Corrigenda and Addenda to
J.R.R. Tolkien: Artist and Illustrator (1995)

p. 31, col. 2, l. 22: For ‘left foreground’ read ‘foreground’.

p. 33, col. 2, n. 20: For ‘184 110’ read ‘184 x 110’.

p. 47, col. 2, l. 13: For ‘mistakenly’ read ‘elsewhere’.

p. 61, caption for fig. 58: For ‘Tumladen’ read ‘Tumladin’.

p. 62, col. 1, ll. 2–3: For ‘Tumladen’ read ‘Tumladin’.

p. 67, n. 72, ll. 9–10: for ‘ald orné’ read ‘alda orné’.

p. 83, col. 1, l. 1: This line was inadvertently repeated from the previous page of text, an error introduced by the printer in the second proof.

p. 101, col. 1, l. 35: For ‘Madelener’ read ‘Madlener’.

p. 184, col. 1, l. 10: For ‘moruvan’ read ‘maruvan’.

p. 184, col. 1, l. 13: Add reference number ‘63’ at end of sentence: ‘throne.’

p. 184, col. 2, last line of text: Change superscripted numerals to ‘64’.

p. 185, col. 3, n. 63: Change reference number to ‘64’ and add note before this one: ‘63 These readings were written by Tolkien on a separate leaf.’

p. 195, col. 1, l. 1: For ‘ninety degrees’ read ‘forty-five degrees’.

p. 202, caption for fig. 198: For ‘Pengolð’ read ‘Pengoloð’.

p. 202, n. 2, l. 7: For ‘Pengolo’ read ‘Pengoloð’.

p. 204, col. 2, bottom line: For ‘Pengolo’ read ‘Pengoloð’.

p. 204, col. 3, bottom line: ‘Etymologies, The’ should be in italics, not in caps and small caps.

p. 205, col. 1: ‘Gandalf’ (i.e. the second entry for that name, as the title of a picture) should be in italics, not cap and small caps.

p. 205, col. 2, l. 9: For ‘Tumladen’ read ‘Tumladin’.

p. 205, col. 3: ‘Kortirion among the Trees’ should be in italics, not in caps and small caps.

p. 206, col. 1, l. 2: For ‘Madelener’ read ‘Madlener’.

p. 206, col. 1: ‘Mirkwood’ (i.e. the second entry for that name, as the title of a picture) should be in italics, not cap and small caps.

p. 206, col. 2, l. 2: ‘passim’ should be in italics, not in small caps.

p. 206, col. 2, l. 31: ‘see also’ should be in italics, not in small caps.

p. 206, col. 2, entry for 1931–2 N.P.B. Karhu: The range of dates should be italicized with the rest of the title.

p. 206, col. 2, entry for 1932 A Merry Christmas: The date should be italicized with the rest of the title.

p. 206, col. 2, bottom line: ‘Nuremberg Chronicle’ should be in italics, not in caps and small caps.

These errors were corrected in later printings.

After we passed the first proof of our book, the printer introduced several new errors, which in spite of our efforts were not corrected, or which went unnoticed for various reasons: some figure numbers in captions somehow lost their boldfacing; the numerals on p. 150, although correctly typeset as old-style figures (as used in the rest of the book), were printed as new-style (lining) figures; and on pp. 204–7, all numerals correctly typeset in italics, to indicate figure numbers, were output by the printer as roman type. A few problems with leading (line spacing) were also introduced, and some remain. The ‘2’ of ‘2nd’ on p. 203, col. 1, entry for Pictures by J.R.R. Tolkien, l. 2, was incorrectly set by Wayne as a lining figure (now emended). Only one colour error was made in the reproductions, too late to be corrected and still in error: the dust-jacket design for The Two Towers, fig. 180, p. 181, should be predominantly grey-brown, not olive green.

The following errors are present only in the original (hardcover) British edition of J.R.R. Tolkien: Artist and Illustrator, and have been corrected in later printings:

p. 4, col. 2, l. 4: For ‘193, 194’ read ‘194, 195’.

p. 4, col. 2, ll. 4–5: For ‘figs. 63, 64, 66, 68)’ read ‘figs. 63–68’.

ch. 1: When Tolkien matriculated at Oxford in 1911 he purchased four prints of Oxfordshire scenes by William Russell Flint, with which to decorate his rooms. These were illustrations for Matthew Arnold’s poems ‘The Scholar Gypsy’ and ‘Thyrsis’, published in one volume in 1910, and they hung in Tolkien’s rooms as he moved from place to place. Two are views of Oxford from a distance.

p. 10: In regard to William Morris as an influence, Tolkien owned a copy of Morris’s lecture Some Hints on Pattern Designing (1899).

p. 12, col. 2, ll. 16–17: For ‘with Mabel’s younger sister Jane and her husband, Edwin Neave’ read ‘with Edwin Neave, the future husband of his Aunt Jane, Mabel’s younger sister’.

p. 12, col. 2, ll. 8–9 from bottom: For ‘shows Aunt Jane and her moustached husband’ read ‘shows Edwin and Ronald’.

p. 13, col. 1, l. 16: Maggie Burns notes that ‘For Men Must Work’ is part of the refrain in the poem ‘The Three Fishers’ by Charles Kingsley, ‘For men must work, and women must weep’.

p. 13, col. 1, ll. 3–4 from bottom: Maggie Burns informs us that ‘What Is Home without a Mother’ was sometimes inscribed on Victorian gravestones.

p. 13, col. 2: The untitled seascape, fig. 6, was identified by the late William A.S. Serjeant as a view looking east towards Golden Cap, near Lyme Regis.

p. 20, fig. 15: Another, undated drawing made by Tolkien at Gedling is Lamb’s Farm, Gedling, Notts (reproduced in Sotheby’s, English Literature, History, Children’s Books & Illustrations, auction catalogue, London, 17 December 2009, lot 178). Its title refers to Arthur Lamb, the farmer who worked the Gedling land for many years before Jane Neave, and whose name probably adhered to the farm in local usage, regardless of the property’s official denotation as Church Farm or Phoenix Farm.

p. 26, col. 1: Mr John Dover, a resident of Lyme Regis, informed us that the property owned by Mr Wallis was, or became, a private residence known as ‘Holmcroft’, and that the view drawn by Tolkien from Mr Wallis’s (fig. 26) is of the back of the Three Cups Hotel.

p. 32, col. 1, l. 11: For ‘August 1952’ read ‘July–August 1951’. The date given in the book is that inscribed by Tolkien on the drawing, but the year is incorrect. See The J.R.R. Tolkien Companion and Guide: Chronology, pp. 376 and 794.

p. 33, col. 2, n. 25: For ‘Tolkien also drew a menu cover for the previous year’s Exeter College “Smoker”, and’ read ‘Tolkien also drew’. On rechecking this cover (in Bodleian Library restricted papers), we see that we mistook the monogram of the artist, which we think reads ‘JKD’, for an early Tolkien monogram. It is distinctly different from the JRRT monogram on the 1913 ‘Smoker’ programme cover.

p. 35, col. 2, ll. 3–7: In Tolkien: Maker of Middle-earth (Oxford: Bodleian Library, 2018) Catherine McIlwaine comments that ‘rapidity seems to be a feature of the “Ishnesses” and may have been central to the artist’s intention to capture a true or honest impression of a particular feeling, without the intrusion of the intellect’ (p. 168).

pp. 42–3: We describe the ‘Northern House’ (fig. 38) as ‘an unusual building or house with a central smoke-hole’. The ‘Umbrella Cottage’ in Lyme Regis has some points of similarity: a domed roof with a central chimney, and a diamond-shaped window.

pp. 45–7: The Tides (later Sea-Chant of an Elder Day, Sea-Song of an Elder Day, The Horns of Ulmo, The Horns of Ylmir) was in fact a development of a still earlier poem, The Grimness of the Sea, which Tolkien wrote in St Andrews in 1912. We became aware of this original version only when writing the Companion and Guide: see Chronology, pp. 34 etc. The painting Water, Wind & Sand, which appears to date from March 1915, still may have been inspired by the Cornish coast, and later forms of the poem became associated in Tolkien’s mind with Cornwall; but the poem the picture accompanies was certainly not in origin, as we supposed (unaware of The Grimness of the Sea), the result of Tolkien’s visit to Cornwall in 1914.

p. 99, col. 2, second paragraph: The ‘pencil sketch of a hobbit’ has been published in John D. Rateliff, The History of The Hobbit, Part Two: Return to Bag-End (2007), pl. xii, and in our Art of The Hobbit by J.R.R. Tolkien (2011), fig. 102. Also in the latter book, fig. 103 reproduces enlarged details of Bilbo Baggins from seven of Tolkien’s illustrations for The Hobbit.

p. 120, caption for fig. 112: For ‘Alexander Thorburn’ read ‘Archibald Thorburn’.

p. 124, col. 1, l. 6 from bottom: For ‘Alexander Thorburn’ read ‘Archibald Thorburn’.

p. 124, col. 2, ll. 8–9: When we wrote Artist and Illustrator we credited the drawing of a Norse hall interior in Gordon’s Introduction to Old Norse to Gordon himself, as it had no other credit, and drawing was not an uncommon skill for men (and women) of Gordon’s time. When we wrote The Art of The Hobbit we knew better, and noted (p. 66) ‘an illustration in An Introduction to Old Norse (1927) by Tolkien’s friend and colleague E.V. Gordon (who, however, had the picture from even earlier sources)’, thus not crediting the art to Gordon himself, and unfortunately lacking the space to go into detail about the earlier sources. But in The Annotated Hobbit, 2nd edn., p. 171, Douglas A. Anderson writes: ‘The illustration in Gordon’s book is uncredited, but it is a close copy of one that appears in a number of sources, including Andreas Heusler’s Die Altergermanische Dichtung (1924), Axel Olrik’s Nordisches Geistesleben in Heidnischer und Fruhchristlicher Zeit (1908), and some translations of Beowulf. The ultimate source is an essay Den Islanske Bolig i Fristatstiden (1894) by Valtyr Guðmundsson, published as a small booklet. This essay includes an illustration dated 1894 and drawn by the painter E. Rondahl after a model then found in the National Museum in Copenhagen [made in 1892, depicting an Icelandic room from around 1000].’ Anderson told us in 2001 that Rondahl’s name appears in the 1894 picture but seems to have been rubbed out in later usages. John Magoun has suggested that the name was not rubbed out in the later images but simply lost through degradation of the picture through repeated reproduction.

p. 158, caption for fig. 152, l. 3: For ‘black ink’ read ‘blue ink’.

p. 181, col. 1, ll. 6–7: For ‘symbolizing Saruman’ read ‘perhaps to symbolize Saruman’.

p. 193: In the final paragraph on this page, we refer to a heraldic device for ‘Eärendil’, using the name as spelled in the published Silmarillion. The envelope on which the device is drawn, however, bears the name ‘Earendel’ (sic), and we used this spelling in the image caption.