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| List of Illustrations | |
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| Abbreviations | |
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| Introduction | |
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| The Background | |
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| Wood-Engraving and Wood-Engravers | |
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| The Role of Illustration | |
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| The English Tradition: Historical Background up to c.1900 | |
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| Early English Woodcuts | |
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| Thomas Bewick | |
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| The Victorian Reproductive Engravers | |
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| William Blake and Edward Calvert | |
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| Joseph Crawhall, William Nicholson, and Edward Gordon Craig | |
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| William Morris and the Arts and Crafts Movement | |
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| The Vale Group: Charles Ricketts, Lucien Pissarro, and Thomas Sturge Moore | |
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| British and Continental Illustration around 1900 | |
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| Contemporary Influences on the Wood-Engraving Revival | |
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| Pioneering Wood-Engravers, 1904-1920 | |
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| Early Teaching: Sydney Lee, Noel Rooke, and the Central School of Arts and Crafts | |
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| Eric Gill, David Jones, and the St. Dominic's Press Illustrators: The Early Years | |
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| Gwen Raverat: First Phase | |
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| Modernist Trends | |
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| The Beginnings of Recognition | |
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| The Society of Wood Engravers and the English Wood-Engraving Society | |
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| Art School Teaching | |
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| Champions of the Cause: Dealers, Collectors, Critics, and Writers | |
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| Commercial Art: Illustrated Periodicals and Advertisements | |
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| Publishing and Wood-Engraved Book Illustration | |
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| The Typographical Renaissance | |
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| Private Presses | |
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| Commercial Publishers | |
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| A Critical Analysis of British Wood-Engraved Book Illustration, 1920-1940 | |
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| New Approaches to Wood-Engraving | |
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| Bold Beginnings: Noel Rooke and his Early Pupils | |
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| John Farleigh: Early Work | |
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| The Painterly Style: Gwen Raverat's Later Work, Stephen Bone, C. T. Nightingale, and Alex Buckels | |
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| The Hard-Edged Typographic Approach | |
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| Robert Gibbings: Later Work | |
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| Eric Gill: Later Work | |
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| Followers of Eric Gill: Philip Hagreen, Thomas Derrick, and Mary Dudley Short | |
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| The Expressive Approach | |
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| David Jones: Later Work | |
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| Paul Nash and his Influence at the Royal College of Art | |
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| Douglas Percy Bliss | |
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| Eric Ravilious | |
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| Enid Marx, Helen Binyon, John O'Connor, and Geoffrey Wales | |
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| Tirzah Garwood and Hester Sainsbury | |
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| John Nash: Later Work | |
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| Ethelbert White, Clifford Webb, Norman Janes, and Others | |
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| The Grosvenor School of Modern Art: Iain Macnab and his Pupils | |
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| The Sinuous Line: A Tonal Approach | |
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| The Underwood School and its Followers | |
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| Leon Underwood | |
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| Blair Hughes-Stanton | |
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| Gertrude Hermes | |
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| John Farleigh: Late Work | |
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| Late Golden Cockerel Press Illustrators: Lettice Sandford, John Buckland Wright, Mary Groom, and Dorothea Braby | |
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| Two Innovative Illustrators of Nature and Rural Life | |
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| Clare Leighton | |
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| Agnes Miller Parker | |
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| Conclusion | |
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| Select Bibliography | |
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| Index | |