Bionic Jean's Reviews > The Wind in the Willows

For my review of the text of this wonderful book, please LINK HERE.

This review is for an excellent illustrated edition of the children’s classic novel, The Wind in the Willows. The text is complete, printed in a largish font in an oversize book, and the many beautiful illustrations are by the established fantasy artist, Michael Hague. The quality of his work has been compared with that of Arthur Rackham, and indeed I noticed a few nods and tributes to his talented forebear, even to the style of Michael Hague’s signature on the corner of one particularly sepia-toned watercolour, using a wide alphabetical style, inside a hand-drawn oblong frame. This is very reminiscent of Arthur Rackham’s trademark signature.

Michael Hague describes how the love of The Wind in the Willows had passed through four generations of his family, with his grandmother remembering with delight her own father reading the book to her, shortly after it had first been published in 1908. When Michael Hague himself was asked to illustrate the book, he felt this to be a great honour, following in the steps of Ernest H. Shepard and Arthur Rackham, but he was also conscious of a great sense of responsibility:

“I love the book. I love the dependable Water Rat, the kindly Mole, the sturdy Badger, and especially I love Mr. Toad … There is, I think, a bit of Toad in all of us. Certainly there must have been a bit of Mr Toad in me when I agreed to illustrate his book.”



Michael Hague makes it clear that he does not try to reinterpret the story, but instead:

“to infuse my illustrations with the same spirit that Kenneth Graham’s magic words convey … I begin with character studies and try to capture on paper what I see in my mind’s eye.”

His small thumbnail sketches of each character are then developed and enlarged to full sketches, before Michael Hague begins to draw the full scene. This way of working has produced illustrations which are full of life, immediacy and energy. The individual personalities seem exactly right, as if they have sprung straight out of the story. I personally much prefer these to Ernest H. Shepard’s sketchily drawn features on his characters in this book, which do not seem to have the quirkiness and life of those in the “Winnie the Pooh” books.



Michael Hague works in line and water colour, although, unusually, he draws in 2H pencil initially, so that the thin wash will not be smudged. Either an ochre or blue wash is then laid down, depending on whether he envisages a cool or a warm picture. The other colours are then applied, and the ink lines are the final stage.



The result is a vibrant yet naturalistic illustration of old-fashioned country life. The affectionately drawn characters are set within countryside which is imbued with the season and the time of day, and is heavily atmospheric. The trees are dark, knobbly, brooding - and a few have faces, especially in the night time scenes. The riverbank is fresh and verdant, with easily to identify familiar flora bursting forth.



Indoor scenes are bustling with cheerful people, full of good humour (and a few sly jokes, such as a pickpocket in action, on the edge of one railway scene!) They are carefully observed, showing authentic Edwardian dress, and accurate ancient buildings such as the gaol. Equally, the indoor scenes of Mole’s homes and Toad’s castle feel cosy and comfortable, or impressively ornate, complete with oil portraits of Toad’s illustrious ancestors. All are a delight to pause over, and enjoy the detail therein.


If you wish to choose just one illustrated version for a child to read, when they are old enough to enjoy the unabridged novel with its original language, this edition is definitely the one I would recommend.