Eye Candy for Today: Howard Pyle illustration for Mother Hildegarde

The Princess looks into that which she should not have done., from Mother Hildegarde, from The Wonder Clock, pen and ink illustration by Howard Pyle
The Princess looks into that which she should not have done., from Mother Hildegarde, from The Wonder CLock, pen and ink illustration by Howard Pyle (detail)

The Princess looks into that which she should not have done., from Mother Hildegarde, part of The Wonder Clock, a collection of new fairy tales with pen and ink illustration by Howard Pyle. I don’t know the size of location of the original (though I can hope it’s in the collection of the Brandywine River Museum).

Image sourced from this page on the Art & Artists blog.

Pyle was famous for his illustrations of great American adventure stories by prominent authors, but he was an author himself. He wrote and illustrated a wonderful collection of 24 new (at the time) fairy tales, one for each hour of the day. This was one of the illustrations for one of the stories.

If you look on Amazon, you’ll get the impression that the book is out of print, but not so. You can order it directly from the Dover Publications website.

Eye Candy for Today: Tenniel’s Jabberwock

The Jabberwock, John Tenniel, pen and ink illustration
The Jabberwock, John Tenniel, pen and ink illustration (details)

The Jabberwock, John Tenniel, pen and ink. I don’t know the size or location of the original drawing. Link is to the image page on Wikipedia, which in turn links to a very high resolution image (11.62 mb).

John Tenniel’s beautifully iconic illustrations for Lewis Carroll’s books have never been equaled for their visual charm and definitive interpretations, though Arthur Rackham has perhaps come closest.

I think Tenniel pulled out the stops (or the ink bottle stopper) for his illustration of the Jabberwock, a pseudo-mythical beast that is the titlular creature of Carrol’s nonsense poem Jabberwocky. The poem was part of Through the Looking Glass and What Alice Found There, the sequel to Alice’s Adventures in Wonderland.

The poem itself, filled with nonsensical terms that are the kind of verbal ticklers that sound like they almost make sense, has been influential and the topic of much conversation and speculation.

I’ve quoted it here for your nonsensical enjoyment and comparison with Tenniel’s illustration:

Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.

“Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!”

He took his vorpal sword in hand:
Long time the manxome foe he sought—
So rested he by the Tumtum tree,
And stood awhile in thought.

And as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!

One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.

“And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!”
He chortled in his joy.

‘Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.

-Lewis Caroll

Edwin Austin Abbey (revisited)

Edwin Austin Abbey illustration
Edwin Austin Abbey illustrations

Edwin Austin Abbey, who I first wrote about in 2006, was an American painter, illustrator and muralist who was active in the late 19th and early 20th centuries.

Born here in Philadelphia, Abbey studied at the Pennsylvania Academy of the Fine Arts. He did a series of highly regarded murals and other artworks for the Pennsylvania state capitol, as well as a stunning 15 panel series for the Boston Public Library.

In his mid 20s, he moved to England at the request of a publisher to do research for a series of illustrations and remained there for the rest of hs life.

Abbey is renowned in particular for his paintings interpreting scenes from Shakespere plays, both in dramatic tableaux and portrayals of individual characters.

Johan Egerkrans

Johan Egerkrans illustration
Johan Egerkrans illustrations

Johan Egerkrans is a Swedish illustrator and writer — parmarily of children’s books.

Egerkrans has a wonderful touch with dragons and monsters. I particularly enjoy the energetic semi-cartoony style with which he portrays dinosaurs.

Egerkrans’ work often carries of echoes of classic Swedish illustrators, particularly John Bauer (e.g. images above, bottom).

His webstore features signed books and prints as well as posters. You can also see his work, often reproduced a bit larger, on his ArtStation portfolio.

Eye Candy for Today: Steinberg’s iconic View of the World from 9th Avenue

View of the World from 9th Avenue New Yorker cover by Saul Steinberg
View of the World from 9th Avenue New Yorker cover by Saul Steinberg (detail)

View of the World from 9th Avenue, March 29, 1976 cover of The New Yorker, Saul Steinberg; ink, colored pencil and watercolor; 26 x 19 inches (71 x 48 cm).

Whether you’re seeing this for the first time (in which case, you’re welcome), or you’ve seen it a hundred times and had the poster on your wall, it’s always worth looking at this delightful and insightful image of how New Yorkers might see the world.

On the one hand, it can be seen as arrogance on the part of residents of the Big Apple, bit I think Steinberg meant it more as a comment on the way we all have a relativistic view of the world based on the familiarity of our immediate surroundings, and how it affects our perception of events elsewhere.

It was so well received, The New Yorker applied for a copyright assigned to the artist and reproduced it as a very popular poster. Since then it’s been copied, reproduced and reprinted on everything from T-shirts to desk pads. It’s been parodied and played off of countless times.

Unfortunately — and to the dismay of the artist — this became primarily what Steinberg became known for, and not for the overall range of his brilliant drawings and cartoons.

For more on my high regard for this remarkable artist, see my 2006 post on Saul Steinberg.