette, an
actor renowned for his portrayal of Sherlock Holmes on
the American stage, and a commemorative pamphlet
celebrating Henry Irving and Ellen Terry (Kaplan et al, 25 and 27).
Smith’s theatrical network is evident in both
The Green Sheaf’s literary
and artistic contents and its advertising pages. The
back matter of every issue promotes Edith Craig’s
costume shop and hand-coloured prints by Pamela
Colman Smith of Ellen Terry in various roles. Smith
advised art students that “the stage is a great school—or
should be—to the illustrator” (“Should the Art Student
Think?” 417), and her own illustrative designs for
The Green Sheaf serve as
object lessons for this approach. Typically, she
positions the viewer from a particular vantage point,
looking on a tableau frozen in the midst of action and
narrative (fig. 2). In her illustration for Mary Brown’s
“Lament of the Lyceum Rat,” for example, Smith depicts
Henry Irving as Dante, stretching out his arm before a
ghostly cast of himself and leading lady Ellen Terry
silhouetted in an array of former roles. Combining the
illustrative and the decorative, Smith shows the
over-sized, titular rat emerging in profile from the
dramatic black background, mirroring the bent back of
one of Irving’s characters. The Lyceum rat’s tail in the
right corner offsets Pamela Colman Smith’s distinctive
monogram flourish in the left, possibly as an impish
corrective to any possible “mawkish weeds of sugar-sweet
sentimentality,” which Smith thought all artists ought
to avoid (Smith, “Protest”). In September 1903 this
image was reproduced in an article in the American
magazine The Reader, which highlighted the topical
poignancy of its appearance “at the time Sir Henry
Irving was giving his farewell performances at the old
Lyceum Theatre, now being torn down” (“Writers and
Readers,” 332).
Figure 2. Pamela Colman Smith, Illustration for Mary Brown's "Lament of the Lyceum Rat,”
The Green Sheaf, vol. 5 (1903)
Smith’s involvement in A Celtic Christmas,
a seasonal supplement to the Dublin-based
Irish Homestead, was an
outcome of her expanding Irish networks after meeting
members of the Yeats family in spring of 1901. Her first
illustrations for this magazine were published in the
same year; later, her design representing the Celtic
spirit as a female figure overlaid on the map of Ireland
graced the magazine’s cover for five consecutive seasons
(1904-8). In 1901 Smith also became involved with the
Dun Emer Guild, the women-and-craft-focused enterprise
established by Evelyn Gleeson and Elizabeth and Lily
Yeats. Smith gave advice on hand printing and provided
some designs for banners, book-plates, cards, and
textiles (Bowe and Cumming 123-25). She also became
close to the two Yeats brothers at this time. At W.B.
Yeats’s invitation, Smith joined the Isis-Urania Temple
of the Hermetic Order of the Golden Dawn, a secret
society devoted to the study and practice of the occult.
In 1902, she and Jack Yeats began to co-edit
A Broad Sheet, published by
Elkin Mathews in monthly issues. A single page of
hand-laid paper, vibrant with hand-coloured images
interspersed with verses, A Broad Sheet
shared the arts-and-crafts values of The Green Sheaf,
as well as some of its thematic interests and
contributors. After a year of working together, the
collaboration began to fray, and Pamela Colman Smith
decided, as The Reader
succinctly observed, to start “a paper of her own”
(“Writers” 332).
Cannily, Smith used the Broad Sheet’s
mailing list to disseminate The Green Sheaf’s
Prospectus and invite subscriptions from a
transatlantic clientele:
You have been kind enough to support “A Broad Sheet,” so I think it well to tellyou that I have decided to transfer my services to another publication, somewhat of the same nature, to be called “The Green Sheaf,” and of which I shall be the Editor.The form of the new publication will be about the size of “Punch,” and will consistof eight pages of literary matter, hand-coloured drawings, and wood-cuts. (repr in Kaplan et al, 181)
While both Jack and William contributed to
The Green Sheaf, and
Elizabeth’s Dun Emer Press advertised in its back
pages, Smith separated herself from the Yeats family
in order to create her own vision for her little
magazine. In title, content, and format, she made
The Green Sheaf her own,
despite W.B. Yeats’s desire to direct and control the
publication and its editor. Writing to Lady Augusta
Gregory in December 1902, the poet claimed a proprietary
interest in the magazine not borne out by the
publication itself:
Pamela Smith is bringing out a Magazine to be called ‘The Hour-Glass’ after my play. I am to write the preface in order to define the policy which I have got them to take up. The Magazine is to be consecrated to what I called to their delight, the Art of Happy Desire. It is to be quite unlike gloomy magazines like the YellowBook and the Savoy. People are to draw pictures of places they would have likedto have lived in and to write stories and poems about a life they would have liked to have lived. Nothing is to be let in unless it tells of something that seems beautiful or charming or in some other way desirable. (Yeats Letters, p. 271)
When it appeared, however, The Green Sheaf—
“edited, published, and sold by Pamela Colman Smith”—boldly
embodied her own conception for the magazine in a
self-referential cover design (fig. 3). Loosely gathered
up and tied with a red ribbon, the bright green
“sheaves” of paper feature a front-facing picture with
implied letterpress and, on an inside sheaf, Smith’s
idiosyncratic monogram (fig. 3). Described by Katharine
Cockin as a “a caduceus with snake-entwined staff formed
by the etiolated letter P overlaid with a C and an S,”
this monogram adorns her work throughout her career
(“Bram Stoker,” 170).
Figure 3. Enlarged detail of front cover design for
The Green Sheaf, with sample monogram taken from fig. 2.
As an arts-and-crafts little magazine,
The Green Sheaf respected
the materials of its making, valued its collaborative
processes of production, and expressed art’s role in
envisioning a better world. Informed by Pamela Colman
Smith’s feminist principles, which sought to support
women in business as well as art, the magazine also had
a commercial agenda directed at helping women make an
independent living. On the Yellow Nineties
magazine rack, only The Venture
(1903/1905) shares The Green Sheaf’s
particular combination of arts-and-crafts values,
commercial interests, and feminism. With its designer’s
interest in integrating image, text, and ornament,
The Green Sheaf is certainly
comparable to other arts-and-crafts little magazines,
such as The Dial
and The Evergreen,
but they eschewed the mainstream market and did not
include advertising pages. In contrast,
Yellow Nineties little
magazines aiming to be aesthetic without being artisanal
tended to include the marketplace in their back pages.
The Pageant,
The Savoy,
and The Yellow Book,
for instance, used the most up-to-date technological
methods available and advertised publishers and
businesses aligned with them in their back pages and
supplements. Although The Green Sheaf
was an arts-and-crafts magazine, Smith also understood
that advertisements were a means of networking producers
and consumers. Notably, The Green Sheaf’s back pages
prominently featured the work of women connected to the
little magazine and its editor, including authors,
artists, shop owners, publishers, textile designers, and
craft instructors. Smith was particularly energetic in
promoting her own work, advertising her hand-coloured
books and prints, the Green Sheaf Press and its titles,
the Green Sheaf School of Hand-Colouring and its
services, and her “for hire” performances as
Gelukiezanger, teller of Jamaican trickster tales.
The Green Sheaf’s
commercial orientation clearly distinguishes it from
A Broad Sheet, whose
arts-and-crafts approach to magazine-as-art-object it
otherwise shares. Smith brought her knowledge of hand
colouring with her when she joined Jack Yeats to co-edit
A Broad Sheet. It seems
likely that Smith developed her hand-colouring method
when she built her first toy theatre for Henry Morgan,
her play about a seventeenth-century privateer. This
dramatic spectacle, which included 300 characters and
elaborate scenes, was first staged in Kingston, Jamaica,
in 1896 (O’Connor, “Primitivism,” 161). Toy theatres
became popular in the early years of the nineteenth
century, when consumers could buy printed sheets of
figures and sets for “penny plain” or “tuppence
coloured.” Smith’s hand-colouring method, as Melinda
Boyd Parsons observes, “was undoubtedly related to the
stenciling process used for theatrical sheets"
(To All Believers, np). Given
Smith’s strong interest in pre-industrial folklore and
artisanal practices, it makes sense that she should
develop a stenciling method for hand-colouring images in
her prints, books, and magazines. One of her first
hand-coloured prints, an illustration for Yeats’s
The Land of Heart’s Desire
(1898), was commissioned by R. H. Russell in New York,
years before she met the poet and his family (O’Connor,
“Primitivism,” 161). In 1899, Smith brought out two
editions of folklore with hand-coloured illustrations,
The Golden Vanity and The Green Bed
and Widdicombe Fair. In a
review published in The Lamp
in 1903, all three of these works were praised “for the
freshness of color and directness of design”—features
the critic anticipated would be evident in the
forthcoming Green Sheaf
(repr in Kaplan et al, 180). Later, a critic in the
Academy confirmed that the
magazine’s “chiefest charm lies in the hand-coloured
prints, which are highly decorative, simple in
treatment and of a pleasant old-world flavour”
(“Literary Notes” 137). The reviewer’s remarks highlight
how aptly The Green Sheaf’s
artisanal production methods expressed its subject
matter and thematic concerns.
The Prospectus announced that “The First Number will
be published on the 30th January, 1903,” with
“thirteen numbers in the year” (qtd in Kaplan et al,
181). The print run was indeed completed in thirteen
issues, but the first issue came out in spring, rather
than winter. The Green Sheaf ran from May 1903 to May
1904; subscriptions went for thirteen shillings, and
individual copies could be had for thirteen pence. The
unusual yearly number aligns The Green Sheaf
with other little magazines, such as The Dial
and The Evergreen,
that set out to challenge industrial time with an
alternative seriality. In addition to the number of
issues, the distinctive pricing system suggests that
the number thirteen may have been as important to Pamela
Colman Smith’s conception of The Green Sheaf
as its titular colour. Why this was so is less clear.
One possibility may be that Smith wished to follow a
lunar calendar. The year falling between May 1903 and
May 1904 had thirteen, rather than twelve, full moons;
the extra one is commonly known as a “blue moon.” Phases
of the moon have traditionally been associated with
women, but there may have been an additional appeal to
Smith and her circle. In his collection of fairy tales,
The Blue Moon (1904), Smith’s
fellow feminist Laurence Housman used the symbol to
express the naturalness of same-sex love. Although
Smith’s sexual orientation, like her ethnic origin, is
unknown, her social networks included many in the
Victorian queer community, and her artwork often
featured androgynous figures.
The significance of the number thirteen may, however,
derive from the initiation ceremonies of the Order
of the Golden Dawn rather than the lunar year. As an
initiate, Smith would have been taught “the appearance,
meanings, and methods” of the tarot cards (Kaplan et al,
373). In the tarot deck that Smith was to design for
Arthur Waite in 1909, Number 13 is the Death card,
indicating “rebirth, creation, destination, renewal” (
Waite 97). Notably, The Green Sheaf
was launched in the same year that the Order of the
Golden Dawn experienced a schism: members interested in
magic and the occult followed W.B. Yeats, while members
like Smith, who was more interested in a Judeo-Christian
mysticism, stayed with Arthur Waite (Kaplan et al, 352).
The split within the Golden Dawn at this time may have
strengthened Smith’s determination to produce her
Green Sheaf magazine on her
own, apart from W.B. Yeats’s directives. Later, when she
designed the famous Rider-Waite tarot deck, she used a
pictorial style and symbolism akin to her illustrations
for The Green Sheaf (see
fig. 4). Given Smith’s familiarity with the tarot deck,
it seems likely that the combination of the magazine’s
titular colour and thirteen-issue seriality aimed to
associate The Green Sheaf with
both the transformative creation of “fresh young things”
and the renewal of “old world” things that are “green
forever” (fig. 1). This linking of old and new through a
perennial colour was similarly used in the
Edinburgh-based Celtic magazine,
The Evergreen: A Northern Seasonal.
Green is also representative of Ireland itself, and
Pamela Colman Smith’s Green Sheaf was at the heart of
the Irish Revival, featuring Celtic myth and story as
well as many of the key contributors to the movement.
Figure 4. Pamela Colman Smith, Illustration for Deirdre, by A.E.,
Supplement to The Green Sheaf, vol. 7 (1903)
Although it had a limited print run and each issue
was of a very modest size, The Green Sheaf
included some 50 contributors, with American, British,
Dutch, German, Irish, Japanese, and South African
nationalities. The Prospectus announced that the new
publication “will consist of eight pages,” but in fact
almost half of the thirteen issues (6/13) extended to
sixteen pages, and some of the shorter numbers were
augmented with substantial supplements. The eight pages
of Number 7, for example, were enhanced by a twelve-page
supplement—truly a case of the paratext overpowering
the text. The insert was Deirdre: A Drama in Three Acts,
by A.E. (George Russell), one of the leading figures of
the Irish Revival. Cecil French and Pamela Colman Smith
each provided a hand-coloured illustration (fig. 4).
French published in almost every issue of
The Green Sheaf, and A.E. was
a regular contributor. Other members of the Irish
Revival movement who contributed to the
Green Sheaf include Lady
Alix Egerton, Lady Augusta Gregory, W. T. Horton, J. M.
Synge, and the Yeats brothers.
Figure 5. W.T. Horton, Illustration for William Blake,
The Green Sheaf, no. 2 (1903)
In addition to publishing contemporary artists and
authors from her networks of Irish and folklore
revival, theatre, and feminist activism, Smith also
included some of her most admired predecessors in her
magazine. Foremost among these are writer and educationalist
Anna Barbauld (1743-1825) and poet, artist, and printer
William Blake (1757-1827). Notably, Smith had tried,
without success, to interest publishers in illustrated
editions of both these writers. It is possible that some
of her illustrated excerpts from Barbauld’s
Lessons for Children (1778),
which appear in Green Sheaf
Numbers 4, 9, and 13, were from this project. The two
extracts from Blake, in Numbers 2 and 8, were
illustrated by W. T. Horton
(1864-1919), another member of the Golden Dawn who was
attracted to Blake’s ideas about the transient physical
world mirroring the eternal infinite (fig. 5). As a
thinker, artist, and printer who made and hand-coloured
his own books, Blake was a significant inspiration for
Smith. His presence in The Green Sheaf
acknowledges this debt. Insightful contemporaries also
made the connection. Writing in Camera Work
after Smith exhibited some of her work at the avant-garde
Stieglitz Gallery in New York in 1909, Benjamin de
Casseres identified her as a visionary who “approaches
Blake and Beardsley” in her art (qtd in Pyne 53).
In the early twentieth century Smith was enmeshed in
networks of art, performance, and feminist cultures on
both sides of the Atlantic. Her range of influence,
moreover, was unusually wide, spreading not only across
disciplines and media, but also across artistic groups in
London, Dublin, New York, and, to some extent, the
continent (O’Connor, “Disgruntled” 73). Despite these
transnational connections, however,
The Green Sheaf was not
widely reviewed and does not seem to have sold enough
copies to sustain the cost of its artisanal production.
As Smith wrote to Albert Bigelow Paine, an American
children’s magazine editor who contributed to
The Green Sheaf’s ninth
issue, “Green Sheaf does not pay yet—it is most
discouraging to go on working on it” (qtd in Kaplan et
al, 55). Although she hinted that
The Green Sheaf might
convert to a semi-annual production after completing
its first year, this did not happen. Instead, Smith
turned to the businesses she had built up from her
publishing venture, the Green Sheaf School of
Hand-Colouring and the Green Sheaf Press, both of which
she advertised in her magazine. Elizabeth O’Connor
speculates that students at the School may have helped
hand-colour issues of The Green Sheaf
(“Disgruntled” 85). There is no direct evidence of this, \
though the possibility is supported by timing: the
School opened in April 1903, just as the first number
of The Green Sheaf was being
prepared. The two operations—School and Press—were
collaborative efforts with Smith’s friend, “Mrs.
Fortescue” (possibly Ethel P.F. Fryer-Fortescue, a
member of the Golden Dawn whose signature appears in
Smith’s Visitor’s Book at this time). Like the magazine,
the Green Sheaf Press featured writing by women and
works of fantasy and folklore. One of these was Pamela
Colman Smith’s own Chim-Chim Stories (1905), a
hand-coloured companion to her earlier collection of
Jamaican folktales, Annancy Stories,
brought out by R. H. Russell in 1899.
Figure 6. Advertisement for Gelukiezanger,
The Green Sheaf, vol. 6
In her letter to Paine complaining of
The Green Sheaf’s failure
to become commercially viable, Smith alluded to the
potential success of her performative story-telling:
“I am telling Annancy stories very often now and hope
in time to make some money by it” (qtd in Kaplan et al,
55). She may have hoped that the
Chim-Chim publication could
be sold at her performances in the role of
Gelukiezanger, the persona she adopted for her oral
tellings of Jamaican tales. As she had done with her
hand-coloured prints of Ellen Terry, her hand-coloured
books of folklore, her School of Hand-Colouring, and
her Press, Smith advertised her storytelling services
in the back pages of The Green Sheaf (fig. 6).
Despite being an innovative and enterprising entrepreneur,
performance artist, and creative producer of books and
magazines, however, Pamela Colman Smith was always
impecunious. After her death, she and her work fell into
obscurity, but recent scholarship has begun to reassess
her oeuvre. The Yellow Nineties
digital edition of The Green Sheaf
allows users to study Smith’s editorial theory and
artistic practice in the context of other innovative
little magazines produced in late-nineteenth and early
twentieth century Great Britain.
Selected Publications by Pamela Colman Smith
Annancy Stories.
R. H. Russell, 1899. Chim-Chim Stories.
Green Sheaf Press, 1905. The Golden Vanity and the Green Bed.
Doubleday and McClure, 1899.The Green Sheaf,
13 vols., 1903-1904.“The Lament of the Lyceum Rat.” Headpiece
illustration for Mary Brown,
The Green Sheaf, vol. 5,
1903, p. 1903, p. 8.The Land of Heart’s Desire,
by W.B. Yeats. Triptych print. R. H. Russell, 1898.Prospectus to The Green Sheaf,
n.d. Reprinted in Kaplan et al, p. 181.“A Protest Against Fear.”
The Craftsman, vol 11, no. 6,
March 1907, p. 728.Shakespeare’s Heroines.
Calendar for 1899. R. H. Russell, 1899.“Should the Art Student Think?”
The Craftsman, vol. 14,
no. 4, July 1908, pp. 417-19.Sir Henry Irving and Miss Ellen Terry,
drawn by Pamela Colman Smith. Doubleday & McClure, 1899.Widdicombe Fair, Doubleday and McClure, 1899.
Selected Publications About Pamela Colman Smith.
Armstrong, Regina. “Representative American
Women Illustrators: The Decorative Workers.”
The Critic, vol. 36, no.
6, June 1900, pp. 52-59.Bowe, Nicola Gordon, and Elizabeth Cumming.
The Arts and Crafts Movement in Dublin and Edinburgh 1885-1925,
Irish Academic Press, 1998.Cockin, Katharine. “Bram Stoker, Ellen Terry,
Pamela Colman Smith and the Art of Devilry.”
Bram Stoker and The Gothic: Formations to Transformations,
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