Götz Kluge's photos with the keyword: Markus Gheeraerts The Elder

Knight Letter (ISSN 0193-886X) of the LCSNA (Lewis Carroll Society of North America), Fall 2017, № 99 Details: snrk.de/knight-letter-links/kl-fall2017

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! This is probably one of the strongest examples for resemblances between graphical elements in Henry Holiday's illustrations (1876, cut by Joseph Swain) and graphical elements in another image. Sometimes Holiday mirrored his pictorial quotes: Here Holiday vertically flipped the "nose" of Gheeraert's "head". I flipped it back. 2011-12-12 2014-02-22 As for the image on the top of this page: [left]: The Banker after his encounter with the Bandersnatch, depicted in Henry Holiday's illustration (woodcut by Joseph Swain for block printing) to the chapter "The Banker's Fate" in Lewis Carroll's "The Hunting of the Snark" (scanned from an 1876 edition of the book) [right]: a redrawn and horizontally compressed and reproduction 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). Also I flipped the "nose" vertically. CC BY-NC-ND 3.0 Version, 2000x2000: www.ipernity.com/doc/goetzkluge/36260048

[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

My first comparison related to The Banker (2009). After more than one year I suddenly understood Holiday's nose job:

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! This is probably one of the strongest examples for resemblances between graphical elements in Henry Holiday's illustrations (1876, cut by Joseph Swain) and graphical elements in another image. In this case the images are [left]: The Banker after his encounter with the Bandersnatch , depicted in a segment of Henry Holiday 's illustration to The Banker's Fate in Lewis Carroll's The Hunting of the Snark (scanned from an 1876 edition of the book) and [right]: a horizontally compressed copy 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.

[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 )

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)