This month we will be casting an eye over The Rubaiyat of Omar Khayyam, a work that since its first publication in 1859, has appeared in literally hundreds of editions.

The book itself is a translation by Edward Fitzgerald of a number of quatrains by Omar Khayyam, an ancient mathematician, astronomer and poet. The original work consisted of 75 quatrains translated by Fitzgerald and while there have been many more translations, including revisions by Fitzgerald himself, the original 75 is probably the best known and regarded.

Within the hundreds of editions published, numerous illustrated editions became popular and a variety of artists and illustrators were drafted in to visualise the work for a hungry audience. Notable illustrators such as Edmund Dulac, Willy Pogany and Elihu Vedder, along with many more, brought their unique styles to the work which leads to a visual treat for the collector. Below are a few of our favourite illustrators and samples of their work from various editions of The Rubaiyat of Omar Khayyam.

Firstly for the 1901 edition published by John Lane, English illustrator and portrait artist Herbert Cole were brought in to handle illustration duties. Cole had produced the art in Gulliver’s Travels for Lane the previous year and his style brought a somewhat darker tone to the book. The scratchy line illustrations are dark in appearance, with every figure bathed in shadow save for the angel that almost casts light from his body. There were fairly few plates by Cole but they definitely lent an air of unease to the work accentuating the drearier aspects.

In 1909 Hungarian artist Willy Pogany created a number of plates and decorations for an illustrated edition of the Rubaiyat published by George G. Harrap. Pogany was a prolific illustrator and what we find interesting about his work here is that it showcases two fairly different styles. His decorative work in this edition shows intricate line work with wonderful border decorations and emblems which by themselves complement the poetry, lending a feeling of mysticism. The plates, however, are vibrant paintings, in contrast to the almost claustrophobic work of Cole, that show dramatic scenes in vast landscapes.

The illustrated editions published by Leopold B. Hill used the work of celebrated Indian artist Abanindranath Tagore. These colour plates are interesting in that they give the work a sense of a traditional folktale, probably due to the combination of Tagore’s more traditional style, coupled with the fact that only the more straightforward or less outlandish quatrains are depicted. We are shown couples or solitary figures looking forlorn in usually fairly bleak backgrounds. The focus seems to be much less on the spiritual or fantastical elements and more the human experience.

In the 1913 Methuen edition, notable British illustrator E.J. Sullivan was tasked with art direction duties. Akin in many ways to Herbert Cole’s previous designs, Sullivan’s rough line work brought a certain intensity to the poetry it was paired with. What is interesting about Sullivan’s work on the Rubaiyat was that, unlike other illustrative editions, he illustrated all 75 quatrains. Because of this, not only are we shown standard scenes of beautiful women and merry men but, we are also treated to images full of skeletal spectres and unusual beings that are both hideous and beautiful at the same time. With just black and white line work Sullivan creates an exciting tableau of images which really do bring the text to life in a way that other renderings haven’t been able to achieve.

The artists and editions we have covered above are a drop in the ocean of what is available and the sheer number of editions, illustrated or otherwise, make The Rubaiyat of Omar Khayyam not only a classic piece of work but also a real delight for the budding collector.