In 2022, I presented this paper at the Tolkien’s Society convention Oxonmoot. It was meant as a follow-up to the 2019 talk I gave at Tolkien2019 in Birmingham, which was published in 2025 thanks to the long-term efforts of Will Sherwood and is available here. My 2022 paper was neither published nor recorded, but it is a significant improvement from the 2019 talk which included a lot more questions than answers, and so I decided to publish my research here.
Please understand that for copyright reasons I did not include the pictures I discuss. Most of them are available in the Folio Society editions of The Lord of the Rings and The Hobbit, and the Queen’s drawings were published in a booklet accompanying The Tolkien Ensemble Songs and Poems which you can find scans of if you hunt for it on the internet.
A Princess illustrates The Lord of the Rings: Ingahild Grathmer, Eric Fraser and the Folio Society
This paper may feel familiar to people who attended Tolkien2019 in Birmingham. At the time, I was starting to research this particular edition of The Lord of the Rings and admittedly I had more questions than answers. Three years later, some of the questions have found answers, some have prompted new questions, but on the whole I have a better understanding of these pictures.
In 1970, J.R.R. Tolkien received a letter. A special letter. It came from Denmark, and it opened with the following lines:
Dear Professor Tolkien,
It is now more than one year ago that I stumbled quite by chance on your book “The Lord of the Rings”, and I am writing this letter because I would like to tell you how much pleasure I have derived from it; it is no exaggeration to say that I have been reading it ever since. Very soon I found myself mentally illustrating what I was reading and it wasn’t long before I began to do so in earnest. Therefore I should like to offer you this – not very successful – copy of my drawings, that have been made without thought for publication, but nevertheless take the shape of “chapter headings”.
The letter was sent from the Danish royal residence and was penned by none other than Princess Margrethe II. It was accompanied by seven drawings. At the time, the Princess had created illustrations for each of the 62 chapters in the book, in addition to 7 bigger illustrations, three of them clearly cover designs. Most of them are on display at the moment in the French city of Cahors, where the museum and the heritage library are hosting an exhibition of Her Majesty’s artworks. Her Tolkien-inspired illustration project led to the publication of two illustrated editions of The Lord of the Rings, one in England and one in Denmark, both in 1977, and in both of which the pictures were redrawn by another artist. In this talk I will walk you through their creation, their reception, and their legacy.
Royal illustrations
The first thing one needs to know about these illustrations, is that they are not well-known. The edition published in 1977 is relatively popular, but there has been no scholarly article or publication about them. When I presented my paper in 2019, all I had was the illustrated edition and 7 sketches. Since then, thanks to the exhibition in France, I’ve discovered the other 52 drawings.
The story of these illustrations began in 1970 with the letter I’ve just read and the pictures that went with it. They are quite representative of the rest of the illustrations, which may be why the artist chose to send them. They also show the Queen’s preferences in terms of subject matters, which are mostly landscapes, symbols, and objects of interest, without characters. Or rather, without portraits, because the character’s presence is often suggested without being shown. In the picture for the chapter “The Bridge of Khazad-dûm”, the flames coming from the background clearly point at the presence of the Balrog, while keeping the creature out of sight. The lilies of “In the House of Tom Bombadil” are about to be gathered by the title character. In “A Conspiracy Unmasked”, the steaming bathtub is probably captured seconds before a happy Hobbit dives in.
These details make the figureless pictures very much alive. The illustrations are mostly landscapes and still lives, yes, but most of them hint at the characters that are about to jump into the frame.
The cover designs
These two subject matters, landscapes and still lives, find themselves in the cover designs created by Her Majesty. Just like J.R.R. Tolkien, she imagined illustrations to be reproduced inside the book, but also on the covers. Because of the larger format, these could include a lot more details.
The first cover design, for The Fellowship of the Ring, is a still life working as a synecdoche for all the members of the Fellowship, which means that each object can be linked to one character. We have Aragorn’s and Gandalf’s swords, Gimli’s axe, Legolas’s bow, Boromir’s horn, Merry and Pippin’s daggers, Sam’s bag, and in the middle, Frodo’s ring on its chain. They seem to have been dropped randomly on an area of grass. The intricate line work makes the eye circle around the picture, identifying each object, before focusing on the centre where the Ring is almost hidden in plain sight.
For The Two Towers the Queen’s design closely resembles Tolkien’s: we recognise one white tower and one black, separated by a spiky land, while a winged creature hovers in the sky. The similarities are too numerous not to think Her Majesty was inspired by Tolkien’s dust-jacket. In her version, the towers are seen from an angle so as to create depth. In addition, the clouds in the sky create a diagonal movement which crosses the invisible line linking the two towers together, so that the main composition line forms a V opening towards the right-hand side. It makes this picture a lot more dynamic than Tolkien’s landscape which is more flat and decorative. Tolkien’s choice enabled him to place symbols all around his picture, such as the five-point star or the white hand.
The third cover design is a more symbolic representation. On a hill where a white tree is growing, several regalia are laid out. We have the crown of Gondor, its flag, swords which already appeared on the Fellowship of the Ring cover, and a necklace with a bird design. The grass is neatly trimmed, not like the wild blades of grass of the first cover, and the skies are immaculate, contrary to the ones in the second design. Here, the only touch of black is the flag, which makes it stand out between the white background and the white tree. The swords have been laid down. It is now a time of peace.
Although the Queen provided cover designs to go with her illustrations, these were never used in editions featuring her drawings. They do exemplify the main features of her pictures, namely the absence of character and the intricate and masterful use of black and white.
A common inspiration with J.R.R. Tolkien
J.R.R. Tolkien’s reply to the Queen’s first letter has not been published in full, but the extracts given here and there[1] show his enthusiasm. He wrote, in a draft letter from January 1971: “At times I have been struck by a resemblance between them and attempts of my own (unpublished); but more often by their unexpectedness – as if the story and the landscapes were independently real, but viewed by a different eye.”[2]
One example of this striking resemblance is the view of Rivendell, which has the same point of view in Her Majesty’s drawing and in J.R.R. Tolkien’s watercolour. There is the same gradation from the foreground with the winding road, to the middle-ground where the buildings are hidden in the surrounding forest, and to the mountains in the background. And yet the Queen didn’t know about Tolkien’s illustrations for The Hobbit, of which this view of Rivendell by Tolkien is part of.
The artists’ views of the forest of Lothlórien also reveal similarities: they both have a tree on the side of the composition, in order to give a sense of depth and proportion, and the branches arch gracefully to frame the picture. In each illustration, the heart of the Elven kingdom is kept hidden from view.
Like the previous example, Her Majesty’s illustrations are mostly in landscape format, that is to say horizontal, and rather small, barely larger than the printed versions. They are drawn with black ink only, no colour. The artist paid close attention to textures, for instance a wooden bathtub, a rocky cliff, or a landscape drenched in rain. She rendered them with parallel curving lines, cross-hatches or stippling. The variety of lines reveals the artist’s mastery of her tools, even though some pictures appear somewhat sketchy.
She sometimes used black-and-white to suggest the atmosphere of a certain chapter. Light, airy, and hopeful chapters tend to show more white like in “A Conspiracy Unmasked”, whereas darker, heavier chapters in which the characters are tormented show more black, as in “The Choices of Master Samwise”.
In terms of representation, we mostly have landscapes and places of interest, a selection of important objects and some symbolic representations. The few figures we see are a Black Rider, a horse, and an Uruk-hai. The only human exception is Éowyn facing the Nazgûl’s steed, in which scene the shieldmaiden is facing away from the reader.
Again, this is a characteristic that Tolkien’s own illustrations shared. He famously showed the empty streets of Hobbiton, or Beorn’s deserted Hall, for instance. In The Hobbit we can still find a couple of representations of Bilbo, but all characters disappear in the author’s drawings for The Lord of the Rings. This is partly due to the fact that Tolkien wasn’t confident in drawing human-like figures, as Bilbo’s silhouette suggests in “Conversation with Smaug”. But this is also because text and image work hand-in-hand in J.R.R. Tolkien’s manuscripts, and he wouldn’t repeat in his pictures what the text already says, especially the characters’ actions. His illustrations were mostly there as a setting for the narrative, which countered the lack of descriptions in The Hobbit. Hence the absence of characters.
That is something we can also observe in Her Majesty’s other artworks. The exhibition in Cahors, mentioned at the beginning, displays a selection of her works alongside her illustrations for The Lord of the Rings. The Queen has kept her artistic practice for some fifty years, creating many series and exploring different media such as collage or embroidery as well as painting. Many of her series show landscapes inspired by France or Denmark, or even fantasy landscapes. She also creates still lives of imaginary plants. The common thread is that most of her art shows no human figures.
Other artistic inspirations
Her Majesty seemed to take inspiration from a wide variety of sources for her illustrations. Her flowing lines are sometimes reminiscent of Art Nouveau swirls. It is particularly striking in her views of Minas Tirith. Inside the citadel, most of the angles are rendered with curves, with additional serpentine lines to suggest shadows and carvings. In the paved streets of Minas Tirith, on the left, a single line going back and forth outlines the steps. It gives the feeling that the whole picture has been drawn without taking the pen from the paper, in a single stroke. And yet, this simplicity of execution does not prevent the viewers from appreciating all the details the artist included in her panorama.
In a very different style, her illustration of “The Ring Goes South” is an almost abstract scene drawn in a pointillist style. The closer you look at the picture, the less you can distinguish the path from the mountain side. Only by stepping back can you get the idea of the landscape. The rock face is drawn in simple dots, and the snowflakes in tiny circles. They whirl around the absent figures, conveying the feeling of what the text describes as a “blinding blizzard” (LotR 306) and “eddying blasts” (LotR 307). A close reading of the text reveals that the author already suggested this pointillism. First, of course, are the “dim white flakes of snow” (LotR 305), but even the characters turn into “black specks in the whiteness” (LotR 310). Black and white is a recurring theme in the chapter, making the illustration even better suited to it. The viewers share the character’s temporary blindness, with this landscape that refuses to be seen.
A royal collaboration
The circumstances of how the Folio Society edition of 1977 came to be are hazy at best. There are no archives in the publishing house. I have been able to discover that, once again, it was thanks to Christopher Tolkien that The Lord of the Rings illustrated by the Queen was published. Christopher knew how much his father loved these illustrations. It was probably him who told the Folio Society about these illustrations, since they probably hadn’t been shown publicly before. Perhaps the publishers approached him about an illustrated edition, and he suggested the Queen’s name.
“Re-drawn” illustrations
One thing is certain: the illustrations were not published in their original state. As mentioned earlier, the Queen drew them in ink with a deft and quick hand, which does not particularly lend itself to reproduction. The publisher asked Eric Fraser, a renowned English illustrator, to re-draw them. This led to a variety of situations. In most cases, Fraser simply copied the illustration with cleaner lines and deeper contrast, with the addition of solid black in some areas. He may have tweaked the composition slightly, rearranging elements or simplifying shapes so that the essence of the original drawing is kept but the final illustration gains in clarity.
One such example is “The King of the Golden Hall”, in which the Queen took inspiration from the Anglo-Saxons’ material culture to depict Meduseld. In the text, the most striking feature of Théoden’s hall is its golden roof, but the artist chose to depict the entrance, which isn’t described as much as the roof or the inside of Meduseld. The wooden beam-ends carved to represent horses instantly tell the viewer where the scene is taking place. This isn’t the only occurrence of First-World inspiration. In other pictures, one can find nods at sculpture or architecture from our world, although it may seem out of place.
Two artists, twice as many ideas
In one particular illustration, Fraser used one such element to add a layer of meaning. The picture in question is “The Ride of the Rohirrim”, in Book V. The scene depicts the journey of Théoden’s army through the Drúadan Forest. The Queen’s illustration shows how arduous that journey is, with rocks and trees blocking the way. Again, there are no characters here. Some remnants of wall on the right-hand side suggest that once the way was paved, as the textual description also underlines: “Through the gap the forgotten wain-road long ago had run down […]; but now for many lives of men trees had had their way with it, and it had vanished, broken and buried under the leaves of uncounted years” (LotR 866).
What Her Majesty hinted at with the cut stones, Eric Fraser took further with the addition of the actual road, and Ionic columns on the rock face. We can identify them thanks to the capitals sculpted with scroll patterns. These are not meant to say that there were Greek people in Middle-earth, of course, but they work as a metaphor for the past and a time when the road was well-travelled. In the text, Tolkien suggests this past through Merry’s eyes. To the Hobbit, the Wasas, who inhabit this land, are creatures of legend, who have sprung from another time and will probably disappear once their task is completed. He notes that “Here was one of those old images brought to life, or maybe a creature descended in true line through endless years from the models used by the forgotten craftsmen long ago” (LotR 864). Merry’s feeling of strangeness, or even incongruity, finds an echo in the presence of these Greek columns in Middle-earth. It creates in the viewer a shift in perspective, a doubling of vision which superimposes references from Middle-earth and references from our world. In the picture, Fraser uses the Ionic columns as a metaphor for the past and the Wasas. He plays on visual polysemy to evoke the past in a very direct way, while not revealing exactly what that past looked like, since it quite obviously was not Greek.
This analogy is a visual equivalent to the one J.R.R. Tolkien describes in Appendix F of The Lord of the Rings, when he explains that Old English as used by the Rohirrim is only an equivalent of their true language, so that it would be coherent with the fact that English is used as the common speech in Middle-earth. In fact, the peoples of Middle-earth do not speak English, they speak Westron. The language of the Rohirrim is an archaic form of Westron, so when Tolkien transposes Westron into English, he chooses the archaic form of English, Old English, to transpose the language of the Rohirrim.
In the same perspective, Greek architecture is not a style used in Middle-earth, but it is an equivalent that makes it obvious for the viewers that we are looking at remains of an Antiquity of Middle-earth. This small detail in a rather small illustration works as a metaphor with wide ramifications. It may not have been a conscious decision by the artist, but the parallel between this visual device and Tolkien’s literary play was too striking to miss.
New illustrations
On two occasions, Fraser changed the Queen’s pictures completely. In “The Window on the West”, the original drawing showed the entrance to Faramir’s hideout, hidden by vegetation. Notice the tree on the left-hand side, looking quite similar to the one in the Lothlórien illustration. In the redrawn version, the point of view has been moved to a completely different spot, and we are now looking at the waterfall hiding another entrance, from the inside of the hideout. Not much has been saved from the original drawing, except perhaps the network of parallel lines suggesting the texture of the rock.
This change may have been motivated by the fact that Frodo and Sam do not get to see the entrance as it appears in the first picture, since their eyes are covered. The second picture is more representative of their point of view.
The second picture that was changed drastically in the redrawing process is that of “The Council of Elrond”. The Queen’s drawing showed an assembly of people around a fire, in a room whose pillars were shaped like trees and branches. The character closest to the viewer is singing and playing the harp. It is the only scene featuring a group of characters, and this is probably part of the reason why it was changed so much. In the final version, we are in what looks very much like an Anglo-Saxon hall of the type J.R.R. Tolkien had drawn for Beorn’s hall for instance. The architecture has lost its forest-like quality. Instead, the columns are carved with geometric patterns. A fire is burning in the lowered fireplace in the middle of the room. Billowing black clouds suggest a darkness entering the Last Homely House. This second version seems more in keeping with J.R.R. Tolkien’s own illustrations, in which the characters disappear in favour of the locations and landscapes of Middle-earth.
The frontispieces
Last but certainly not least, Eric Fraser’s contribution led to the addition of 9 frontispieces, that is to say full-page illustrations placed at the beginning of each of the three volumes and each of the six books. Only one of these was directly taken from one of the Queen’s designs.
Thanks to the Queen’s archivist, I know for certain that Her Majesty was in contact with Eric Fraser and that they discussed illustrations, but I do not know how this collaboration took place or what it led to.
It may be that Eric Fraser created these 9 illustrations in the style of the Queen, but it is also possible that she sketched them first and then entrusted Fraser with them so that he might redraw them, just as he did with the other illustrations.
The one picture whose origin can be traced with any certainty is at the beginning of book 5 and shows Denethor’s pyre. Fraser adapted the original drawing by keeping the clouds of smoke and simplifying the elements of décor, such as the arches of the table and the architectural fragments we can spot on the edge of the Queen’s picture. He blended together this portrait-size drawing and the chapter heading showing the same scene, in which Denethor’s head and his hands clutching the Palantir are clearly visible amidst the flames. He used the serpentine lines of the flames and smoke to direct the eye of the viewer in an upward movement from the bottom to the top of the composition. Since the eye is naturally attracted to lighter areas, he made sure to place the wider blank spaces next to Denethor’s head so that the viewers would not miss it.
Despite the fact that the Queen devoted several of her portrait-format illustrations to architectures, and especially Minas Tirith, most of Eric Fraser’s frontispieces depict natural landscapes. The exceptions are the one we’ve just seen, Denethor’s Pyre, and the first two frontispieces, which show Black Riders. Once again, the artists place Middle-earth at the foreground of their representations.
These illustrations were published in 1977 by the Folio Society in England, and shortly after by a publishing house in Denmark. The latter also used Eric Fraser’s redrawn versions rather than the Queen’s originals. Both editions are still available on the publishers’ websites, 45 years after their publications. However, the Queen’s implication is not made obvious because she used a pseudonym, so it is relatively easy to miss this piece of information. Despite the fact that the English edition never became very common, the history of the reception of Her Majesty’s illustrations did not stop in 1977.
Legacy: BBC adaptation, exhibition
The 1979 Hobbit
In 1979, Eric Fraser was commissioned by the Folio Society to illustrate The Hobbit, in the style of the Queen’s and his Lord of the Rings. The result is a seamless work of illustration which takes the style of the previous pictures, and adapts it to the lighter narrative of The Hobbit. A few characters appear, although they are still mostly far away or hidden one way or another. In the chapter heading for “An Unexpected Party”, Fraser manages to place the characters in the foreground without showing us what they look like. Only their hands and the smoke rings from their pipes suggest their presence, despite the huge lamp sitting in the middle of the table.
Fraser found a middle-ground between Her Majesty’s illustrations, and J.R.R. Tolkien’s own pictures. In “A Short Rest”, he paid homage to Tolkien’s view of the Hidden Valley. The composition is nearly exactly the same, the main difference being the medium: ink for Eric Fraser, watercolour for Tolkien. But some details show elements from the Queen’s illustration, especially the rocks on the bottom left-hand corner.
These three illustrations end up echoing one another in a beautiful way, and show that Fraser knew J.R.R. Tolkien’s illustrations. Another example of homage he paid to the writer’s drawings and watercolours is his frontispiece with Eagles taking Bilbo and the Dwarves to safety. The eagle here is so close to Tolkien’s version in “Bilbo Woke up with the Early Sun in his Eyes” that it can hardly be a coincidence. Tolkien’s eagle being a copy of a book illustration about the birds of Great Britain[3], this makes Fraser’s a copy of a copy.
The 1981 BBC radio adaptation
The Queen’s illustrations redrawn by Fraser made an apparition in 1981 in Radio Times, at the time of the BBC radio adaptation of The Lord of the Rings, by Brian Sibley and Michael Bakewell. Each week, a new episode was announced and there was always an illustration at the top of the section. These were commissioned to Eric Fraser, who often, but not always, used his illustrations for The Folio Society. The radio adaptation was cut into 26 episodes, so that meant less illustrations than in the book. The artist also had to take into account the fact that the pictures would be printed in a smaller format than in the book, so it often meant that the composition had to be simplified. For instance, the still life in the room of the Prancing Pony was focused solely on the broken sword. The view of the valley of Rivendell was zoomed in, etc.
18 illustrations closely resemble that of the Folio Society edition. The remaining 8 pictures were entirely new, and 4 of these provided character portraits: Frodo in episode 1, a Black Rider in episode 3, Aragorn in episode 5, and Treebeard in episode 12.
Eric Fraser kept the very graphic, black-and-white style of the Folio Society illustrations. He reused some previous pictures to help him save a lot of time.
Fraser also designed a poster to celebrate the radio adaptation. In this, he selected and organised a lot of elements from the smaller illustrations into one big composition. It’s almost a game of identifying which element came from which episode. The use of primary colours sets this illustration apart from the 94 black and white illustrations Eric Fraser previously created for Tolkien’s Lord of the Rings and The Hobbit.
The silhouette of the mountain most probably pays homage to J.R.R. Tolkien’s dust-jacket design for The Hobbit. The flying beast is reminiscent of the one the Queen drew on her cover design for The Two Towers, making the BBC poster a blend of influences unified by Fraser’s very efficient style. The listeners who discovered the story thanks to this adaptation were certainly pleased to decipher all the small details, from the spider on the lower left to the man in the boat on the lower right, although they were probably left puzzled by the fact that Gandalf seems to be holding the Ring.
The 1997 Silmarillion
In 1997, the Folio Society completed their Tolkien collection when they commissioned Francis Mosley to illustrate The Silmarillion. I talked about this edition in a 2020 Tolkien Society Seminar, so I will simply highlight a few features linking these editions together. For instance, eagles. Francis Mosley was asked to create illustrations in the style of Fraser, so when he drew Thorondor helping Fingon save Maedhros, he conveniently copied Fraser’s eagle, thus creating the copy of a copy of a copy.
Like his predecessors, he avoided very dramatic scenes and focused on landscapes and atmosphere. He, too, managed to centre his illustrations on characters without showing them, like with “Of Fëanor and the Unchaining of Melkor” and “Of Thingol and Melian”.
With this edition, the Folio Society completed their set of Tolkien books as a very harmonious series despite commissioning different artists.
Note: an English-language video version of this talk, including pictures, and its French written translation are available on my blog here: https://voirtolkien.hypotheses.org/633.
The Tolkien Ensemble Songs and Poems
In Denmark, as pointed out earlier, the Queen’s illustrations were published in an edition of The Lord of the Rings in the version redrawn by Eric Fraser, and not in their original state. However, there is one Tolkien-related publication in which they are made available: The Tolkien Ensemble Songs and Poems.
The Tolkien Ensemble is a Danish musical ensemble aiming at putting to music all the songs and poems from The Lord of the Rings. They collaborated for instance with Christopher Lee.
The recordings took place between the end of the 1990s and 2005, and the complete CD version was released in 2006. Her Majesty authorized the reproduction of her drawings in the booklet that comes with the CDs. At the front of the box, one of the Queen’s full-page illustrations was used, but the picture was reproduced upside-down.
This is the only occasion in which the Queen’s drawings were published. In all the other publications where they appear, it is in the version redrawn by Eric Fraser.
A royal exhibition in Cahors
These artworks had never been exhibited as a whole. Seven of them were displayed in 2018 in the Bodleian library here in Oxford, which prompted me to give my first talk in 2019. These were probably the reproductions sent to J.R.R. Tolkien in 1970.
Last July in the French city of Cahors, an exhibition opened, hosted in the heritage library and in the Henri Martin museum. 56 of the Queen’s illustrations for Tolkien are shown together in the library, while the museum has 3 of the biggest drawings to create a link between the two spaces. Ten illustrations were not lent. The heritage library is a large room covered from floor to ceilings in bookcases – the perfect shrine for bookish illustrations. There, Her Majesty’s artworks face two tapestries created by the Cité internationale de la Tapisserie, the international centre for tapestry, in Aubusson. The centre lent two tapestries, Rivendell and Taniquetil, which echo beautifully the Queen’s illustrations, and create parallels between the two views of Rivendell.
The librarians also selected a few books from their collections, ranging from an atlas to a natural encyclopaedia opened at the page of spiders, in order to create echoes between Tolkien and Cahors.
Note: the booklet in French I wrote for this section of the exhibition is available to read online here : https://voirtolkien.hypotheses.org/869.
Conclusion
This first English illustrated edition of The Lord of the Rings is special for many reasons. The fact that it was illustrated by a Queen is certainly not the least, but it is also very special because it was approved by J.R.R. Tolkien himself.
When the Cahors exhibition started in July, Their Royal Highnesses the Prince and Princess of Denmark attended the opening, and the Prince told the audience a few anecdotes. He recounted for instance that when J.R.R. Tolkien passed away, a folded piece of paper was found in his coat pocket. It was one of the Queen’s drawings. This exhibition celebrates how Her Majesty’s dedication went from a letter to an illustrated edition.
I would like to thank the Cahors Heritage Library for their collaboration, Her Majesty’s archivist for answering questions about the illustrations, Brian Sibley for discussing Eric Fraser’s illustrations for the Radio Times and sharing digital reproductions with me, and the Tolkien Society for organising Oxonmoot.
[1] See for instance Tolkien: Maker of Middle-earth.
[2] Unpublished draft letter from the Tolkien family papers, quoted in Maker of Middle-earth, p. 106.
[3] See Alexander Thorburn’s Golden Eagle (Immature), in Coward, T.A., The Birds of the British Isles and their Eggs, 1919.
OpenEdition vous propose de citer ce billet de la manière suivante :
Marie Bretagnolle (25 juillet 2025). A Princess illustrates The Lord of the Rings: Ingahild Grathmer, Eric Fraser and the Folio Society — Oxonmoot 2022. Tolkien & illustration. Consulté le 15 mars 2026 à l’adresse https://doi.org/10.58079/14fic
