early in his career in order to distinguish himself from artists with a similar name. The reason for choosing this name is not known, but may have been influenced by the Welsh ancestry of his forefathers. His earlier works were signed A Garth Jones (or A G J), although later this was shortened to Garth Jones. Jones' illustrations were used in several notable publications around the start of the 20th century, including works by Tennyson, H.G. Wells, John Milton, Conan Doyle and Carmen Sylva. In 1894, the first examples of Jones' illustrations appeared in "The Tournament of Love" by William Theodore Peters and "Fairy Tales from Classic Myths for boys and girls" by Charles H Smith. Two years later, Jones edited The Beam, a bi-monthly magazine published by students of the National Art Training Schools. There were only three editions produced between January and May 1896. From 1896 to nearly the end of 1899, Alfred was design master at the Lambeth School of Art. In 1898, he produced a woodcut portrayal of the bound Samson in a collection of John Milton's poems. By 1901, Jones' reputation was sufficient that he was selected, along with Harold Nelson, by Elisabeth of Wied (Queen Consort of Carol I of Romania) to illustrate the English edition of a book of verse (A Real Queen's Fairy Book, published by George Newnes Ltd) which she had written under the pen name of Carmen Sylva. In France at around the same time, Jérôme Doucet (1865–1957) chose Jones to be the illustrator for his "Contes de la Fileuse" (Tales of the Spinner). Doucet was noted for the care that he took in choosing his illustrators. This book contains 117 pen-drawings by Jones so that the November 1901 issue of The Studio (magazine) reported that "It has fallen to the lot of Mr. Garth Jones to be more widely known in France than he is in his own country". Also in this year, Alfred, Lord Tennyson's In Memoriam was published with illustrations by Jones and he contributed to Queen Mab's Fairy Realm along with fellow illustrators Herbert Cole, H. R. Millar, Arthur Rackham and Reginald Savage. Around 1902, Jones was associated with the Carlton Studio, one of the largest studios of commercial art in London at that time. During this period, along with Albert Angus Turbayne, he was of assistance to a number of Canadian book design artists who