red, blue, yellow and flesh tint. Evans paid particular attention to detail in the printing of her Mother Goose. The "antique look" added to the Regency style artwork, while his ink and colouring choices conveyed the look of a hand-coloured book suitable for a mass-market edition. To achieve the antique look, rough paper was pressed and printed, with the roughness restored after printing by dipping the paper in water. As an example of 19th-century book production, Mother Goose is considered exceptional, and facsimiles were printed well into the mid-20th century. During the 1880s, Evans printed two to three Greenaway books a year, including a run of 150,000 copies of Kate Greenaway's Birthday Book (1880), as well as Mother Goose (1881), The Language of Flowers (1884), Marigold Garden (1885), The Pied Piper of Hamelin (1887), and King Pepito (1889). From the mid-1880s to the mid-1890s Evans printed, and Greenaway illustrated, nine almanacs—one each year. Greenaway benefitted from her association with Evans. As the leading publisher of children's books, Routledge provided Greenaway with a commercial base she may not have achieved without Evans' influence. Children's literature scholar Anne Lundin claims the distinctive quality of Evans' printing, as wells as his popularity as a children's book printer, linked Greenaway's name with his, thereby increasing her commercial appeal. Greenaway often visited the Evans family, played with their three daughters and continued to visit Evans after his move to Ventnor. During her career as an illustrator, Greenaway used Evans as sole engraver and printer. Later work and retirement Evans eventually converted to the three-colour printing technique. In 1902 he used the "recently developed Hentschel three-colour process", at Beatrix Potter's request, to print her watercolour illustrations for her first book, The Tale of Peter Rabbit. Towards the end of his career, not all of his work was devoted to the three-colour process; in 1902 he engraved and printed Old English Songs and Dances for W. Graham Robertson, which was described as "harmonious" and "delicate". In 1892, Evans moved to Ventnor on the Isle of Wight, and turned the printing business over to his sons Wilfred and Herbert, although when he stopped engraving wood is unknown. During his last decade he wrote The Reminiscences of Edmund Evans, a short volume he described as "the rambling jottings of an old man". In that book Evans includes few details of his business practices and processes, and is significant because