The Victorian era (1837-1901) was a golden age for book cover design. As publishers began to invest more in the appearance of their books, book covers became increasingly elaborate and artistic. Victorian book cover designers were responsible for creating intricate and captivating designs that adorned the covers of books, making them not just a vessel for words, but a work of art in their own right.
Margaret Neilson Armstrong was a prominent figure in the world of book cover design during the late 19th and early 20th centuries. Her innovative approach to cover design revolutionized the way books were presented to readers, setting a new standard for the industry. Born in New York City in 1867, Margaret's family of artists and writers influenced her passion for design and literature from a young age. Some of her earliest designs were for children's books, such as Marguerite Bouvet’s novel, Sweet William (1890), for the publisher A. C. McClurg.
Armstrong's popularity as a designer continued to grow as she provided commissions for the well known publisher, Charles Scribner's Sons. Over the course of her career, approximately half of the 314 covers she created were for Scribner's. A gallery of her work can be seen here. Her earliest works were signed, "M.N. Armstrong." Beginning in 1895, she included an MA monogram in most of her book cover art.
Inspired by Art Nouveaux, her designs were characterized by their intricate botanical motifs, bold typography, the use of vibrant colors, and often slightly asymmetrical designs in compositions that often seemed to be moving while standing still. She was one of the first designers to incorporate elements of the Arts and Crafts movement into her work, emphasizing the importance of craftsmanship and attention to detail. She believed that a well-designed cover could enhance the reading experience and draw readers in.
From the Library of Congress Blog titled, The Companionable Book Cover Designs of Margaret Armstrong, "Armstrong sometimes used signature book cloth colors for particular authors. She designed fourteen different covers for the novels of Myrtle Reed, all on lavender book cloth. Her twelve different cover designs for Henry Van Dyke’s books are on dark blue cloth. Henry David Thoreau’s five covers all have decorations on dark green cloth. They are designed to sit on a book shelf together as a handsome set."
By incorporating elements of art and design into book covers, Victorian designers such as Margaret helped elevate the status of books as valuable and cherished objects. Her work set a high standard for book cover design that continues to influence the industry to this day, encouraging designers to push the boundaries of creativity and craftsmanship, creating covers that are not just protective but works of art in their own right.