The Uncle over Darwin's Fireplace
Carpenters Shop and Millais' Allusions
Wood Shavings turned Pope
So great was his fright that his waistcoat turned…
The Bankers Fate
Two Bone Players
White Spot
The Billiard Marker & Henry George Liddell
Dream Snarks
Paradise Lost and the Beaver's Lesson
Darwins snarked Study
Heads by Henry Holiday and Marcus Gheeraerts the E…
The removed "error" had a purpose
The Flaw was no Flaw
Mary's and the Baker's Kerchiefs
Schnarkverschlimmbesserung
Nose is a Nose is a Nose
The Broker's and the Monk's Nose
Holiday - Millais - Anonymous - Galle; detail
The Vanishing and the Gneiss Rock
Nosemorph
Thomas Cranmer's Burning
The Bellman and Sir Henry Lee (no marks)
Wood Shavings turned Pope (1st version)
Darwin's Fireplace and the Baker's Dear Uncle
Henry George Liddell in "The Hunting of the Snark"
Snarked: Henry George Liddell
Holiday - Millais- Anonymous - Galle, detail
Holiday and Gheeraerts I
The Carpenter and Ahasuerus
From Doré's Root to Holiday's Rat
42 Boxes meet the Iconoclasts
Thumb & Lappet
Bonnet Head
Priest in the Mouth
Billiard-Marker & Henry George Liddell
Snark Hunt: Square One
Thomas Cramer's hand?
The Snark in your Dreams
The Butcher and Benjamin Jowett
Ditchley Snark
Ditchley Snark
While he rattled a couple of bones
While he rattled a couple of bones
Tree of Life
The Bellman and Father Time
Snark Hunting with the HMS Beagle
Inspiration by Reinterpretation
The Bellman and Sir Henry Lee
Star and Tail
William III, Religion and Liberty, Care and Hope
Darwin's Study and the Baker's Uncle
Kerchiefs and other shapes
Holiday - Millais - Anonymous - Galle
From Doré's Root to Holiday's Rat
Anne Hale Mrs. Hoskins
Anne Hale Mrs. Hoskins
42 Boxes, Sheep, Iconoclasm
Thomas Cranmer's 42 Boxes
With yellow kid gloves and a ruff
The Bandersnatch fled as the others appeared
Millais, Anonymous, Galle
An Expedition Team
Holiday - Millais - Anonymous - Galle
Holiday - Millais- Anonymous - Galle, detail
Holiday and Gheeraerts I
Doré (1863), Holiday (1876), Doré (1866)
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The Broker's and the Monk's Nose (with a little help)
[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 they were constructed as conundrums. The colored boxes are meant as a little help to you. There is not only a relation between the patterns marked by the same color, also the topological relation between the patterns on the left side and the right side show some similarity.
The pattern in the orange frame on the lower left side clearly is an allusion to a rather unobtrusive 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. Holiday is not a plagiarist.
·
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.
·
Links:
※ www.reddit.com/r/museum/comments/4lrs3o/anonymous_king_edward_vi_and_the_pope_estimates
※ www.reddit.com/r/TheHuntingOfTheSnark/comments/3ul02u/the_brokers_and_the_monks_nose
※ www.academia.edu/9890076/The_Broker_and_the_Monk
※ www.facebook.com/snark150/posts/1647429028620386
[right]: Segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation (16th century).
Holidays Snark illustrations are conundrums. And they were constructed as conundrums. The colored boxes are meant as a little help to you. There is not only a relation between the patterns marked by the same color, also the topological relation between the patterns on the left side and the right side show some similarity.
The pattern in the orange frame on the lower left side clearly is an allusion to a rather unobtrusive 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. Holiday is not a plagiarist.
·
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.
·
Links:
※ www.reddit.com/r/museum/comments/4lrs3o/anonymous_king_edward_vi_and_the_pope_estimates
※ www.reddit.com/r/TheHuntingOfTheSnark/comments/3ul02u/the_brokers_and_the_monks_nose
※ www.academia.edu/9890076/The_Broker_and_the_Monk
※ www.facebook.com/snark150/posts/1647429028620386
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