Rosette Designs for Wood Carving (1883)

Ben Pitman, “Rosette Designs for Wood Carving,” The Art Amateur 9 (September 1883): 81.

The Thistle Is Simply Taken as a Text on Which Any Plant Motive May Be Developed (1912)

“High School—Freehand,” School Arts 12 (December 1912): 248.

A Designer of Outstanding Originality Is the Designer Who Can See Much in Nature (1914)

“The Editorial Point of View: Design in Teaching,” “Plate 5: Six Interpretations of a Composite Flower,” School Arts 13 (April 1914): 562

Based upon the Pentagon Which the Student Should Contruct from Memory (1912)

Edith Cary Hammond, Industrial Drawing for Girls: Design Principles Applied to Dress (New York: Redfield Brothers, Inc., 1912), 33.

Flower Stencils (1913)

“Flower Stencils,” Primary Education 21 (April 1913): 239.

“Be a Man, Mr. Flip! Come in Here! Don’t Make a Scene!” It Was Kitty Who Spoke, and Who Drew Him into the Yard (1883)

“Flip, of Figham’s,” Frank Leslie’s Pleasant Hours 34 (February–July): 336.

Far from Being Alarmed at His Sight, Beauty Was Delighted (1858)

J.R. Plancé “Beauty and the Beast,” Four and Twenty Fairy Tales: Selected from those of Perrault, and Other Popular Writers (London: G. Routledge & Co., 1858), 272.

“Men Are Deceivers Ever, Aren’t They Miss Noakes?” “How Should I Know Child,” She Replied Rather Curtly (1891)

Elizabeth W. Champney, Witch Winnie’s Mystery: Or, The Old Oak Cabinet:The Story of a King's Daughter (New York: Dodd, Mead, and Company, 1891), 290.

He Told Her of the Errand on Which He Had Come (1905)

“Rabbi Phil,” Illustration by Sydney Cowell, The Quiver (Annual Volume 1905): 196.

Good-Bye Mistress Friendly-Soul (1914)

Mary Johnston, The Witch (Toronto: William Briggs, 1914), frontispiece.