Tuesday, January 31, 2012

Our baseball heroes - captains of the twelve clubs in the National League

The National League of Professional Baseball Clubs, the National League (NL), is the world's oldest extant professional team sports league. Founded on February 2, 1876,

Title: Our baseball heroes - captains of the twelve clubs in the National League, Creator(s): Fox, R. K. (Richard Kyle), b. 1846, copyright claimant, Date Created/Published: New York : Richard K. Fox, c1895 Apr. 20. Medium: 1 print : chromolithograph.

Summary: Print showing bust portraits of the captains of the twelve baseball teams in the National League, arranged around a scene showing a base-runner attempting to steal second base during a baseball game. Clockwise, from the top are: George Davis of New York, Michael J. Griffin of Brooklyn, William "Buck" Ewing of Cincinnati, John A. Boyle of Philadelphia, Oliver W. "Patsy" Tebeau of Cleveland, John Wesley Glasscock of Louisville, Edward C. Cartwright of Washington, Connie Mack of Pittsburg, George F. "Doggie" Miller of St. Louis, Billy Nash of Boston, Wilbert Robinson of Baltimore, and Adrian "Cap" Anson of Chicago.

Reproduction Number: LC-DIG-ppmsca-18403 (digital file from original print) LC-USZ62-922 (b&w film copy neg.)

Rights Advisory: No known restrictions on publication.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case c1895, are now in the public domain.

Our baseball heroes - captains of the twelve clubs in the National League

Call Number: PGA - Fox, Richard--Our baseball heroes ... (B size) [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

Notes: 23877 U.S. Copyright Office. Title from item. Copyrighted 1895 by Richard K. Fox, Police Gazette, New York. Published in: Supplement to the Police Gazette, vol. LXVI, no. 926 (1895 June 1st), Richard K. Fox Propr.

Subjects: Baseball players--United States--1890-1900. Format: Chromolithographs--Color--1890-1900. Portrait prints--1890-1900. Collections: Popular Graphic Arts.

My Lines Wander

Dogwood Birdhouse
Dogwood Birdhouse. Sepia micron pen on paper. 6"x 8".

Monday, January 30, 2012


Poppy Flowers
A drawing is simply a line going for a walk.
-Paul Klee

Ronald Searle (1920 - 2011)

The legendary cartoonist/illustrator, Ronald Searle, passed away late last year.


I received a note from Chuck Pyle shortly after Searle's death:

"As archivist of our illustrated world, I was hoping that you might be able to pop up a post on Ronald Searle, who just passed away. One of my great heroes. There is a BIG hole in the fabric with his loss."


How true. No doubt hundreds, perhaps thousands of artists and certainly many millions of fans worldwide, who have been touched by Searle's work, are saddened by the loss of this brilliant and prolific creator.


A quick search on Flickr turns up hundreds of scans of Searle's work, many from publications and books long out of print - all of them wonderful and inspiring.


To that collection, I have added a few more, presented here today for your viewing pleasure.





Searle had no bigger fan than Matt Jones, a story artist at Disney, who has created an extensive Ronald Searle blog site.


His touching tribute to Searle contains links to many obituaries for the artist from major media outlets.

Sunday, January 29, 2012

W.C. Fields (William Claude Dukenfield)

William Claude Dukenfield (W.C. Fields) (January 29, 1880 – December 25, 1946)

Title: W.C. Fields -- Philip Goodman. Creator(s): Bain News Service, publisher. Date Created / Published: [no date recorded on caption card] Medium: 1 negative : glass ; 5 x 7 in. or smaller. Reproduction Number: LC-DIG-ggbain-36682 (digital file from original negative)

Rights Advisory: No known restrictions on publication.There are no known restrictions on the photographs in the George Grantham Bain Collection. Publication and other forms of distribution: No known restrictions.

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, e.g., LC-B2-1234]

Call Number: LC-B2- 6125-15. Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA.

Notes: Title from unverified data provided by the Bain News Service on the negatives or caption cards. Forms part of: George Grantham Bain Collection (Library of Congress).

Format: Glass negatives. Collections: Bain Collection.

The George Grantham Bain Collection represents the photographic files of one of America's earliest news picture agencies. The collection richly documents sports events, theater, celebrities, crime, strikes, disasters, political activities including the woman suffrage campaign, conventions and public celebrations. The photographs Bain produced and gathered for distribution through his news service were worldwide in their coverage, but there was a special emphasis on life in New York City.

W.C. Fields (William Claude Dukenfield)

The bulk of the collection dates from the 1900s to the mid-1920s, but scattered images can be found as early as the 1860s and as late as the 1930s. Available online are 39,744 glass negatives and a selection of about 1,600 photographic prints for which copy negatives exist. This represents all of the glass plate negatives the Library holds and a small proportion of the 50,000 photographic prints in the collection. The Library purchased the collection in 1948 from D.J. Culver.

Calligraphy Letterform Album

'Kalligraphische Schriftvorlagen' (calligraphic writing styles) was produced in the 1620s in Germany by the scribe, Johann Hering.

Kalligraphische Schriftvorlagen by Johann Hering o

Kalligraphische Schriftvorlagen by Johann Hering b

Kalligraphische Schriftvorlagen by Johann Hering n

Kalligraphische Schriftvorlagen by Johann Hering

Kalligraphische Schriftvorlagen by Johann Hering e

Kalligraphische Schriftvorlagen by Johann Hering h

Kalligraphische Schriftvorlagen by Johann Hering g

Kalligraphische Schriftvorlagen by Johann Hering d

Kalligraphische Schriftvorlagen by Johann Hering i

Kalligraphische Schriftvorlagen by Johann Hering a

Kalligraphische Schriftvorlagen by Johann Hering p

Kalligraphische Schriftvorlagen by Johann Hering r

Johann Hering (?1580-1647) compiled his album of elaborate calligraphic letterforms, innovative type arrangements and traditional alphabets over a ten year period in the 1620s and 1630s in the Kulmbach region of Bavaria. (Or it was produced sometime during this time frame: it's not clear)

I tend to believe - and I may well be wrong - that Hering's album is more along the lines of a practice manuscript for himself rather than being a true copybook or modelbook* for educational purposes. The majority of the writing is in German (with occasional Latin) and many of the written pages are obviously copied from the bible, particularly the Book of Psalms.

[*Modelbooks: see here & here]

There is next to nothing by way of commentary online about either Hering's life or the background to his amazing album. He is simply described as a 'writing master'. A number of published books are attributed to Hering - most or all on the type/font arts - and one of his handwriting manuals was apparently republished in German in 1982 (although I didn't actually find much of a trail online).

Saturday, January 28, 2012

Solomon Dedicates the Temple at Jerusalem

The first particulars of a description of the Temple are given in the First Book of Kings: a few more are added in the Second Book of Kings and in Jeremiah. The parts wanting in these three books are given in Ezekiel, and nowhere else in the world.

It is as if the writer of the Kings, and Jeremiah and Ezekiel, had examined each what the other had written, and then each supplied what the others had omitted. Thus, in Kings, many inside measures of the house are given, but no outside ones; while in Ezekiel the outside measures are supplied, together with some inside measures which were omitted in Kings: and, when all the measures are put together, they perfectly agree, and make one house.

In general, it is a truth which will be established by a hundred examples, that parts which are fully described in Kings are only mentioned in Ezekiel, and those which are only mentioned in Kings are fully described in Ezekiel. Thus

it is barely mentioned in Kings that the Temple had courts, gates, altars, and little chambers; but no measures or descriptions are given of them: while in Ezekiel the courts, gates, and altars are minutely described, and the little chambers are shown to be watch-towers, three each side of each gate, PI. XIII. and XV.; and are fully described and measured, with the distances between the groups and between each other, Ezek. xl. 7-10. So, on the other hand, two pillars — Jachin and Boaz — are minutely described in 1 and 2 Kings and Jeremiah, together with the porch in which they stood.

The same porch is described in Ezekiel, with the bare mention of two pillars, one each side of it. But the length of this porch is given as twenty cubits in both places, bb', PI. VII.; while the width in Kings is ten cubits, but in Ezekiel it is eleven cubits, 1 Kings vi. 3; Ezek. xl. 49. But in Kings the measures are taken from the inside of the house, outwards: while in Ezekiel the measuring begins at the east gate of the outer court, at o, PI. XIII., and proceeds inwards, on the dotted line, to the house in the centre; thus from without inwards, and then into the house. Hence the width of ten cubits is an inside measure, gd', PI. VII.; and eleven cubits is an outside measure, gb'. Hence the porch had a wall one cubit thick, b'd'. That it had a wall is further evident in that it had a gate (Ezek. xl. 48), which was six cubits wide, cc' (same); and, if there were no wall, there would be no need of a gate.

Solomon Dedicates the Temple at Jerusalem

Solomon Dedicates the Temple at Jerusalem, c. 1896-1902, by James Jacques Joseph Tissot (French, 1836-1902) or followers, gouache on board, 10 5/16 x 7 1/2 in. (26.2 x 19.2 cm), at the Jewish Museum, New York.

Date: c. 1896-1902

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case c. 1896-1902, are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case James Jacques Joseph Tissot (1836-1902) and that most commonly runs for a period of 50 to 70 years from December 31 of that year. +sookie tex

James Joseph Jacques Tissot [Public domain], via Wikimedia Commons.

TEXT CREDIT: Solomon's temple: or, the tabernacle ... Volume 61 of Solomon's Temple: Or, the Tabernacle, Timothy Otis Paine. Author: Timothy Otis Paine. Publisher: Phinney, 1861. Original from: Harvard University. Digitized: Jan 24, 2008. Length: 99 pages. Subjects: History › General, History / General, Solomon's temple.

The Sea

Seaweed prints from the 1800s
Bits of the ocean
Digital collage inspired by my beautiful collection of seaweed prints from the 1800s.
My stuff at Anthropologie
My Sticky Notes & Pocket Planner at the Fashion Valley
Anthropologie store in San Diego when we visited last October.
Seeing my birdies "in the wild" is always very exciting :-)

Gods of the Ancients

'Images Depicting the Gods of the Ancients' by Vincenzo Cartari was first published in 1556. The engravings below are from a 1624 edition (in Italian).

Imagini di Trifone...

engraving of ancient god from cartari

Imagine di Mercurio...

Imagine d'Apollo o del Sole...

Imagine della Nave de Bacco...

a cartari ancient god illustration

Imagine di Pan Dio de Pastore...

Imagine di Serapi...

renaissance depiction of ancient gods

Imagini di Bacco trionfatore...

cartari's depiction of ancient gods

'Le Imagini De gli Dei de gli Antichi' by Vincenzo Cartari (with illustrations based on designs by Bolognino Zaltieri) was recently made available online via Wolfenb├╝tteler Digitale Bibliothek.
[this is the 1664 edition, in the original Italian, with the woodcuts (that first appeared in the 3rd Ed.) replaced by engravings of modest artistic merit perhaps, yet possessing a not insignificant - continuing - contemporary influence].

Misteraitch, at the venerable (and retired) Giornale Nuovo, covered this book some years ago, displaying some woodcut scans from an earlier edition, and including some very useful commentary which is recommended; but I shan't repeat it here. The engravings above seem to be both reversed and modified from the original woodcut layouts.

Instead, as an adjunct, I'll paste in below the (complete and unaltered) translated commentary on Cartari's book from a rare book exhibition at the University of Navarra (in Spain) [LINK]:
"Mythological matter was one of the sources and themes used in literature and art of the Renaissance and Baroque periods, both in its more pagan and hedonistic as its symbolic and moralized version. The myths came to the sixteenth century by two ways: the deformed but very influential medieval transmission, and collected by his humanist philological recovery of ancient texts and testimonies.

One of the works that contributed to the systematization and dissemination of this rich heritage throughout the sixteenth and seventeenth centuries was the work of Italian poet Vincenzo Cartari 'I Imagini Antichi degli degli Dei, nelli cualisono degli Antichi descritte religione him, riti e parrot ceremony with di molto agiunta principalia l'e con l'Imagini Esposizione in epilogue di suo ciascheduna and significance'.

Cartari, of which little else is known other than it was in the service of the house of Este, is known almost exclusively for this work and a versified translation of the Tuscan in meters Fasti of Ovid published in Venice in 1551.

The book is divided into 15 chapters, each of which is one of the main gods and lesser gods and heroes in some way related to it. The subject of each chapter comes from the texts of ancient poets translated by Cartari as Italian poems.

The cause of the success of the work was in addition to its originality in presentation, the only of its kind available in a vulgar tongue. This success was further increased from the 1571 Venetian edition by Ziletti Giordani, who illustrated with 89 large woodcuts opened by Bolognino Zaltieri dimensions.

Samples of undoubted interest aroused by the book are the successive reprints of the original Italian and translations of it made into Latin and French Verdier in 1581.

The copy owned by the Library of the University of Navarra belongs to the first edition of this Latin translation published in Lyon in July Guichard, Barthelemy Honorat and Michel Etienne. The engravings with which it is illustrated are very similar to those of Zaltieri, but sometimes are smaller and are often printed in mirror."


Howard Pyle illustrated more than 125 books. 

Of those books, he wrote 24 himself. 

Of those 24 books, one-- Pepper and Salt-- contained 90 of his illustrations.

Of those 90 illustrations, one was this small pen and ink headpiece of a girl with 17 geese:

Many thanks to Molly and Mary at the Delaware Art Museum for locating this drawing that I recalled seeing there 20 years ago.

The first thing you notice about these 17 geese is that Pyle treated each one differently, with its own angle or stance or personality.  Each has its own dignity: 

There are no stray lines to suggest geese in the background that Pyle didn't feel like drawing completely.  No Photoshop.  No photocopiers.

Charles Dickens wrote:
I should never have made my success in life if I had been shy of taking pains, or if I had not bestowed upon the least thing I have ever undertaken exactly the same attention and care that I have bestowed upon the greatest.

Friday, January 27, 2012

Bradshaw Crandell: Man of Distinction

By guest author Kent Steine

By the late 1940's Bradshaw Crandell had turned over the reigns of producing the covers at Cosmopolitan to Jon Whitcomb. Crandell himself had been Harrison Fisher's beneficiary in the 1930's. However the decade of the 1950's brought a new direction for Crandell. Throughout his career, Crandell had used pastel as his primary media for it's spontaneity and managing deadlines. He was ready for a change. He had taught himself to paint with oils, and with his unwavering dedication was producing work that would rival his magnificent pastel illustrations.

(Above: "Red Head", was also one of the featured pieces in the Bottoms Up collection. A "Red Head" was: 1 jigger Seagram's 7 Crown; 1 barspoon of kirschwasser; 1 barspoon raspberry cordial; Juice 1/2 lemon; Ice. Shake well. Strain in to cocktail glass. Drop twist of orange peel in to glass.)

(Above: Although Brad worked with oils throughout his career, by the 1950's that medium dominated his work. "Time on My Hands", painted in 1960, displays a lifetime of study. His draughtsmanship, and manipulation of light and shadow are what every artist strives to duplicate.)

Crandell was now in his preferred element. Although he achieved immense success as a cover artist, it was only after he left the commercial field and began to concentrate on painting portraits, that he truly felt happy. He loved working with people directly. Crandell's models sat for him. He would work from photo reference as a backup to the original sitting. He instinctively knew that was the only way to make a great picture. Crandell never analyzed a subject to bring out the true nature of the sitter. He painted what he saw, where the real person came to life. Choosing to only see the good in people, he would capture his subjects at their best.


In 1954, Crandell made Madison, Connecticut his permanent residence. It had been his summer home and retreat for many years. He would maintain the East 52nd Street studio in New York for another eleven years. It was during this time that his status as a renowned portrait artist was established. Now instead of movie stars, his commissions were numerous Governors; heads of state; and society women. His career had come full circle. He was now fulfilled, producing art in the tradition of the masters he had long admired.


Throughout his life and career, Crandell had been at the top of his field. He received many of the accolades due a man and artist of his caliber (among other things you could walk into The 21 Club, or The Stork Club and order concoctions entitled "Red Head" and "Bachelor Girl", inspired by Crandell's work). Along with many associations, he was an active member of The Society of Illustrators, and was recently elected to their Hall of Fame. Crandell was very active within the "Society", contributing art, and goodwill throughout the membership. He was also a member of the Artists and Writers Association; and the Dutch Treat Club. Crandell was also an excellent and skilled chef. He was a member of the American Society of Amateur Chefs; as well as serving as President of the Property Owners Association in his hometown of Madison, Connecticut.

(Above: 1952 Dutch Treat Club Yearbook illustration by Bradshaw Crandell, featuring names and numbers of fellow club members)

Sadly, by 1965 Bradshaw Crandell had contracted cancer. Reviewing letters written by him at this time, one finds no remorse or bitterness as a result of his condition. There is merely grateful appreciation for the innumerable admirers of his work. He passed away in the comfort of his home January 25, 1966 at the age of 69.

(Below: John Bradshaw Crandell's NYT obituary, from Wednesday, January 26 1966.)

(Below: This original keepsake from Bradshaw Crandell's memorial was written by his wife, Myra.)

Today the measure of beauty has a different ideal in life and imagery. What likely appeals to the public in general during the year 2012, was a very different ideal in 1942. We are fortunate to have had likes of Brad Crandell to record a most unique period in history, when beauty was attractive, appealing, and refreshing.

(Above: Upon closer inspection, this example represents one of Bradshaw Crandell's very best pastel illustrations. Crandell preceded in scope and stature, nearly all of the illustrators associated with painting a pretty face or even pinup art . . . in some cases by twenty years. This masterfully simple, and perfectly rendered illustration presents an idealized and stylized face that set a standard for all who followed.)

* Kent Steine is an artist, author and teacher. His renowned series of "Masters" articles for Step-By-Step magazine remain some of the best ever written on the history of illustration. With this week being the anniversary of Bradshaw Crandell's death, I'm very grateful to Kent for sharing the story of this fabulous artist with us. An abridged version of this week's series of posts originally appeared as an article in SXS magazine. ~ Leif

Kent Steine's website

* Several of today's (and this past week's) images are courtesy of the Heritage Auctions website