Thomas Cranmer's 42 Boxes
42 Boxes, Sheep, Iconoclasm
From Doré's Root to Holiday's Rat
Holiday - Millais - Anonymous - Galle
Kerchiefs and other shapes
Darwin's Study and the Baker's Uncle
William III, Religion and Liberty, Care and Hope
Star and Tail
A little Zoo in Charles Darwin's Study
Hidden Carrol
Billiard-Marker & Henry George Liddell
Bonnet Head
Thumb & Lappet
42 Boxes meet the Iconoclasts
From Doré's Root to Holiday's Rat
Weeds turned Horses (2)
The Baker's 42 Boxes
6 Sources to the Beaver's Lesson
Holiday - Millais- Anonymous - Galle, detail
Snarked: Henry George Liddell
Henry George Liddell in "The Hunting of the Snark"
Darwin's Fireplace and the Baker's Dear Uncle
Wood Shavings turned Pope (1st version)
Thomas Cranmer's Burning
The Butcher & the young Raleigh (details)
Holiday - Millais - Anonymous - Galle; detail
The Broker's and the Monk's Nose (with a little he…
Monster Nose
The Uncle over Darwin's Fireplace
The Billiard marker
Holiday and Gheeraerts I
An Expedition Team
With yellow kid gloves and a ruff
Anne Hale Mrs. Hoskins
Anne Hale Mrs. Hoskins
Inspiration by Reinterpretation
Tree of Life
The Butcher and Benjamin Jowett
Neuman, Butcher, Jowett
The Snark in your Dreams
Snark Hunt: Square One
Priest in the Mouth
Holiday and Gheeraerts I
The Boojum sitting on some of the 42 boxes
Nosemorph
J. J. Grandville's Monsters
Holidays Boojum
Two Noses
Carroll's Barrister's Dream
Dream Snarks
The Hunting of the Snark
A Nose Job
The Hunting Of The Snark
The Bandersnatch fled as the others appeared
IT WAS A BOOJUM
Ditchley Snark
Ditchley Snark
IT WAS A BOOJUM (bw)
So great was his fright that his waistcoat turned…
Ceci n'est pas une cloche
Paradise Lost and the Beaver's Lesson
Darwins snarked Study
Heads by Henry Holiday and Marcus Gheeraerts the E…
Millais, Anonymous, Galle
Weeds turned Horses (BW)
Weeds turned Horses
Weeds turned Horses (detail)
Holiday - Millais - Anonymous - Galle
Holiday - Millais- Anonymous - Galle, detail
Hennry Holiday, the Bonnetmaker and a Bonnet
Doré (1863), Holiday (1876), Doré (1866)
Henry Holiday alluding to John Martin
White Spot
Two Bone Players
The Monster in the Branches
jub jub jub jub jub jub jub jub jub jub jub jub ..…
Bellman & Bard after retinex filtering
Where do Boojums live?
Bellman & Bard for B&W printing
Bellman & Bard after retinex filtering
Bellman & Bard
Bellman & Bard
Bellmen on the Rocks
The Art of Deniability
The Bellman and Charles Darwin
Snark Logo
The Vanishing and the Gneiss Rock
Henry Holiday & John Martin
The Bellman and Sir Henry Lee (no marks)
Bankersnatched by the Bandersnatch
Bellmen
Gnarly Monstrance
Bard and Bellman
Thomas Cramer's hand?
"But if ever I meet with a Boojum, that day, I sha…
Beagle and Beagle?
The Bell?
While he rattled a couple of bones
While he rattled a couple of bones
Crossing the Line
Anne I?
The Bellman and Father Time
Snark Hunting with the HMS Beagle
The Bellman and Sir Henry Lee
Beagle Landing
Beagle Laid Ashore (2)
The Paranoiac-Critical Method serves the Art of De…
Monster Feet
Henry Holiday's and M.C. Escher's allusions to Joh…
Beagle Laid Ashore
The Billiard Marker & Henry George Liddell
Snarked Workplace
Horses2Herbs
Herbs & Horses
Again: What I tell you three times is true!
The Bankers Fate
pictorial allusions
Tnetopinmo
Adriano Orefice: La cerca dello Squallo
TruthProof
Victor in Your Dreams (2013)
What I tell you three times is true!
SnarkLogo r
SnarkLogo
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The Broker's and the Monk's Nose
[left]: Segment from an illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark depicting the Broker (upper left corner). The object he is holding at his lips is the handle of a malacca walking cane, a gesture associated with dandies in the Victorian era.
[right]: Segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation (16th century).
Holidays Snark illustrations are conundrums. And the were constructed as conundrums. The pattern in the frame (2) on the left side is an allusion to a rather unobstrusive pattern on the right side. This shows that Holiday did not "copy" patterns just because of they would contribute to the impressiveness of his illustrations.
·
In 1922 (46 years after The Hunting of the Snark was published), Henry Holiday (the illustrator) wrote to George Sutcliffe (Sangorski & Sutcliffe, bookbinders, London): "... you will notice that the Broker in [the proof of the illustration to The Crew on Board] no. 5 is quite different to the one in [the later proof] no. 2. I had intended to give a caricature a the vulgar specimen of the profession, but Lewis Carroll took exception to this and asked me to treat the head in a less aggressive manner, and no. 2 is the result. I consider that no. 5 has much more character, but I understood L. Carroll's objection and agreed to tone him down. ..."
Charles Mitchel called the first design of the broker's face in the lower right corner of the print "conspiciously antisemitic". The change of the printing blocks must have been very important to Carroll, as it took the wood cutter Swain quite some effort to implement that change (see p. 102, Lewis Carroll's The Hunting of the Snark, 1981 William Kaufmann edition).
As shown in the image above, the broker's face also appears in the upper left section of Holiday's illustration to The Hunting. Rather than by a "Semitic" face, Holiday may have been inspired by what could be a cliché of the face of a roman catholic monk depicted in the 16th century anti-papal painting Edward VI and the Pope.
[right]: Segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation (16th century).
Holidays Snark illustrations are conundrums. And the were constructed as conundrums. The pattern in the frame (2) on the left side is an allusion to a rather unobstrusive pattern on the right side. This shows that Holiday did not "copy" patterns just because of they would contribute to the impressiveness of his illustrations.
·
In 1922 (46 years after The Hunting of the Snark was published), Henry Holiday (the illustrator) wrote to George Sutcliffe (Sangorski & Sutcliffe, bookbinders, London): "... you will notice that the Broker in [the proof of the illustration to The Crew on Board] no. 5 is quite different to the one in [the later proof] no. 2. I had intended to give a caricature a the vulgar specimen of the profession, but Lewis Carroll took exception to this and asked me to treat the head in a less aggressive manner, and no. 2 is the result. I consider that no. 5 has much more character, but I understood L. Carroll's objection and agreed to tone him down. ..."
Charles Mitchel called the first design of the broker's face in the lower right corner of the print "conspiciously antisemitic". The change of the printing blocks must have been very important to Carroll, as it took the wood cutter Swain quite some effort to implement that change (see p. 102, Lewis Carroll's The Hunting of the Snark, 1981 William Kaufmann edition).
As shown in the image above, the broker's face also appears in the upper left section of Holiday's illustration to The Hunting. Rather than by a "Semitic" face, Holiday may have been inspired by what could be a cliché of the face of a roman catholic monk depicted in the 16th century anti-papal painting Edward VI and the Pope.
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