1919 unknown portrait of ROBERT BURNS Scotland Poet

SEE PHOTO----- COMPLETE ORIGINAL ILLUSTRATED NEWSPAPER, the Illustrated London News (England) dated April 19, 1919.

Inside, double page report and photos of a hitherto UNKNOWN PORTRAIT of the famous Scottish Poet ROBERT BURNS.

Robert Burns (25 January 1759 – 21 July 1796) (also known as Rabbie Burns, Scotland's favourite son, the Ploughman Poet, the Bard of Ayrshire and in Scotland as simply The Bard) was a Scottish poet and a lyricist. He is widely regarded as the national poet of Scotland, and is celebrated worldwide. He is the best known of the poets who have written in the Scots language, although much of his writing is also in English and a "light" Scots dialect, accessible to an audience beyond Scotland. He also wrote in standard English, and in these pieces, his political or civil commentary is often at its most blunt.

He is regarded as a pioneer of the Romantic movement and after his death became a great source of inspiration to the founders of both liberalism and socialism. A cultural icon in Scotland and among the Scottish Diaspora around the world, celebration of his life and work became almost a national charismatic cult during the 19th and 20th centuries, and his influence has long been strong on Scottish literature.

As well as making original compositions, Burns also collected folk songs from across Scotland, often revising or adapting them. His poem (and song) Auld Lang Syne is often sung at Hogmanay (the last day of the year), and Scots Wha Hae served for a long time as an unofficial national anthem of the country. Other poems and songs of Burns that remain well-known across the world today, include A Red, Red Rose, A Man's A Man for A' That, To a Louse, To a Mouse, The Battle of Sherramuir, Tam o' Shanter and Ae Fond Kiss.

The celebrated weekly periodical, the Illustrated London News, was founded by the English bookseller and entrepreneur Herbert Ingram in May 1842. It proved to be a runaway success and soon spawned many imitators and rivals, including Harpers Weekly in the US and the Graphic in the UK. Ingram's formula for success was simple yet inspired. First he recognised that steadily rising literacy levels were creating new mass markets eager for exciting reading matter. Second he sensed that the British Empire's confident presence throughout the world would foster in the minds of the Victorian reading public a voracious appetite for instant news coverage of events both at home and abroad. Victorians were increasingly curious about the world - and those that found reading an unnecessary chore could always look at the pictures anyway!

Ingram contracted the leading artists of the day to provide him with a news magazine unrivalled in its use of pictorial content - maps, charts, woodblock illustrations, photographs, lithographic prints, colourful full page advertisements and so on. The ILN did not concentrate on news stories set in London at all. Whole sections and profusely-illustrated supplements were devoted to subjects and areas as diverse as notable volcanic eruptions (Etna, Krakatoa etc.), the Crimean and the US civil wars, Cyprus and Gibraltar, the rise of the Railways, the glorious Raj and many, many topics besides.