Götz Kluge's photos with the keyword: inspiration revealed

· from www.academia.edu/9964379/Schnarkverschlimmbesserung [1910]: Illustration by Henry Holiday (illustrator) and Joseph Swain (wood cutter) to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark ("corrected" by Macmillan in 1910) [1876]: Detail from an illustration by Henry and Swain to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1st edition, 1876) [1856]: Detail (mirror view) from The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston. “Improvement” in German is “Verbesserung”. If things get worse, a “Verschlimmerung” has happened. Jokingly (Germans sometimes can do that) we call “Verschlimmbesserung” what has been made worse after someone tried to improve it. That is what the publisher Macmillan did about 100 years ago. They removed a white spot from the illustration by Henry Holiday (illustrator) and Joseph Swain (wood cutter) to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1876). I found this Verschlimmbesserung in a smaller low-quality Snark edition published by Macmillan in 1910. Perhaps the publisher thought that the white spot was Joseph Swain's mistake. But would Henry Holiday and C. L. Dodgson (Lewis Carroll) have tolerated such a mistake? As these perfectionists wouldn't have accepted any bad craftsmanship, the white spot must have had a purpose:

See also: www.academia.edu/9964379/Schnarkverschlimmbesserung In a 1910 edition of The Hunting of the Snark , an alledged error, which is not an error, had been removed. However, the removed white spot had a reason, as you see in the inset. The inset shows a segment from a 1876 edition with the white spot and a segment from The Bone Player (1856) by William Sidney Mount with a white spot (depicting a reflection from a glass). [left]: Segment from an Illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark (1876). [right, mirror view]: The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston.

In a 1910 edition of The Hunting of the Snark , an alledged error, which is not an error, had been removed. However, the removed white spot had a reason, as you see in the inset. The inset shows a segment from a 1876 edition with the white spot and a segment from The Bone Player (1856) by William Sidney Mount with a white spot (depicting a reflection from a glass).

[left]: Segment from an Illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark (1876). [right, mirror view]: Segment from The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston. Later Macmillan damaged the puzzle: They removed the white spot. In a 1910 edition of The Hunting of the Snark , the white spot had disappeared. However, it had a reason, as you see in the inset. The inset shows a segment from a 1876 edition with the white spot and a segment from The Bone Player (1856) by William Sidney Mount with a white spot (reflection from a glass).

[left]: Segment from an Illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark (1876). [right, mirror view]: The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston. See also: www.academia.edu/9889413/The_Bankers_Face

[left]: Segment from an Illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark (1876). [right, mirror view]: The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston. · · 513 · · He was black in the face, and they scarcely could trace · · 514· · · · The least likeness to what he had been: · · 515· · While so great was his fright that his waistcoat turned white- · · 516· · · · A wonderful thing to be seen! · · 517· · To the horror of all who were present that day. · · 518· · · · He uprose in full evening dress, · · 519· · And with senseless grimaces endeavoured to say · · 520· · · · What his tongue could no longer express. · · 521· · Down he sank in a chair--ran his hands through his hair-- · · 522· · · · And chanted in mimsiest tones · · 523· · Words whose utter inanity proved his insanity, · · 524· · · · While he rattled a couple of bones. Mahendra Singh guided me to this painting. I found a painting depicting a bone player in his blog which Mahendra used to tell us something about the bone ratteling Banker. Mahendra is a professional illustrator who not only is one of the few curageous and curious Snark hunters, but also (like Holiday) a very gifted architect of Snark conundrums in his own right. Just look at his own illustrations to his Snark edition (2010). ( justtheplaceforasnark.blogspot.com/2012/01/fit-7-pg-752-d... ) Mount painted The Bone Player after receiving a commission from the printers Goupil and Company for two pictures of African-American musicians to be lithographed (e.g. by Jean-Baptiste Adolphe Lafosse ) for the European market. These became the last in a series of five life-size likenesses of musicians that Mount executed between 1849 and 1856. ( www.mfa.org/collections/object/the-bone-player-33207 ) Could Henry Holiday have seen that lithograph? In London, Goupil & Cie was established by Ernest Gambart. 17 Southampton Street. Moved to 25 Bedford Street, Strand in 1875 when Goupil & Cie took over Holloway & Sons and their salerooms. Goupil's manager in London was at this time Charles Obach. ( en.wikipedia.org/wiki/Goupil_&_Cie )

[left]: Segment from an Illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark (1876). [right, mirror view]: The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston. · · 513 · · He was black in the face, and they scarcely could trace · · 514· · · · The least likeness to what he had been: · · 515· · While so great was his fright that his waistcoat turned white- · · 516· · · · A wonderful thing to be seen! · · 517· · To the horror of all who were present that day. · · 518· · · · He uprose in full evening dress, · · 519· · And with senseless grimaces endeavoured to say · · 520· · · · What his tongue could no longer express. · · 521· · Down he sank in a chair--ran his hands through his hair-- · · 522· · · · And chanted in mimsiest tones · · 523· · Words whose utter inanity proved his insanity, · · 524· · · · While he rattled a couple of bones. Mahendra Singh guided me to Mount's painting. I found a painting depicting a bone player in his blog which Mahendra used to tell us something about the bone ratteling Banker. Mahendra is a professional illustrator who not only is one of the few curageous and curious Snark hunters, but also (like Holiday) a very gifted architect of Snark conundrums in his own right. Just look at his own illustrations to his Snark edition (2010). ( justtheplaceforasnark.blogspot.com/2012/01/fit-7-pg-752-d... ) Mount painted The Bone Player after receiving a commission from the printers Goupil and Company for two pictures of African-American musicians to be lithographed (e.g. by Jean-Baptiste Adolphe Lafosse ) for the European market. These became the last in a series of five life-size likenesses of musicians that Mount executed between 1849 and 1856. ( www.mfa.org/collections/object/the-bone-player-33207 ) Could Henry Holiday have seen that lithograph? In London, Goupil & Cie was established by Ernest Gambart. 17 Southampton Street. Moved to 25 Bedford Street, Strand in 1875 when Goupil & Cie took over Holloway & Sons and their salerooms. Goupil's manager in London was at this time Charles Obach. ( en.wikipedia.org/wiki/Goupil_&_Cie )

Henry Holiday reinterprets Marcus Gheeraerts II in The Hunting of the Snark [left]: Marcus Gheeraerts the Younger: Catherine Killigrew , Lady Jermyn (1614) [right]: Marcus Gheeraerts the Younger: Mary Throckmorton , Lady Scudamore (1615) [center]: Henry Holiday: Segment of an illustration to Lewis Carroll's The Hunting of the Snark (1876) · · 057· · He came as a Butcher: but gravely declared, · · 058· · · · When the ship had been sailing a week, · · 059· · He could only kill Beavers. The Bellman looked scared, · · 060· · · · And was almost too frightened to speak: · · 285· · But the Butcher turned nervous, and dressed himself fine, · · 286 · · · · With yellow kid gloves and a ruff -- · · 287· · Said he felt it exactly like going to dine, · · 288· · · · Which the Bellman declared was all "stuff." · · 409· · Such friends, as the Beaver and Butcher became, · · 410· · · · Have seldom if ever been known; · · 411· · In winter or summer, 'twas always the same-- · · 412· · · · You could never meet either alone.

Segments from illustrations [left]: by Gustave Doré (to John Milton's Paradise Lost , Book VI, 1866) and [right]: by Henry Holiday (to The Hunting of the Snark , 1876) . Here Henry Holiday played with zoomorphism and turned what could be parts of a root into a (naughty) winged rat. i am not sure whether Doré's hatching of the "nose" and the "paw" is part of a joke already by Doré in that otherwise quite hellish scenario.

In Lewis Carroll's The Hunting of the Snark , the intertextuality of the poem is paralleled by the interpictoriality of Henry Holiday's illustrations: Here Henry Holiday reinterprets Marcus Gheeraerts I+II. The image above shows Henry Holiday's illustration to the chapter The Banker's Fate . (A small part of the left side has been removed in order to achieve a 4:3 ratio. The largest size is 5696 x 4352 pixels.) To Holiday's illustration I added images from which, in my opinion, he had borrowed shapes and concepts: (1) Under the Banker's arm: * Horizontally compressed segment of The Image Breakers (1566-1568) aka Allegory of Iconoclasm , an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder, Utrecht 1971, pp. 25-29). I mirrored the "nose" about a horizontal axis (yellow frame). (2) Under the Beaver's paw (mirror views): * [top]: Marcus Gheeraerts the Younger: Catherine Killigrew , Lady Jermyn (1614) * [bottom, mirror view]: Marcus Gheeraerts the Younger: Mary Throckmorton , Lady Scudamore (1615)