William Wallace Denslow (5 May 1856 – 27 May 1915) – usually credited as W. W. Denslow – was an illustrator and caricaturist remembered for his work in collaboration with author L. Frank Baum, especially his illustrations of The Wonderful Wizard of Oz.[1] Denslow was an editorial cartoonist with a strong interest in politics, which has fueled political interpretations of The Wonderful Wizard of Oz. Born in Philadelphia, Denslow spent brief periods at the National Academy of Design and the Cooper Institute in New York, but was largely self-educated and self-trained. In the 1880s he traveled about the United States as an artist and newspaper reporter; he came to Chicago for the World's Columbian Exposition in 1893, and chose to stay. Denslow acquired his earliest reputation as a poster artist; he also designed books and bookplates, and was the first artist invited to work at the Roycroft Press.[2] Denslow may have met Baum at the Chicago Press Club; both men were members. Besides The Wonderful Wizard of Oz, Denslow also illustrated Baum's books By the Candelabra's Glare, Father Goose: His Book, and Dot and Tot of Merryland. Baum and Denslow held the copyrights to most of these works jointly. After Denslow quarreled with Baum over royalty shares from the 1902 stage adaptation of The Wizard of Oz, for which Baum wrote the script and Denslow designed the sets and costumes, Baum determined not to work with him again. (As co-copyright-holder, Denslow demanded an equal share in royalites with Baum and composer Paul Tietjens.) Denslow illustrated an edition of traditional nursery rhymes titled Denslow's Mother Goose (1901), along with Denslow's Night Before Christmas (1902) and the 18-volume Denslow's Picture Books series (1903-4).[3] He also used his copyright to the art of the Baum books to create newspaper comic strips featuring Father Goose and the Scarecrow and Tin Woodman during the first decade of the twentieth century. The royalties from the print and stage versions of The Wizard of Oz were sufficient to allow Denslow to purchase Bluck's Island in Bermuda,[4] [5] and crown himself King Denslow I. However, he drank his money away, and he died in obscurity, of pneumonia. John R. Neill illustrated the rest of the Oz series. In 1944, artist Evelyn Copelman became the next Oz illustrator, when she illustrated the 1944 Bobbs-Merrill edition of "The Wizard of Oz". Although the book credit for the new illustrations reads "Adapted from the famous pictures by W.w. Denslow", Copelman's versions of the characters were largely based on the way they looked in the 1939 MGM film version, although the Cowardly Lion looked quite different, and Dorothy had braids rather than long pigtails, as Judy Garland did in the film. Copelman's illustrations of the Oz characters were much darker, more realistic and less cartoon-like than those of her predecessors. They were reprinted in 1956, in the edition of The Wizard of Oz published by Grosset & Dunlap, as part of a series labeled the Illustrated Junior Library. 1956 was also the year that the MGM film came to television. This edition of the book was popular throughout the 1960s, as showings of The Wizard of Oz on television gained an ever larger following. The Illustrated Junior Library edition of The Wizard is still in print today, though with a cover illustration by a different artist. In the 1990s, Donald Abbott released several new Oz books, with illustrations that returned to the Denslow style for the first time in nearly a century. Abbot's Denslow-inspired books are How the Wizard Came to Oz (1991), The Magic Chest of Oz (1993), Father Goose in Oz (1994), and The Amber Flute of Oz (1998).