Lawson Wood – part 3

September 7, 2018, 6:23 am

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Lawson Wood was born on 23 August 1878 in Highgate, London, the son of landscape artist Pinhorn Wood, and the grandson of architectural artist L.J. Wood. He studied at the Slade School of Fine Art, Heatherley's School of Fine Art and Frank Calderon's School of Animal Painting.
Lawson Wood gained immense popularity with his humorous drawings of comic policemen, dinosaurs, prehistoric and Stone Age characters, and apes and monkeys often seen performing absurd antics against immaculate, dead-pan backgrounds. Eventually Gran'pop, the artful ginger ape 

For more information on Wood see part 1, and for earlier works, see parts 1 & 2 also.

This is part 3 of a 10-part series on the works of Lawson Wood:


Pre 1920s early works:

"Goodbye, Sweetheart, Goodbye" postcard

How to kiss the housemaid. postcard

How to kiss your sweetheart.  postcard

"Lucky Dog." postcard

Prehistoric Pastimes. "Football." postcard

Suffrage postcard

The Aberdonian doesn't see it! postcard

The Baby and how to train it - Give it everything it cries for. postcard

The Baby and how to train it - Let it get familiar with strangers. postcard

The Baby and how to train it - Let it get plenty of fresh air. postcard

The Bashful Man at the Ball postcard

The Bashful Man at the Garden Party postcard

The Bashful Man leaving the Theatre postcard

The Bashful Man makes a Friendly Call postcard

Untitled "Child and Ducks"  watercolour

"Where's your number?" postcard

"You are in Danger of Losing a Friend, Write soon and All will be Well!"  postcard

A walk over.

Bribery postcard

Bulldogs postcard

By the Doctor's orders. postcard

Cold Sport

Easy, father; easy, don't waggle your leg about so much or you'll Lose 'im!" postcard

Exchange is no Robbery postcard

Good morning! - There's something to crow about here. postcard

Why We Crow About Felixstowe postcard

Happy Hours at Christmas postcard

Hot Stuff! postcard published by Salmon, Sevenoaks, Kent

"If yer gimme a penny Guv'nor I wont split on yer!" postcard

Is that measles? postcard

Man. I'm having a g-r-r-and time postcard

My Wife Doesn't know Where I am - Neither do I! postcard

"Netjes Eten!" ( Eat Properly! )

On the Starboard tack postcard

"On the Tree Top." postcard

Parking here for a while! postcard

Put it in the Van, Sir?

"Seems to me I've always loved you!"  postcard

The arm of the law. postcard

The Measured Mile Gale & Polden post card series

There's a long time of waiting! postcard

Top Dog. postcard

We don't think. postcard

1920s Some nice things going on here. postcard

1920s The Apple

1921 I'm likely to hang on here a bit longer. postcard

1921 Mural in a Canadian bungalow Photo by David Cubberley, owner.

1922 Untitled "Too many apples"

1923 "May I press you to a jelly?" postcard

1923 "You're another!" postcard

1923 Snookered! Advertisement for Booths Fireproof Doors

1923 What - again! postcard

1923 Why don't you write, you little monkey? postcard

---

Lawson Wood – part 4

September 10, 2018, 5:47 am

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Lawson Wood was born on 23 August 1878 in Highgate, London, the son of landscape artist Pinhorn Wood, and the grandson of architectural artist L.J. Wood. He studied at the Slade School of Fine Art, Heatherley's School of Fine Art and Frank Calderon's School of Animal Painting.
Lawson Wood gained immense popularity with his humorous drawings of comic policemen, dinosaurs, prehistoric and Stone Age characters, and apes and monkeys often seen performing absurd antics against immaculate, dead-pan backgrounds. Eventually Gran'pop, the artful ginger ape 

For more information on Wood see part 1, and for earlier works, see parts 1 - 3 also.

This is part 4 of a 10-part series on the works of Lawson Wood:

1924 "Keep smiling." and life will be all bright spots. postcard

1924 Left Luggage.

1924 I can feel this "quiet spot" is doing me a world of good. postcard

1924 It had to be you. postcard

1924 My wonderful one! postcard

1924 With lots of luck. postcard

1924 You're a dear little beggar. postcard

1924 Your note has just reached me. postcard

1925c Mr. Prickles published by Frederick Warne & Co., London

1925c Mr. Pup published by Frederick Warne & Co., London

1925c Mr. Quack published by Frederick Warne & Co., London

1925c Mr. Trunk published by Frederick Warne & Co., London

1925c Mrs. Cackle published by Frederick Warne & Co., London

1926 First advances. postcard

1926 The Scot 'Scotched'

1928 Collier's magazine ( USA ) May 12 1928

1928 The Humorist August 4th 1928 "Some Craft!"

1929 Here's a flipper for you. postcard

c1930 Porcelain 'Penguin' figurine

1930s "It had to be you" postcard

1930s Gran'pop Series Postcards:

"Gran-pop" chats with the oldest inhabitant.postcard

"Gran-pop" starts his Spring-Cleaning.postcard

"Gran-pop" travels à la cartepostcard

"Gran-pop" visits Loch Ness.postcard

"Gran-pop's""Sole" catchpostcard

"He wants to make the noises for the B.B.C."postcard

"Step on it, Horace!"postcard

"Where do we go from here?"postcard

"Who's been eating my banana cuttings?"postcard

"Who-me?"postcard

"You lucky Guy, three Income Tax exemptions!"postcard

1934 "The Lost Chord."postcard

1935 Gran'pop floodlights for his Jubilee.postcard

1935 Gran'pop Masonic postcard series Valentine & Sons Ltd:

A "Brother" in distress.postcard

Gran'pop discloses the secrets of Masonry.postcard

Gran'pop receives the sign.postcard

Gran'pop's Lodge of Instruction.postcard

1940s Gran'pop Gibraltar postcard series:

"We're for it girls - the Fleet's arrived at Gibraltar!"postcard

1940s YOU wanted to be an R.A.F. type at Gibraltar.postcard

Air drop - "Rock ape reinforcements 1" - at Gibraltar.postcard

The Spring Cruise at Gib. - An Atomic Submarine.postcard

We do some skin diving at Gibraltar.postcard

1955 A chance for chin-wag.postcard

A "Hand off."postcard

A little bit of luck for you! ( Voila une part de bonheur pour vous! )postcard

A little persuasion is better than force!postcard

A lover's knot.postcard

A passing shower.postcard

A wise man knows when to quit.  postcard

A wise man knows when to quit watercolour 36.8 x 33.6 cm published as a postcard ( see above ) by Valentine & Sons

Ain't Daddy a big noise?postcard

Another Glamour Girl. postcard

Lawson Wood – part 5

September 12, 2018, 5:59 am

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Lawson Wood was born on 23 August 1878 in Highgate, London, the son of landscape artist Pinhorn Wood, and the grandson of architectural artist L.J. Wood. He studied at the Slade School of Fine Art, Heatherley's School of Fine Art and Frank Calderon's School of Animal Painting.
Lawson Wood gained immense popularity with his humorous drawings of comic policemen, dinosaurs, prehistoric and Stone Age characters, and apes and monkeys often seen performing absurd antics against immaculate, dead-pan backgrounds. Eventually Gran'pop, the artful ginger ape and the rest of the chimpanzee family were to bring him fame on both sides of the Atlantic. The Gran'pop's Annuals were a yearly excursion into comic absurdities that were popular around the world. 

For more information on Wood see part 1, and for earlier works, see parts 1 - 4 also.

This is part 5 of a 10-part series on the works of Lawson Wood:

1930s Gran'pop Series Postcards continued from part 4:

Convalescence.

Dutch postcard: The moral of this print? Do not crack a note that you do not know.)

Dinner at 8.

Dutch postcard: The world hints, the weather is getting better, leave all the burdens behind.

Dutch postcard: When you're smart and powerful, just pull the longest end.

Dutch postcard: Anyone who needs to lie down with flu does not have to say A after B.

Dutch postcard: Who wants to tie love-knots, just hope.

Dutch postcard; You can look long and wide, but one alone will not achieve anything.

For health's sake - take things quietly.

Giving him the works.

Gran'pop as Queen of the May.

Gran'pop believes in being air-minded.

Gran'pop buys a pup. Grand Père a acheté une petite chienne.

Gran'pop disapproves of the sun-bathers.

Gran'pop does a bit of plumbing with his mate.

Gran'pop floodlights for his jubilee.

Gran'pop gives a cocktail party.

Gran'pop gives a skating lesson.

Gran'pop goes "Gliding" ( After joining the Air League ) postcard design watercolour and gouache 42.5 x 32.4 cm

Gran'pop goes gliding.

Gran'pop goes hiking.

Gran'pop goes in for pearl fishing.

Gran'pop goes modern and decorates his flat.

Gran'pop goes Oxford.

Gran'pop goes through the chair.

Gran'pop has a little Scotch in him.

Gran'pop likes being chiropped.

Gran'pop looks in at the dentist.

Gran'pop makes a jig-saw puzzle

Gran'pop makes his hot cross buns.

Gran'pop makes sure of his putt

Gran'pop minds the baby.

Gran'pop says - "'swat's happened?"

Gran'pop says :- "You'll be missing this!"

Gran'pop starts a band.

Gran'pop says :- "This one's for you!"

Gran'pop tests the swimming-bath water.

Gran'pop tries a difficult shot.

Gran'pop tries a Turkish bath.

Gran'pop wants longer "odds."

Gran'pop weighs in for The Derby.

Gran'pop's bid for the Atlantic Blue Ribbon

Gran'pop's shadow show.

Gran'pop's view of the Leg-Theory.

He Says he won't fly like a pheasant.

It's a boy!

Jump to it!

Jump to it!

Miss you badly at "Gib."

My hat!

Nothing wrong with his heart.

Lawson Wood – part 6

September 14, 2018, 5:50 am

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Lawson Wood was born on 23 August 1878 in Highgate, London, the son of landscape artist Pinhorn Wood, and the grandson of architectural artist L.J. Wood. He studied at the Slade School of Fine Art, Heatherley's School of Fine Art and Frank Calderon's School of Animal Painting.
Lawson Wood gained immense popularity with his humorous drawings of comic policemen, dinosaurs, prehistoric and Stone Age characters, and apes and monkeys often seen performing absurd antics against immaculate, dead-pan backgrounds. Eventually Gran'pop, the artful ginger ape and the rest of the chimpanzee family were to bring him fame on both sides of the Atlantic. The Gran'pop's Annuals were a yearly excursion into comic absurdities that were popular around the world. 

For more information on Wood see part 1, and for earlier works, see parts 1 - 5 also.

This is part 6 of a 10-part series on the works of Lawson Wood:

1930s Gran'pop Series Postcards continued from part 5:

Percy is entered for the Point to Point.

Physical Jerks. Culture physique.

Physical Jerks watercolour and gouache on tinted paper 43.2 x 31.7 cm

Raising the wind.

Say A-a-a-ah!

"Step on it, Horace!"

"Tell Mother it isn't worth it"

The 19th "hole."

The finishing touch.

The last straw! Quelle couche!

The Spring cruise at Gib.–  An Atomic Submarine.

Tough nuts.

1930s Lawson Wood's Annual published by Dean

1931c Lawson Wood's Fun Fair published by Arundel Prints, London

1932 Collier's magazine November 12, 1932

1932 Collier's magazine September 24, 1932

1933 Collier's magazine July 15, 1933

1933 Collier's magazine March 25, 1933

1933 Collier's magazine September 16, 1933

1933 The Old Nursery Rhymes published by Thomas Nelson and Sons

1933 The Old Nursery Rhymes  published by Thomas Nelson and Sons

1934 Gran'pop gets his own back after being left out of "The Sketch" beauty number, by holding his own beauty show  watercolour and gouache 34.3 x 29.8 cm The Sketch 16 May 1934

1934 The Sketch magazine cover September 1934

1935 Collier's magazine July 1935

1935c "Now," said Gran'pop, "all stand clear, this rocket's for the stratosphere." watercolour and gouache 38.1 x 27.9 cm

1936 De Stad Panorama August  magazine cover

1936 De Stad Panorama October magazine cover

1936 Monkeys

1937 Collier's magazine July 17, 1937

1937 Collier's magazine May 1, 1937

1937 De Stad Amsterdam magazine cover December 9 1937

1937 Ons Land Panorama magazine cover May 27 1937

1938 Calendar Rich Chevrolet, Inc., Huntington, West VA

1939 'S-Gravenhage in Beeld Panorama March 9 1939 magazine cover

1939 Collier's magazine February 4, 1939

1939 Collier's magazine September 30, 1939

1939 De Stad Amsterdam Panorama July 1939 magazine cover

Jeepers! Reapers 1939 Illustrated magazine 16 September 1939

1939 Swinging it lithographic print

1940 Collier's magazine April 27, 1940

1940 Collier's magazine February 24, 1940

c1940 Gran'pop's Annual published by Dean

1941 Collier's magazine 8, November 1941

1941 Collier's magazine August 9, 1941

1940s Calendar:

A Pot Shot

It's in the Bag

Just a Little Squirt

Let 'er Go

No Wise Quacks, Please

Soaking the Rich

Something on the Ball

Stealing His Stuff

The Finishing Touches

Lawson Wood – part 7

September 17, 2018, 6:03 am

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Lawson Wood was born on 23 August 1878 in Highgate, London, the son of landscape artist Pinhorn Wood, and the grandson of architectural artist L.J. Wood. He studied at the Slade School of Fine Art, Heatherley's School of Fine Art and Frank Calderon's School of Animal Painting.
Lawson Wood gained immense popularity with his humorous drawings of comic policemen, dinosaurs, prehistoric and Stone Age characters, and apes and monkeys often seen performing absurd antics against immaculate, dead-pan backgrounds. Eventually Gran'pop, the artful ginger ape 

For more information on Wood see part 1, and for earlier works, see parts 1 - 6 also.

This is part 7 of a 10-part series on the works of Lawson Wood:


1941-45 American WWII posters:

1941-45 WWII poster Our Boys Aren't Kicking

1941-45 WWII poster Bonds Buy Bombers to Blast the Bums

1941-45 WWII poster Don't Horse Around

1941-45 WWII poster Freedom Doesn't Grow on Trees

1941-45 WWII poster Gentlemen Prefer Bonds

1941-45 WWII poster Get Plenty of Sleep

1941-45 WWII poster Keep Plugging

1941-45 WWII poster Keep Secrets Under Cover

1941-45 WWII poster Keep Your Chin Up

1941-45 WWII poster Pass the Ammunition

1941-45 WWII poster Shooting the Bull Won't Win the War

1941-45 WWII poster Victory's Not on Ice Yet

1942 Collier's magazine April 18 1942

1942 Collier's magazine January 24 1942

1943 Collier's magazine March 20 1943

1943 Colliers magazine May 8 1943

1945 Collier's magazine March 3 1945

1945 Lawson Wood's Merry Monkeys published by Birn Brothers, London

1946 Collier's magazine June 22 1946

1946 Music and Moonlight  Collier's magazine front cover 30 March 1946 gouache on board

1946 Music and Moonlight Collier's magazine March 30 1946

1946 Poor Pork's been feeling poorly of late, more grit in his diet he's got to take watercolour and gouache 44.4 x 33.6 cm Lawson Wood "Mischief Makers" Birn Bros. 1946

1946 Withholding Tax watercolour and gouache 38.7 x 30.5 cm design for an advertisement card for the Clapp Machinery Company, March 1946

1947 Collier's magazine January 25 1947

1947 Collier's magazine June 7 1947

1947 Untitled "Mask"

1949 Panorama magazine September 1949

1950 Gran'pop's Annual published by Dean & Son

1950s Don't Let Anybody Monkey With Your Car

1950s Sunlight Soap advertisement postcard

1950s Sunlight Soap advertisement postcard reverse

1951c A Growing Business watercolour and gouache 37 x 30.5 cm

1951c Fan Mail watercolour and gouache 40 x 30 cm

1951c Logging Off watercolour and gouache 37 x 29.5 cm

1951c Morning Delivery watercolour and gouache 40 x 31 cm

1951c The Making Up Department watercolour and gouache 37 x 30.5 cm

1951c The Shape of Things to Come watercolour and gouache 37 x 29 cm

1952 Gran'pop's Annual published by Dean

1952 Panorama magazine cover November 1952

1953 Illustrated Family Journal November 24 - 16 June 1953

1955 Playhour comic March 26 1955

1957 Panorama magazine cover January 1957

1957 Panorama magazine cover July 1957

1957 Panorama magazine cover November 1957

A Great Catch

A Great Shame postcard

A Penny Saved is a Penny Earned postcard

A Warm Corner

Advertising card ( U.S. ) Hitting the High Spots

Advertising card ( U.S. ) Small Fry

All for the love of a lady! Tout cela pour l'amour d'une femme! postcard

All Scotch" No.6 "All Scotch thrift. A bag-pipe champion reducing his gas bill watercolour and gouache 35.6 x 25.4 cm

Lawson Wood – part 8

September 19, 2018, 6:17 am

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Lawson Wood was born on 23 August 1878 in Highgate, London, the son of landscape artist Pinhorn Wood, and the grandson of architectural artist L.J. Wood. He studied at the Slade School of Fine Art, Heatherley's School of Fine Art and Frank Calderon's School of Animal Painting.
Lawson Wood gained immense popularity with his humorous drawings of comic policemen, dinosaurs, prehistoric and Stone Age characters, and apes and monkeys often seen performing absurd antics against immaculate, dead-pan backgrounds. Eventually Gran'pop, the artful ginger ape and the rest of the chimpanzee family were to bring him fame on both sides of the Atlantic. The Gran'pop's Annuals were a yearly excursion into comic absurdities that were popular around the world. 

For more information on Wood see part 1, and for earlier works, see parts 1 - 7 also.

This is part 8 of a 10-part series on the works of Lawson Wood:


Bears postcards:

"I'm making a great splash here!"

1933c Boxing Bear

Bearin' Guid Wishes: Hopin' ye'll be in the best o' spirits just like me!

How long can it last?

I've only just arrived.

Ich freue mich herzlich. ( I am happy. )  German postcard

If you would take the hint and write I'd hug myself with sheer delight.

Life ain't all honey!

Washing powder advertising postcard

You see I don't forget you.

Your silence is hard to bear.

Cats and Kittens postcards:

1920s You're lucky getting me.

c1934 "And I didn't like the way she spoke about you!"

1947 Here's Luck!

Don't let the cat out of the bag.

Gato preto e Ferradura, Dão felicidade e ventura. Portuguese postcard

Here's to you - good luck!

Hope You'll Strike it Lucky!

I like your cheek.

Só se eu tiver muito azar É que me chegas a apanhar. Portuguese postcard

With a bit of luck things will soon look brighter!

Chicks postcards:

"Ladies first!"

1923 It's lovely weather for the ducks!

1925 Don't you think I'm rather a dear little thing?

1925 My word you're coming out of your shell!

c1925 From one little ducky to another.

1933 Hope you'll "turn up" soon!

Come and cheer us up!

Herzliche Grüsse! ( Best Regards! ) German postcard

I'm busy helping mother!

Na, - wie wär's? ( Well, how about? ) German postcard

Shall us? Let's!

Deux jeunes amoureux. ( Two young lovers. ) There's only you.

Untitled

Wie aus dem Ei gepellt. German postcard

Your little bit of fluff.

Dogs:

A lucky cat. The "Lawson Wood" Series "Dog Humour" Raphael Tuck & Sons "Oilette" Postcard No. 8622

By the Doctor's orders. The "Lawson Wood" Series "Dog Humour" Raphael Tuck & Sons "Oilette" Postcard No. 8622

In disgrace.  The "Lawson Wood" Series "Dog Humour" Raphael Tuck & Sons "Oilette" Postcard No. 8622

"Look Before You Leap"

Top Dog. The "Lawson Wood" Series "Dog Humour" Raphael Tuck & Sons "Oilette" Postcard No. 8622

Dutch postcard Een oppas, zó, of omden bride, heeft absoluut een staart van node. ( A babysitter, like this or the bride, absolutely needs a tail. )

Dutch postcard Een bok met een kater. ( A goat with a hangover )

Feeding the Chickens

Gran'pop Series
published in America:

A "Spring" Chicken watercolour and gouache on board 36.8 x 28.5 cm Cigarette card by Carreras

A Booming Business

Ain't She Sweet?

An Eye to a Straight Deal  watercolour and gouache 47 x 33.6 cm

Any Way you Figure

Bizziness Chart

Blow this one-way traffic watercolour and gouache 40.6 x 31.7 cm

Business as Usual

Crime does not pay Calendar illustration

continues in part 9...

Lawson Wood – part 9

September 21, 2018, 6:24 am

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≪ Previous: Lawson Wood – part 8

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Lawson Wood was born on 23 August 1878 in Highgate, London, the son of landscape artist Pinhorn Wood, and the grandson of architectural artist L.J. Wood. He studied at the Slade School of Fine Art, Heatherley's School of Fine Art and Frank Calderon's School of Animal Painting.
Lawson Wood gained immense popularity with his humorous drawings of comic policemen, dinosaurs, prehistoric and Stone Age characters, and apes and monkeys often seen performing absurd antics against immaculate, dead-pan backgrounds. Eventually Gran'pop, the artful ginger ape and the rest of the chimpanzee family were to bring him fame on both sides of the Atlantic. The Gran'pop's Annuals were a yearly excursion into comic absurdities that were popular around the world. 

For more information on Wood see part 1, and for earlier works, see parts 1 - 8 also.

This is part 9 of a 10-part series on the works of Lawson Wood:


Gran'pop Series
published in America 
continued from part 8:

Crime does not pay

Day Lumber Corporation for Victory

Do it now!

Getting a lift

Getting a move on watercolour and gouache 38.1 x 28.5 cm

Getting the hang of it ( The man on the flying trapeze ) watercolour and gouache 36.2 x 27.9 cm

Going our way? watercolour and gouache 35.6 x 30.5 cm

Gran'pop ( title not found )

Gran'pop ( title not found )

Gran'pop at it again "It looks like a 'set-up'" watercolour and gouache 38.1 x 30.5 cm

Gran'pop does the Hat Trick.

Gran'pop feels the cold snap watercolour and gouache 38.1 x 29.2 cm

First date

Gran'pop fishing watercolour 42 x 32 cm

Gran'pop is eighty-four watercolour and gouache 38.7 x 28.5 cm

Gran'pop kicks the high spots!

Gran'pop learns to knit

Gran'pop on weighing scales watercolour 42 x 32 cm

Gran'pop rises to make a speech, Whilst the waiter, manners would teach.

Gran'pop sits on Jumbo's head, And paints the lamp-post green and red.

Gran'pop still on top "Hang on! You'll soon be up!" watercolour gouache 37.5 x 30.5

Gran'pop takes a Service Flat watercolour and gouache on board 27.5 x 28.5 cm

Gran'pop tells a parlour story watercolour with gouache 43.8 x 33.6 cm

Gran'pop tries a flu remedy watercolour, gouache and pencil 38.7 x 29.2 cm

Gran'pop with a group of pigs watercolour 42 x 32 cm

May the best man win

Oh, my aching back

Gran'pop's Annual watercolour and gouache with pen and ink 39.4 x 29.2 cm

Here's to a bumper Xmas watercolour and gouache 38.1 x 30.5 cm

In Conference

It does things for you

Late for the board meeting watercolour and gouache 27.5 x 29.8 cm

Oh you flirt! watercolour and gouache 43.2 x 33 cm

Panorama magazine  "Opa Maakt Toilet" Gran'Pop does his toilet

Popular Gran'pop by Lawson Wood

Popular Gran'pop by Lawson Wood

Popular Gran'pop by Lawson Wood "Gran'pop helps as you can see."

Popular Gran'pop by Lawson Wood "Gran'pop paints the lamp-post green and red.

Popular Gran'pop by Lawson Wood

Porky and Chimp thought a swim would make them cool, and tried to dive into Gran'pop's drinking pool watercolour with gouache 44.4 x 34.2 cm

Put your little foot out Advertising card for A C Motors, Cincinnati, Ohio

Red Carpet

Ride him Cowboy watercolour and gouache 43.8 x 33.6 cm

Seems a bad year for shrimps watercolour and gouache 36.8 x 27.9 cm

Swedish postcard  "A mother is proud of little one, especially if it has become two"

The 19th "Hole" inscribed "Gran'pop sticks to the rules" Design for a postcard watercolour and gouache with pencil on board 36.8 x 27.9 cm

The Goldberg Collection of Images Issue Eleven

The Musician watercolour and gouache on tinted paper 40.6 x 30.5 cm

The Pump watercolour and gouache 36.8 x 28.5 cm

The Tax Collector inscribed "The Collector calls for Gran'pop's Income Tax" watercolour and gouache on board 38.1 x 30.5 cm

Untitled  ( Gran'pop Innuit )

Untitled  ( Gran'pop Tailor )

What about a clam-bake? watercolour and gouache 38.1 x 30.5 cm

What's the depth of the Ocean? watercolour 38.1 x 30.5 cm published as a cigarette card by Argent Cigarettes

When Pop papered the parlour watercolour and bodycolour 27.5 x 29.8 cm

Why won't this one do? watercolour and gouache 38.1 x 30.5 cm

Lawson Wood – part 10

September 25, 2018, 5:47 am

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Lawson Wood was born on 23 August 1878 in Highgate, London, the son of landscape artist Pinhorn Wood, and the grandson of architectural artist L.J. Wood. He studied at the Slade School of Fine Art, Heatherley's School of Fine Art and Frank Calderon's School of Animal Painting.
Lawson Wood gained immense popularity with his humorous drawings of comic policemen, dinosaurs, prehistoric and Stone Age characters, and apes and monkeys often seen performing absurd antics against immaculate, dead-pan backgrounds. Eventually Gran'pop, the artful ginger ape and the rest of the chimpanzee family were to bring him fame on both sides of the Atlantic. The Gran'pop's Annuals were a yearly excursion into comic absurdities that were popular around the world. 

For more information on Wood see part 1, and for earlier works, see parts 1 - 9 also.

This is part 10 of a 10-part series on the works of Lawson Wood:


Gran'pop Series
published in America
continued from part 9:

Arrival of the newborn gouache 38.1 x 29.8 cm

Broken Television Set gouache 39.4 x 30.5 cm

Carol Singers gouache 38.1 x 29.2 cm

Take your choice

Fireman

Interrupted Decorator gouache 38.1 x 30.5 cm

Interrupted Midnight Feast gouache 38.1 x 30.5 cm

Jumbo Cola Thief gouache 38.1 x 29.8 cm

Latest Hairdo gouache 38.1 x 30.5 cm

Photographer's Studio gouache 39.4 x 30.5 cm

Rodeo, Big Prizes gouache on paper 39.4 x 30.5 cm

Untitled "Gran'pop decorator"

Various undated pieces:

Her Service - Deuce

Lawson Wood's Annual published by Dean & Son

Lawson Wood's Annual  published by Dean & Son

Learning New Tricks

Little Bo-Peep has lost her Sheep

London's Tramways poster "The Zoo"

- making and Egg 'flip' - oil on board 53.3 x 39.4 cm including matting

Nine Pints of the Law

Sweep Your Snow, Ma'am?

Some nice things going on here. postcard

The Dinosaur Rush pen and ink and watercolour 33.6 x 24.8 cm

The First

The sleepy pair watercolour and gouache 36.8 x 28.5 cm

The young idea "There's one over there on the left with four currants!" watercolour and gouache 35.6 x 25.4 cm

There was a fat man of Bombay

Tom he was a Piper's Son.

Untitled "Cats"

Untitled "Dancing pig"

Untitled "Duck Hunter"

Untitled "Kitten"

Untitled "Kitten"

Untitled "Maid"

Untitled "Monkeys"

Untitled "Scotsman"

Dutch: "Wat is daar voor belachelÿks aan?"

American advertising cards:

"Put your little foot right out" A C Motors, Cincinnati, Ohio

"Loading Zone" Bob McCormack Photographer

"Bums Away" Edgar M. Cowan, Westfield, NY

"Command performance"Edgar M. Cowan, Westfield, NY

"Loading zone"Edgar M. Cowan, Westfield, NY

"Pass the ammunition"Edgar M. Cowan, Westfield, NY

"Surprise package"Edgar M. Cowan, Westfield, NY

"The cold call"Edgar M. Cowan, Westfield, NY

"Getting the Point" Edward  D. Maltby Co.

"Ping-Pong!" Manor Cleaners, Oaklyn, New Jersey

The Bridal "Shower" The Pockrandt Paint Co., St. Paul, Minnesota

"Safety First" The Pockrandt Paint Co.

---

Peder Balke - part 1

September 27, 2018, 7:00 am

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The Norwegian landscape and marine painter Peder Balke (1804–1887) merged the Romantic movement's spiritual vein of naturalism with an expressiveness rarely equalled by his contemporaries. Born in humble circumstances in what was then a northern hinterland, Balke trained as an artisan before pursuing his aim to become an artist in the broader European tradition, which led to formative contacts with Caspar David Friedrich and Johan Christian Dahl. From the 1840s onward, Balke searched for ever more personal means to convey the wild beauty of Norway, producing dramatic, even hallucinatory paintings that reject conventional fine-art techniques in favour of radical simplifications of form and colour. Balke seems to have ceased painting after the 1870s, and he was essentially forgotten until the 20th century. In recent years, however, he’s been rediscovered by artists, collectors, and scholars alike.

Born” Peter Andersen” on the island of Helgøya in Hedmark County, Norway. He grew up in Ringsaker, but lived in the 1820s on the Balke farm in Toten in Oppland County. Farmers in Toten paid for his education, and he decorated several farms in Toten in return. They actively encouraged his painting activities and later supported him in obtaining higher education.

In the autumn of 1827, Balke served as an apprentice to Heinrich August Grosch. He was also a student at the Tegneskole under Grosch and Jacob Munch, Balke signed a two-year contract as an apprentice to the Danish decorator and artist Jens Funch. From autumn 1829 to spring 1833, he was a pupil of Carl Joham Fahlcrantz at the art academy in Stocholm. Balke was also a pupil of Johan Christian Dahl from 1843 to 1844.

During the summer of 1830 he walked through Telemark, Rjukan, Vestfjorddalen through Røldal and Kinsarvik to the city of Bergen, and then back through Vossenvangen to Gudvangen, further over Filefjell to Valdres and then across the mountains to Hallingdal. Along the way, he painted and drew small sketches that were later developed into paintings. He also travelled to Germany, and Russia. He visited Paris and London.

In Stockholm, he completed several of the paintings he had outlined on his 1832 Finnamark tour. Some of these were sold to the royal family. In 1846 he sold thirty of his paintings to Louis Philippe I of France for the Versailles Palace. Besides the 17 paintings in the National Gallery in Oslo, Peder Balke is also represented at several major art collections in Norway and Sweden.

This is part 1 of 2-part post on the works of Peder Balke:

1829c Christiania Viewed from Ekeberg

1836 The Waterfall at Rjukan oil on canvas

1840 Landscape with Mills and Rapids

1840-49 c North Cape oil on canvas 94 x 123 cm Private Collection

1840-49 Moonlit View of Trondheim  oil on canvas 44 x 63 cm Private Collection

1840-49c A Distant View of Mount Stetind oil on board 10.3 x 12.8 cm Private Collection

1840-49c Ship in Breaking Waves oil on canvas 64.5 x 91 cm Bergen Kunstmuseum, Norway

1840-49c The North Cape oil on cardboard 67.5 x 84 cm Nasjonalmuseet for Kunst, Arkitektur og Design, Oslo, Norway

1840s The Jostedal Glacier oil on canvas 128 x 174 cm Göteborg Konstmuseum, Gothenburg, Norway

1842 Moonlight on the Coast at Steigen oil on canvas 24 x 32.2 cm Bergen Kunstmuseum, Norway

1843 Two Sailing Boats by Moonlight oil on canvas 8.5 x 13 cm

1844-46c The Harbour at Skjervøy oil on paper laid down on cardboard 12 x 17.5 cm Private Collection

1845 The North Cape oil on canvas 95 x 132 cm Nordnorsk Kunstmuseum

1845-50c The Seven Sisters Mountain Range oil on panel 25 x 31 cm Private Collection

1845c The Mountain Range 'Trolltindene' oil on canvas 30.8 x 41.9 cm Private Collection

before 1847 Kielhomet Mountain at Stegen oil on cardboard 28 x 37 cm Louvre, Paris

1847 The Seven Sisters oil on cardboard 28 x 37.6 cm Musée du Louvre, Paris

1847 View of Hjelmso oil on cardboard 27.5 x 37 cm Musée du Louvre, Paris

1847-49 Steigen oil on canvas 43 x 64.5 cm

1847-49c Old Trees oil on paper laid down on cardboard 14 x 18.2 cm Private Collection

1847-49c Steigen  oil on paper laid down on cardboard 43 x 64.5 cm Private Collection

1848 The North Cape by Moonlight oil on canvas 62 x 85 cm  Private Collection, Oslo, Norway

1848 The North Cape by Moonlight oil on canvas

1849 Seascape  oil on cardboard 35.4 x 44.8 cm Nationalmuseum, Stockholm, Sweden

1850-55c Stormy Sea with a Steamer in Distress oil on paper laid down on canvas 33.5 x 42.5 cm Private Collection, Norway

1850-59c Tree in a Wintery Forest oil on canvas 60 x 48 cm Private Collection

1850-59c Vardøhus Fortress oil on canvas 92 x 104 cm Bergen Kunstmuseum, Norway

1850c Moonlit View of Stockholm oil on canvas 67.3 x 100.3 cm

1850c Mount Stetind, Northern Norway oil on paper 10.1 x 12.7 cm

1850c Sami with Reindeer under the Midnight Sun oil on paper laid down on cardboard 18.5 x 26 cm © Northern Norway Art Museum, Tromsø

1852 Fredrikshald  oil on panel 22 x 28.5 cm  Private Collection

1855c Lighthouse on the Norwegian Coast oil on canvas 95 x 125 cm Trondheim Kunstmuseum, Norway

1857-59 View of the Sarpsfoss Waterfalls, Norway oil on panel 21 x 28 cm Private Collection

1860-62c The Tempest oil on wood panel 12 x 16.5 cm

1860-69 Coastal Landscape with Wreck oil on copper 25 x 18 cm Nasjonalmuseet for Kunst, Arkitektur og Design, Oslo, Norway

1860-69 Lighthouse on the Coast oil on cardboard 26 x 36 cm Nordnorsk Kunstmuseum, Tromsø, Norway

Peder Balke - part 2

September 29, 2018, 6:21 am

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The Norwegian landscape and marine painter Peder Balke (1804–1887) merged the Romantic movement's spiritual vein of naturalism with an expressiveness rarely equalled by his contemporaries. Born in humble circumstances in what was then a northern hinterland, Balke trained as an artisan before pursuing his aim to become an artist in the broader European tradition, which led to formative contacts with Caspar David Friedrich and Johan Christian Dahl. From the 1840s onward, Balke searched for ever more personal means to convey the wild beauty of Norway, producing dramatic, even hallucinatory paintings that reject conventional fine-art techniques in favour of radical simplifications of form and colour. Balke seems to have ceased painting after the 1870s, and he was essentially forgotten until the 20th century. In recent years, however, he’s been rediscovered by artists, collectors, and scholars alike.

For more in formation on Peder Balke, and for earlier works, see part 1 also.

This is part 2 of 2-part post on the works of Peder Balke:

1860-69c Coastal Landscape oil on paper 33.5 x 25.5 cm Private Collection

1860-69c Coastal Landscape with Ship oil on canvas 16 x 36 cm Bergen Kunstmuseum, Norway

1860-69c Coastal Landscape with Wreck oil on paper laid down on fibreboard 34 x 52 cm Nasjonalmuseet for Kunst, Arkitektur og Design, Oslo, Norway

1860-69c Mount Gausta oil on canvas 48.5 x 45 cm  Private Collection

1860-69c Nordland oil on canvas 61 x 72 cm Nationalmuseum, Stockholm, Sweden

1860-69c North Cape oil on panel 21 x 24 cm Bergen Kunstmuseum, Norway

1860-69c Sea and Fog oil on paper laid down on cardboard 34.5 x 26 cm  Private Collection

1860-69c Seascape oil on copper laid down on cardboard 16.8 x 23.2 cm  Private Collection

1860-69c The Old Bridge oil on panel 35 x 26 cm  Private Collection

1860-69c Waterfall oil on paper laid down on panel 11.5 x 8.5 cm National Gallery of Norway, Oslo

1860-79c Coastal Landscape oil on panel 16.5 x 13 cm Private Collection

1860-79c Seascape with Cliffs oil on panel 11.8 x 16.2 cm Private Collection

1860-79c Steigen oil on paper laid down on panel 22.3 x 20.3 cm  Private Collection

1860-79c Stormy Sea oil on cardboard 13.4 x 17.3 cm

1860c Landscape from Finnmark oil on canvas 88.6 x 132.1 cm Private Collection

1860s North Cape oil on paper laid down on cardboard 35.2 x 25.5 cm Nordnorsk Kunstmuseum, Tromsø

1860s Seascape oil on canvas laid down on cardboard Collection of Asbjorn Lunde

1864 Fog over Stetind oil on canvas 71.5 x 58.5 cm National Gallery, Oslo, Norway

1864 Mount Stetind with Birch oil on copper 71 x 58 cm Nasjonalmuseet for Kunst, Arkitektur og Design, Oslo, Norway

1865 Lighthouse in Mist oil on canvas laid down on panel 71 x 58 cm  Private Collection

1870 Månelys

1870 Northern Lights over Coastal Landscape

1870 Vardøhus Fortress oil on canvas National Gallery, Oslo, Norway

1870-79c North Cape oil on panel 124 x 152 cm Trondheim Kunstmuseum, Norway

1870-79c Vardøhus Fortress oil on paper laid down on canvas 38 x 52 cm  Private Collection

1870c Stormy Sea  8 x 11 cm National Museum of Art, Architecture and Design, Oslo, Norway

1870s Northern Lights oil on wood 10 x 12 cm The Hearn Family Trust

1870s Ship in a Storm oil on composition board 8 x 12 cm The Hearn Family Trust

1870s Ships in a Storm oil on wood 9.5 x 11.4 cm Collection of Mickey Cartin

1874 Lighthouse oil on panel 12.5 x 17 cm Private Collection

1887 The Northern Lights over Four Men in a Rowing Boat

1950c Moonlit View of Stockholm oil on panel 67.3 x 100.3 cm Private Collection

From Finnmark's Open Country  95 x 123 cm Private Collection

n.d. From Nordland oil on canvas mounted on masonite 61 x 72 cm National Museum of Art, Architecture and Design, Oslo, Norway

n.d. Sailing in a Coastal Landscape

n.d. The Northern Lights Route oil on panel 124 x 152 cm  Trøndelag kunstgalleri, Trondheim

Children’s Books 1850–1881 part (12)

October 1, 2018, 5:42 am

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This series features illustrated children's books mainly from the Victorian era, more specifically from between 1850 and 1904. I found so many interesting books that I decided to split the series. 

This first series (parts 1 - 11 was posted in July 2018) featured books from between the 1850s to 1881.
These posts (parts 12 - 23) features books published between 1881 and 1904.

Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.

The focus in children's books gradually shifted from simple moral lessons to entertainment, with techniques of expression employed specifically for that purpose. Books carrying witty illustrations or exploring children's inner life also began to appear. The mid-19th century saw the development of girls' novels and narratives of family life.

This is part 12 of an 23 - part series on children's books 1850s - 1881:


1881c Three Wise Old Couples:

Sassell, Petter, Galpin & Co.

John Cassell (1817–1865) who was in turn a carpenter, temperance preacher, tea and coffee merchant, finally turned to publishing. His first publication was on 1 July 1848, a weekly newspaper called The Standard of Freedom advocating religious, political, and commercial freedom.The Working Man's Friend became another popular publication. In 1849 Cassell was dividing his time between his publishing and his grocery business. In 1851 his expanding interests led to his renting part of La Belle Sauvage, a London inn which had been a playhouse in Elizabethan times. The former inn was demolished in 1873 to make way for a railway viaduct, with the company building new premises behind. La Belle Sauvage was destroyed in 1941 by WWII bombing as well as many archives.

Thomas Dixon Galpin, who came from Dorchester in Dorset and George William Petter who was born in Barnstaple in Devon were partners in a printing firm and on John Cassell's bankruptcy in June 1855 acquired the publishing company and Cassell's debts. Between 1855 and 1858 the printing firm operated as Petter and Galpin and their work was published by W. Kent & Co.

John Cassell was relegated to being a junior partner after becoming insolvent in 1858, the firm being known as Cassell, Petter & Galpin.With the arrival of a new partner, Robert Turner, in 1878, it became Cassell, Petter, Galpin & Company. Galpin was the astute business manager.George Lock, the founder of Ward Lock, another publishing house, was Galpin's first cousin. Petter resigned in 1883 as a result of disagreement over publishing fiction, and in 1888 the company name was changed to Cassell & Co, Ltd, following Galpin's retirement and Petter's death.

1882 Fly-Away Fairies and Baby-Blossoms:

E.P. Dutton & Co.

In 1864, Dutton expanded to New York City, where it began publishing religious books. In 1906, Dutton made a deal with English publishing company J.M. Dentto be the American distributor of the Everyman’s Library series of classic literature reprints.

John Macrae joined the company in 1885 as an office boy and in 1923 was named president. In 1928, the publishing and retail divisions were split into two separate businesses with Macrae acquiring the publishing side, operating as E. P. Dutton and Company, Inc.

It published children's books under the Unicorn imprint, with some books published in the 1990s.  Dutton Children’s Books continues today.

1882 Long John:

1882 Pippin Hill and Other Rhymes:

McLoughlin Bros., Inc. was a New York publishing firm that pioneered the systematic use of colour printing technologies in children's books, particularly between 1858 and 1920. The firm's publications served to popularise illustrators including Thomas Nast, William Momberger, Justin H. Howard, Palmer Cox, and Ida Waugh. 

The artistic and commercial roots of the McLoughlin firm were first developed by John McLoughlin, Jr. (1827-1905), who, as a teenager learned wood engraving and printing while working for Elton & Co. - a New York firm formed by his father John McLoughlin, Sr. and engraver/printer Robert H. Elton

1882 Rock A Bye Baby and Other Rhymes:

1882 The May Pole:

Thomas de la Rue & Co. were founded in 1821 by Thomas de la Rue as a stationer and printer. By 1831 they were printing playing card under a Royal Warrant. By 1855 printing postage stamps, and by 1860, bank notes. The family sold their interests in the company in 1921. In 1991 the company became De La Rue PLC.

Children’s Books 1850–1881 part 13

October 3, 2018, 5:23 am

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The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.

These posts (parts 12 - 23) features books published between 1881 and 1904.

Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.

The focus in children's books gradually shifted from simple moral lessons to entertainment, with techniques of expression employed specifically for that purpose. Books carrying witty illustrations or exploring children's inner life also began to appear. The mid-19th century saw the development of girls' novels and narratives of family life.

This is part 13 of an 23 - part series on children's books 1850s - 1881:

1882 The Glad Year Round for Boys and Girls:

James R. Osgood (1836–1892) was an American publisher known for his involvement with the publishing company that would become Houghton Mifflin. 

A reputed child prodigy, James Ripley Osgood knew Latin at the age of three and entered college at 12 years of age. He studied at Bowdoin College in Maine.

He entered the publishing trade as a clerk in the Boston firm Ticknow and Fields and, by 1864, became a partner. It was reorganized in 1868 as Fields, Osgood, and Company. The firm inherited The Atlantic Monthly, as did James R. Osgood and Company, the firm created by Osgood and two remaining partners after Fields retired on New Year's Day 1871.

Successful book publications by Osgood & Co. included Bret Harte’s The Luck of Roaring Camp and Other Stories, followed by a volume of Harte's poems and another of "condensed novels". Osgood advanced Bret Harte $10,000 for future work, but Harte never wrote another story. In 1875, Osgood published Blanche Willis Howard’s One Summer, which became a best-selling novel.

In 1878 the firm dissolved, and Osgood joined forces with Henry Oscar Houghtonto form the short-lived Houghton, Osgood & Company.

1883 Blue & Red or the Discontented Lobster:

The illustrator Richard André, born William Roger Snow on 6th March, 1834 was the eldest son of a prominent London family. He entered Cambridge University in 1854, but unknown minor infractions forced him to leave the university within the year. In 1855, after spending his large inheritance, Snow joined the army and travelled the world. He published his first work in 1860. Titled Sketches of Chinese Life & Character, it was based on his observations and experiences while living in Hong Kong. By the early 1870s, Snow had become a playwright. By 1875, both his marriage and his military career came to an abrupt end as a result of his infidelities, causing him to assume an alias. 

Working as Clifford Merton, Snow began a prolific career as a writer and illustrator of children’s literature until his abandoned wife discovered his alias. After their divorce, Snow changed his name again. Thereafter known as Richard André he collaborated with the children’s author Juliana Horatia Ewing, his success as an illustrator continued on after Ewing’s death in 1885. André eventually branched out into photography and printing and became a successful businessman. He died in 1907 at the age of seventy five.

1883 Play Hours and Play Time:

Children’s Books 1850–1881 part 14

October 5, 2018, 7:24 am

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The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.


These posts (parts 12 - 23) features books published between 1881 and 1904.

Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.

This is part 14 of an 23 - part series on children's books 1850s - 1881:

c1881 Told in the Twilights
illustrated by Mary Ellen Edwards and John Charles Staples:

Mary Ellen Edwards c1863 albumen print and paint

Mary Ellen Edwards ( 9 November 1838 – 22 December 1934 ) was born the daughter of Mary Johnson and Downes Edwards, a farmer and engineer who had a number of successful inventions. She was born on her father’s farm in Surbiton, London. She came from an artistic family. Her uncle was E. Killingworth Johnson and her mother's uncle was James Wright, both Members of the Society of Painters in Water Colours.

She spent her early years with her family in Surbiton, the Isle of Man, South Kensington, and Chelsea, London.

On 13 June 1866, Edwards married John Freer. Freer worked for the Peninsular and Oriental Company, a steam navigation service. Edwards and Freer had one son, John E. L. Freer, born in 1867. Edward's first husband ( Freer ) died in 1869. At this time and over the following decade Mary Ellen was submitting her work to the annual Royal Academy exhibitions.

In 1872 she married the artist John Charles Staples, with whom she worked on many projects until his death at the end of the century.

1884 Make-Believe & Reality 
illustrated by Richard Andre (pseudonym of William Roger Snow):

1884 Museum of Wonders 
illustrated by Frederick Burr Opper:

Frederick Burr Opper ( 2 January 1857 – 28 August 1937) is regarded as one of the pioneers of American newspaper comic strips, best known for his comic strip “Happy Hooligan.” His comic characters were featured in magazines, political cartoons, and comic strips for six decades.

Born to Austrian-American immigrants Lewis and Aurelia Burr Oppers in Madison, Ohio, Frederick was the eldest of three children. At the age of 14, he dropped out of public school to work as a printer's apprentice at the local “Madison Gazette,” and at 16, he moved to New York City where he worked in a store and continued to draw. He studied briefly at Cooper Union, followed by a short stint as pupil and assistant to illustrator Frank Beard.

Opper's first cartoon was published in “Wild Oats” in 1876, followed by cartoons and illustrations in “Scribner’s Monthly” and “St. Nicholas Magazine.” He worked as illustrator at “Frank Leslie's Weekly” from 1877 to 1880. Opper was then hired to draw for “Puck” by publishers Joseph Keppler and Adolph Schwarzmann. He stayed with Puck for 18 years, drawing everything from spot illustrations to chromolithograph covers.

Children’s Books 1850–1881 part 15

October 8, 2018, 6:23 am

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The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.


These posts (parts 12 - 23) features books published between 1881 and 1904.

Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.

This is part 15 of an 23 - part series on children's books 1850s - 1881:

1884 The Magic Ring:
The Society for Promoting Christian Knowledge (SPCK) is the oldest Anglican mission organisation, and the leading publisher of Christian books in the United Kingdom. It was founded in 1698 by Thomas Bray , (an Anglican priest), and a small group of friends, including Lord Guilford, Sir Humphrey Mackworth, Mr Justice Hooke, and Colonel Maynard Colchester. The emphasis was on setting up schools, and the SPCK was a major factor in setting up church schools across Britain. Today, the SPCK is most widely known for its publishing of Christian books.

The Society was founded to encourage Christian education and the production and distribution of Christian literature. SPCK has always sought to find ways to communicate the basic principles of the Christian faith to a wider audience, both in Britain and overseas. A related Scottish society was founded in 1709. It sent missions to Scotland's Highlands, and a handful to Indians in the American colonies.

SPCK's early publications were distributed through a network of supporters who received books and tracts to sell or give away in their own localities. Large quantities of Christian literature were provided for the Navy, and the Society actively encouraged the formation of parish libraries, to help both clergy and laity.

1884 The Princess Nobody A Tale of Fairyland illustrated by Richard Doyle:

Richard "Dickie" Doyle 1824-1883

Richard "Dickie" Doyle ( 18 September 1824 – 10 December 1883 ) was a notable illustrator of the Victorian era. His work frequently appeared, amongst other places, in Punch magazine;  he drew the cover of the first issue, and designed the magazine's masthead, a design that was used for over a century.

Born at 17 Cambridge Terrace, London, one of seven children of Irish cartoonist John Doyle, a noted political caricaturist. Doyle had three who were also artists. The young Doyle had no formal art training other than his father's studio, but from an early age displayed a gifted ability to depict scenes of the fantastic and grotesque. Throughout his life he was fascinated by fairy tales. He produced his first complete illustrated book,“Home for the Holidays” when he was twelve; it was published posthumously in 1887. 

A Richard Doyle cover for Punch magazine

He joined the staff of Punch magazine  in 1843 aged 19, remaining there for seven years. He was the uncle of Sir Arthur Conan Doyle, author of the Sherlock Holmes stories.

Longmans, the world's oldest commercial publishing imprint, was originally founded in London by Thomas Longman in 1724. Longman himself was one of the six booksellers who undertook the responsibility of Samuel Johnson's Dictionary (1746-55). With Longman's death in 1755, his nephew, Thomas Longman, became the sole proprietor of the company and greatly extended its colonial trade. Longman published the works of Wordsworth, Coleridge, Southey, and Scott, and acts a London agent for the Edinburgh Review.

With the admittance of multiple new partners by 1823, the title of the firm was changed to Longman, Hurst Rees, Orme, Brown & Green. In 1968, Longman was acquired by the global publisher Pearson, owner of Penguin, and The Financial Times, yet the company remained primarily in family control until 1972. Longman continued to exist as an imprint of Pearson, under the name Pearson Longman, but is now primarily used by Pearson's ELT (English Language Teaching) business.

1885 At Home:

1885 Aunt Louisa's Nursery Book:

Children’s Books 1850–1881 part 16

October 10, 2018, 6:29 am

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The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.


These posts (parts 12 - 23) features books published between 1881 and 1904.

Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.

This is part 16 of an 23 - part series on children's books 1850s - 1881:


1885 Dame Crump:

McLoughlin Bros., Inc. was a New York publishing firm that pioneered the systematic use of colour printing technologies in children's books, particularly between 1858 and 1920. The firm's publications served to popularise illustrators including Thomas Nast, William Momberger, Justin H. Howard, Palmer Cox, and Ida Waugh. The artistic and commercial roots of the McLoughlin firm were first developed by John McLoughlin, Jr. (1827-1905), who, as a teenager learned wood engraving and printing while working for Elton & Co. - a New York firm formed by his father John McLoughlin, Sr. and engraver/printer Robert H. Elton

1885 The Swallow and the Skylark:

Thomas Nelson is a publishing firm that began in West Bow, Edinburgh,  Scotland in 1798 as the namesake of its founder. It is a subsidiary of Harper Collins, the publishing unit of News Corp. In Canada, the Nelson imprint is used for educational publishing. In the United Kingdom, it was a mainstream publisher until the late 20th century, and later became part of the educational imprint Nelson Thornes. 

Thomas Nelson, Sr. founded the shop that bears his name in Edinburgh in 1798, originally as a second-hand bookshop. The firm became a publisher of new books and, as the 19th century progressed, it produced an increasingly wide range of non-religious materials; by 1881, religion accounted for less than 6% of the firm's output. In 1835 the shop became a company, first as Thomas Nelson & Son when William joined, and in 1839 became Thomas Nelson & Sons when Thomas Jr. entered the business. 

William Nelson died in 1887, and Thomas Jr. died in 1892. They were succeeded by George Brown, Thomas’s nephew, who directed the company until Thomas III and Ian, Thomas Jr.'s sons, joined him and John Buchan as partners. Buchan, employed by the firm until 1929, dedicated his novel The Thirty Nine Steps to Thomas III (Thomas Arthur Nelson) in 1914.

1885 Twilight Tales:

1886 Kaspar Kroak's Kaleidoscope:

Anton Hochstein ( 1829 – 1911 ) natural history illustrator.

1886 Little Red Riding Hood:

1886 Robinson Crusoe 
illustrated by Carl Marr:

Carl von Marr ( 14 February 1858 – 10 July 1936 ) was an American-born German painter. He was born in Milwaukee, Wisconsin, the the son of the engraver John Marr ( 1831–1921 ) and his wife Bertha Bodenstein Marr (1836–1911).

Marr was primarily a successful fine-art painter - his “Germany” in 1906 received a gold medal in Munich, and he was (as of 1911) in the Prussian Royal Academy at Königsberg. He received several gold medals for his most famous work “The Flagellants.”

Marr became a professor at the Academy of Fine Arts in Munich in 1893, and in 1895 a member of the Berlin Academy of Arts.

The Society for Promoting Christian Knowledge (SPCK) is the oldest Anglican mission organisation, and the leading publisher of Christian books in the United Kingdom. It was founded in 1698 by Thomas Bray , (an Anglican priest), and a small group of friends, including Lord Guilford, Sir Humphrey Mackworth, Mr Justice Hooke, and Colonel Maynard Colchester. The emphasis was on setting up schools, and the SPCK was a major factor in setting up church schools across Britain. Today, the SPCK is most widely known for its publishing of Christian books.

The Society was founded to encourage Christian education and the production and distribution of Christian literature. SPCK has always sought to find ways to communicate the basic principles of the Christian faith to a wider audience, both in Britain and overseas. A related Scottish society was founded in 1709. It sent missions to Scotland's Highlands, and a handful to Indians in the American colonies.

SPCK's early publications were distributed through a network of supporters who received books and tracts to sell or give away in their own localities. Large quantities of Christian literature were provided for the Navy, and the Society actively encouraged the formation of parish libraries, to help both clergy and laity.

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Children’s Books 1850–1881 part 17

October 12, 2018, 5:47 am

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The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.


These posts (parts 12 - 23) features books published between 1881 and 1904.

Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.

This is part 17 of an 23 - part series on children's books 1850s - 1881:


1886 The Golden Play Book:

1888 Babes of the Year 
illustrated by Maud Humphrey:

Maud Humphrey (30 March 1868 Rochester, New York – 22 November 1940) was a commercial illustrator, watercolourist, and suffragette from the United States. She was the mother of actor Humphrey Bogart and frequently used her young son as a model.

She won a Louis Prang and Company competition for Christmas card design and then began working for the New York publisher Frederick A. Stokes Company as an illustrator. From the 1890s through the 1920s her work Included child portraits, "illustrating calendars, greeting cards, postcards, fashion magazines, and more than 20 story books." She earned more than $50,000 a year while her husband's surgical practice brought in $20,000 a year.

1889 Flora's Feast 

illustrated by Walter Crane:

Walter Crane (1845–1915) was an English artist and book illustrator. He is considered to be the most prolific and influential children’s book creator of his generation and, along with Randolph Caldecott and Kate Greenaway. His work featured some of the more colourful and detailed beginnings of the child-in-the-garden motifs that would characterise many nursery rhymes and children's stories for decades to come. He was part of the Arts and Crafts movement and produced an array of paintings, illustrations, children's books, ceramic tiles and other decorative arts.

Children’s Books 1850–1881 part 18

October 15, 2018, 6:29 am

≫ Next: Children’s Books 1850–1881 part 19

≪ Previous: Children’s Books 1850–1881 part 17

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The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.


These posts (parts 12 - 23) features books published between 1881 and 1904.

Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.

This is part 18 of an 23 - part series on children's books 1850s - 1881:


1890 April Showers:

1890 Daisy Days:

1890c Budget of Stories:

1891 Cats Cradle:

Children’s Books 1850–1881 part 19

October 17, 2018, 5:40 am

≫ Next: Children’s Books 1850–1881 part 20

≪ Previous: Children’s Books 1850–1881 part 18

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0

0

The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.


These posts (parts 12 - 23) features books published between 1881 and 1904.

Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.

This is part 19 of an 23 - part series on children's books 1850s - 1881:


1891 Favourites Rhymes from Mother Goose
illustrated by Maud Humphrey:

1891 Our Christmas Box:

1893 Flowers I Bring and Songs I Sing
illustrated by Maud Goodman, Bessie Simpson & Helena J. Maguire:

Maude Goodman

Maude Goodman was born in Manchester but moved to London where she became a pupil of Edward Poynter. She married Arthur Scanes in 1882but continued to use her maiden name. She exhibited 54 works during the years 1874-1901 at the Royal Academy. She also showed works at the Chicago World Exposition in 1893. 

Information on Bessie Simpson not found.

Helena J. Maguire British artist born in London 1860, daughter of artist Henry Calton Maguire, lithographer to the Queen (he had a studio at Osborne House for a time). She painted children and animals in watercolour, mostly for children's books, and exhibited at the Institute of Painters in Watercolours, and in the Royal Academy from 1881 to 1892. She died in November 1909.

1893 In the Sweet Summer-time
after Birket Foster:

Children’s Books 1850–1881 part 20

October 19, 2018, 6:12 am

≫ Next: Children’s Books 1850–1881 part 21

≪ Previous: Children’s Books 1850–1881 part 19

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0

0

The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.


These posts (parts 12 - 23) features books published between 1881 and 1904.

Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.

This is part 20 of an 23 - part series on children's books 1850s - 1881:


1893 The Tribulations of Tommy Tiptop:

1894 The Arabian Nights:

1896 Life and Death of Mrs Duck:

Children’s Books 1850–1881 part 21

October 22, 2018, 7:37 am

≫ Next: Children’s Books 1850–1881 part 22

≪ Previous: Children’s Books 1850–1881 part 20

$

0

0

The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.


These posts (parts 12 - 23) features books published between 1881 and 1904.

Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.

This is part 21 of an 23 - part series on children's books 1850s - 1881:


1897 Victoria Toy Book:

1898 Rhymes of Father Gander:

1899 Alice's Adventures in Wonderland
illustrated by Blanche McManus:

Blanche McManus (1869–1935) was an American writer and artist.  Born 1870 on a Plantation in Louisiana, she studied in London and Paris, returning to the United States and establishing a studio in Chicago in 1893. By 1865 she was writing and illustrating a series of children’s books, including “The True Mother Goose” ( 1895 ), “The Voyage of the Mayflower” ( 1897 ), and “How the Dutch came to Manhattan” ( 1897 ).

1895 The True Mother Goose by Blanche McManus

1897 The Voyage of the Mayflower

In around 1900 she travelled with her husband, author Francis Miltoun, throughout Europe and North Africa. Their collaboration led to a series of travel books.

1899 Gallant Little Patriots 
illustrated by Maud Humphrey: