Arthur Rackham's work can be viewed in several museums. In the United Kingdom, these include the Brighton Museum & Art Gallery, Manchester Art Gallery, the National Museums of Scotland (Royal Museum) in Edinburgh, and the Victoria & Albert Museum in London. In the United States, you can find his art at the Charles Hosmer Morse Museum of American Art (Winter Park, Florida), the Los Angeles County Museum of Art, the Metropolitan Museum of Art (New York), the Minneapolis Institute of Arts, the Museum of Modern Art (New York), the Virginia Museum of Fine Arts (Richmond), and the Wolfsonian at Florida International University (Miami Beach). Outside the UK and US, Rackham's pieces are held by the Art Gallery of Ontario (Toronto) and the National Gallery of Canada (Ottawa).

Arthur Rackham was a prolific artist, and prints of his work were popular. Pre-Raphaelite artists used prints to broaden their audience, and Rackham continued this tradition. Prints allowed more people to own and appreciate art. There are several types of prints. Some were etchings made by the artist, either alone or in collections. Others were reproductive engravings, made by professional engravers, with the artist's approval, after paintings. Wood-engraved book illustrations were also common, drawn by the artist and engraved by professionals. Printmakers often limit the number of prints in an edition. This is a choice made by the artist, not a technical requirement. Each print in a limited edition is usually numbered, titled, and signed in pencil. The print number and edition number are written on the bottom left margin, the title in the centre, and the signature on the right.

Arthur Rackham's illustrations maintain importance because they typify the revival of interest in wood-engraved illustration during the late nineteenth century. This resurgence led to the rise of artists like Laurence Housman and Charles Ricketts, who expanded Pre-Raphaelite illustration. Their work influenced the Private Press movement, which produces limited editions of poetry and literature based on Pre-Raphaelite design principles. The concrete beauty of well-bound books, with handmade paper, antique fonts, quality ink, and artistic decoration, held significant meaning during this period. Printmaking democratised art, enabling wider dissemination and more affordable patronage. Individuals lacking resources for painting could pursue careers in graphic arts. For example, Aubrey Beardsley, from a lower-middle-class background, gained recognition through illustrations for J. M. Dent's edition of Le Morte d’Arthur. Dent's press, inspired by the Kelmscott Press, used photomechanical methods to achieve similar effects more economically. Rackham's art is part of this tradition of accessible, aesthetically meaningful printmaking.

Art Nouveau meant elegance, sinuous lines, and adapting natural forms for decorative purposes.

In 1876 Macmillan published Washington Irving’s Old Christmas with illustrations by Randolph Caldecott.

John Tenniel created the fine and unforgettable illustrations for Alice in Wonderland and Through the Looking-Glass.

One artist made meticulous preliminary drawings in pen and ink and pencil before drawing directly on the wood block with a fine sable brush.

Acknowledgment is made to Constable and Company, London, for the use of Arthur Rackham’s illustrations from Little Brother and Little Sister and Other Tales by the Brothers Grimm.