Arthur Rackham Spotlights Childhood Farewell in Good Night

Affectionately dramatizing youth perspective through imaginative fantasyscapes was Arthur Rackham’s specialty by 1907 when he supplied 5 color paintings for Eleanor Gates’ short story “Good Night.” The tender vignette follows a little girl’s lively anthropomorphism of bedroom objects while avoiding sleep. Originally running in Scribner’s Magazine in February 1906 with 6 Rackham images, this collected single tale publication from Thomas Y. Crowell retains signature dreamlike charm.

Though slim, this overlooked example indicating Rackham’s American following previews later works like The Fairy Tales of the Brothers Grimm cementing his intricately dark style. As the girl interacts with a whimsical doll, rocking horse, and laundry line figures mid-frolic, Rackham humanizes their playfulness through emotive postures and facial expressions. Though lacking substantial text, his conveying of innocence and sympathy established credentials for grander subsequent portrayals dependent on subtly broadcasting internal yearnings.

Format: Pictorial cloth binding (53 pages)

Size: 4 1⁄2 x 7 3⁄8 inches

Text: Good Night by Eleanor Gates

Illustrations: 5 color illustrations by Arthur Rackham [originally 6 images in 1906 Scribner’s Magazine printing]

Publisher: Thomas Y. Crowell Company (New York)

First Published: Scribner’s Magazine, February 1906

Release Date: 1907

Eleanor Gates

“Good Night” author Eleanor Gates enjoyed acclaim as a playwright and screenwriter after initially working as a journalist. Before fame, Gates graduated from UC Berkeley and saw early writings appear in Bay Area newspapers along with some fantasy stories like 1907’s “Good Night” graced by Arthur Rackham illustrations.

Her most famous work came via her 1913 Broadway play The Poor Little Rich Girl, inspired by youthful perspective of privilege. The production was backed by her first husband Richard Walton Tully, also a dramatist. After naming her own early 20th century film company led primarily by women, Gates penned the story’s 1917 film adaptation starring Mary Pickford.

The Poor Little Rich Girl later saw 1936 big screen revival starring Shirley Temple, bringing Gates substantial late-career royalties. Though forgotten herself, Gates’ vision and voice catalyzed Depression-era Hollywood Golden Age ascent through Temple’s rendition. Today she serves as honed example of imaginative writing transcending bounds between stage, page, and screen when matched with appropriate creative chemistry – much as Rackham visualized fantasy unlocking reader minds toward new interest and empathy.