EXTRACTS: Illustrators issue 14 © 2016 The Book Palace (96 PAGES in Full edition)

65 the highly prestigious Prix de Rome. Maurice’s career would be closely associated with that of his brother up until Louis’ early death in 1884. Maurice was only in his early twenties when, in 1875, he first exhibited his work at the renowned Salon de Paris, where he became a member. Then, in 1878, together with his brother Louis and many other renowned painters, Maurice collaborated in the foundation of the Society of French Watercolourists. From this time on he decided to turn his back on the Salon de Paris and dedicate himself to the art of painting in watercolour and, particularly the illustration of historical novels. It would not be long before he became one of the most sought-after illustrators for the new growing market for lavishly illustrated books. The books he illustrated from about 1883 onwards accurately represent the costumes and attitudes of the past, especially the elegant and mannered fashions of the 17th and 18th centuries in France. Leloir by this time had acquired one of the finest collections of historic costumes imaginable for use in his illustrations but, impeccable draughtsman that he was, his models never look as though they are in fancy dress but real men and women of the period. A later French critic observed: “It is the very soul of the 18th century that vibrates in his delicate watercolours”. One could add that this applied even more so to his watercolour and black and white illustrations of the 17th century. The majority of the books that Leloir illustrated were produced to the highest level of book design and the reproduction of his work, whether in black and white, line drawing or watercolour painting, benefitted enormously from first class printing and, in particular, from the supremely talented French engravers that were among the finest in the world. As far as his forays into the world of book illustration were concerned, the year 1885 was a very rewarding one for Maurice Leloir. That year he contributed twelve full page compositions and 220 drawings in the text (all in black and white) for Laurence Sterne’s classic 18th century novel ‘A Sentimental Journey’. The illustrations were well received, but even more successful was his work for an 1885 edition of the novel ‘Manon Lescaut’ by the Abbé Prévost. The illustrations were again all in black FACING PAGE: Deadly sport—an illustration from 'Richelieu' provides yet another glimpse into the mores of 17th century France. BELOW: Swashbuckling and derring do— two more illustrations from 'The Three Musketeers'. The commission took Leloir two years to complete.