Henry Holiday alluding to John Martin
Doré (1863), Holiday (1876), Doré (1866)
Holiday and Gheeraerts I
Weeds turned Horses (BW)
Weeds turned Horses
The Bandersnatch fled as the others appeared
From Doré's Root to Holiday's Rat
Holiday - Millais - Anonymous - Galle
Holiday - Millais - Anonymous - Galle
Kerchiefs and other shapes
Star and Tail
The Bellman and Sir Henry Lee
Inspiration by Reinterpretation
The Bellman and Father Time
Crossing the Line
While he rattled a couple of bones
While he rattled a couple of bones
IT WAS A BOOJUM
Ditchley Snark
The Butcher and Benjamin Jowett
"But if ever I meet with a Boojum, that day, I sha…
Hidden Carrol
Bard and Bellman
Gnarly Monstrance
42 Boxes meet the Iconoclasts
6 Sources to the Beaver's Lesson
The Boojum sitting on some of the 42 boxes
The Snark in your Dreams
Bellman & Bard
Bellman & Bard
Bellman & Bard after retinex filtering
The Broker's and the Monk's Nose (with a little he…
Monster Nose
Anne Hale Mrs. Hoskins
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A Nose Job
[left]: a segment of Henry Holiday's illustration to The Banker's Fate (after his encounter with the Bandersnatch) in Lewis Carroll's The Hunting of the Snark (1876) and
[right]: a horizontally compressed segment of The Image Breakers (1566-1568), an etching by Marcus Gheeraerts the Elder. The resemblance of the "noses" is obvious once you mirror the nose in this image about a horizontal axis.
Reinterpratation of shapes (examples):
The segment of the spectacle frame is less obvious. Blurr the corresponding segment in Gheeraert's etching and you understand how Henry Holiday worked here (blue box). Another segment of the spectacle frame additionally has been black&white inverted (green box).
A cross(?) in Gheeraert's etching turns into a rectangular nostril. Holiday kept it rectangular in his illustration (yellow box).
[right]: a horizontally compressed segment of The Image Breakers (1566-1568), an etching by Marcus Gheeraerts the Elder. The resemblance of the "noses" is obvious once you mirror the nose in this image about a horizontal axis.
Reinterpratation of shapes (examples):
The segment of the spectacle frame is less obvious. Blurr the corresponding segment in Gheeraert's etching and you understand how Henry Holiday worked here (blue box). Another segment of the spectacle frame additionally has been black&white inverted (green box).
A cross(?) in Gheeraert's etching turns into a rectangular nostril. Holiday kept it rectangular in his illustration (yellow box).
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