Götz Kluge's photos

Assembled scans from original 19th century sources: • Illustration by H. Holiday to The Hunting of the Snark, 1876 • Inlay: Print based on a drawing (1834-04-16) by Conrad Martens , etching published in: Francis Darwin, Life and Letters of Charles Darwin , p. 160, 1888. Conrad Martens' drawing has been engraved by T. Landseer and published in the year 1838 by H. Colburn in The Narrative of the Surveying Voyages of HMS Adventure and Beagle .

Photo recently found in the garage: My engineering graduation project in 1979. That was a MCS48 computer with an 8035 microcontroller. I used a commercial Z80 computer (Nascom) to control this computer board. Together they were a small and very simple development system for MCS48 microcontrollers.

Alfred Parsons' depiction of Charles Darwin's Study in Downe, drawn from a photo and engraved by J. Tynan, signed in August 1882, published in an article by Alfred R. Wallace in the Century Magazine ( The Century Illustrated Monthly Magazine ), Volume 25, Nov. 1882 to April 1883. (Alfred Parsons' depiction of Charles Darwin's new study is used here with permission by Dr. John van Wyhe, darwin-online.org.uk/ ). The little zoo, which Parsons (and Tynan) hid in his illustration, is highlighted by coloring the animals. Even when depicting real objects, artist can "play" with that reality. But perhaps I also just fell victim to zoomorphism.

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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.

The Bellman (segment of an illustration by Henry Holliday to Lewis Carroll's The Hunting of the Snark ) and a mirrored view of an unfinished portrait of Sir Henry Lee by Marcus Gheeraerts the Younger Yes, the noses and the eyes are different. This is not a face comparison. In this case, Holiday's pictorial allusions refer to the surroundings of Lee's face, not to the face itself. As in several other cases, Holiday maintained the topological relation between the quoted shapes. Here the shapes are the nodes in two quite similar graphs. Holiday even "copied" the cracks in the varnish of Gheerert's painting.

Teaching physics with Wilhelm Busch's Max & Moritz (1865)

This is about an illustration in a well known book: Lewis Carroll's and Henry Holiday's The Hunting of the Snark . [top]: Redrawn segment of the print orartie van de Professor L. Wolsogen over syndroom en de nytlegging van de felue gadaen ... by an anonymous artist (1674). The print now is located at British Museum, BM Satires 1047, reg.no. 1868,0808.3286 . [bottom]: Segment of an illustration by Henry Holiday to the chapter The Hunting in Lewis Carroll's The Hunting of the Snark (1876)

William Blake: The Omnipotent or The Ancient of Days , 1794, detail mirror view Inset: The Snark hunting Bellman

In 1989 my wife and I moved from Taipei to Seoul. In order to convince customs to handle the parcels carefully when opening them for inspection, I glued that little sketch on each parcel. It worked out nicely.

This is about a possible allusion by Alfred Parsons to Henry Holiday. [left]: The Study at Down (from the The Century illustrated monthly magazine , v.25 1882-1883, p. 420 , Indiana University Library) Illustration from a painting (1882, from a photo) by Alfred Parsons Engraver: J. Tynan (Scan from original 19th century source: Francis Darwin: The Life and Letters of Charles Darwin , Vol. 1, 1888, p. 101) [right]: illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark , 1876 The comparison of these two images started in June 2010. Alfred Parsons may have alluded to Henry Holiday's illustration. I am not so sure about that, but if Parson played Holiday's game with Holiday's illustration, then Parsons must have manipulated the reality of Darwin's study a bit.

[left]: Redrawn segment from one of Henry Holiday's pencil drafts for the depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark . [right]: John Everett Millais : Redrawn Segment from Christ in the House of His Parents (1850) depicting Mary (and a part of Christ's face in the upper right corner). This example shows how Holiday worked on the construction of his conundrums in his illustrations to Lewis Carroll's The Hunting of the Snark . Even though Holiday copied a face from a face, he reinterprated shapes of face elements from the source face in order to represent different face elements with a resembling shape in the target face. The baker's ear is based on a shape in the depiction of Marie's face which is no ear. The same partially applies to the Baker's nose and the baker's eye. Such kind of pictorial obfuscation should not be a surprise as The Hunting of the Snark is a poem in which readers had been searching textual allusions since 1876. (Too obvuous allusions are too boring. The focus on textual analysis of the Snark seems to lead us to underestimate Holiday's paralleling Carroll's wordplay with is own means as an graphical artist. By the way: In 1882, Alfred Parsons turned the Baker's ear into a part of a chair in Charles Darwin's study at Downe . Holiday quoted and was quoted. Artists like Parsons, Holiday and Millais (see below) do such things and have fun when playing their game. Today Mahendra Singh is maintaining the tradition , in the Snark and beyond the beast. Extended version, Dec. 2014:

See also: www.academia.edu/9856486/Henry_Holiday_-_and_Millais_Christ_in_the_House_of_His_Parents_ . The discovery here is the allusion by Henry Holiday to the painting by J.E. Millais. Finding Millais' allusions to an anonymous painter and to Galle's print is a "bycatch" of my Snark hunt. The relation between the anonymous painting and Galle's print already has been explained by Margaret Aston in 1994. That relation brobably has been discovered even earlier by Millais. . [left]: Henry Holiday: Depiction (1876) of the Baker 's visit to his uncle in Lewis Carroll's " The Hunting of the Snark " (engraved by Joseph Swain). Outside of the window are some of the Baker's 42 boxes. [right top]: John Everett Millais : Christ in the House of His Parents aka The Carpenter's Shop (1850). Location: Tate Britain (N03584) , London. Literature: * Deborah Mary Kerr (1986): John Everett Millais's Christ in the house of his parents ( circle.ubc.ca/handle/2429/26546 ) p.34 in (01) Éva Péteri (2003): Victorian Approaches to Religion as Reflected in the Art of the Pre-Raphaelites, Budapest 2003, ISBN 978-9630580380 (shortlink: www.snrk.de/EvaPeteri.htm ) * Albert Boime (2008): Art in an Age of Civil Struggle, 1848-1871 p. 225-364: The Pre-Raphaelites and the 1848 Revolution ( en.wikipedia.org/wiki/Special:BookSources/0226063283 ) [right middle]: Anonymous : Edward VI and the Pope , An Allegory of Reformation, mirrored view (16th century, NPG 4165 ). Iconoclasm depicted in the window. Under the "window" 3rd from left is Thomas Cranmer who wrote the 42 Articles in 1552. Edward VI and the Pope (NPG 4165) was, until 1874, the property of Thomas Green, Esq., of Ipswich and Upper Wimpole Street , a collection 'Formed by himself and his Family during the last Century and early Part of the present Century' (Roy C. Strong: Tudor and Jacobean Portraits , 1969, p.345). Thus, when Millais' Christ in the House of His Parents ('The Carpenter's Shop') was painted in 1849-1850, the 16th century painting was part of a private collection. It was sold by Christie's 20 March 1874 (lot 9) to a buyer unknown to me, that is, when Holiday started with his illustrations to The Hunting of the Snark . Location: National Portrait Gallery, London [right bottom]: Philip Galle after Maarten van Heemskerck , Redrawn print Ahasuerus consulting the records (1564). The resemblance to the image above (right middle) was shown by Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus . Location: Rijksmuseum, Amsterdam

[left]: Segment from Henry Holiday's depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark . Outside of the window are some of the Baker's 42 boxes. [center]: Segment from John Everett Millais : Christ in the House of His Parents (1850). [right]: segment from Edward VI and the Pope , An Allegory of Reformation , mirrored view (Anonymous, 16th century); depiction of iconoclasm. In The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (1994, p. 72), the late Margaret Aston compared the iconoclastic scene to prints depicting the destruction of the Tower of Babel (Philip Galle after Maarten van Heemskerck, 1567). From Margaret Aston's book I learned that the section showing the iconoclasm scene is an inset, not a window. Actually, I think, it is an inset which was meant to be perceived as a window as well. · Holiday quoted pictorial elements from both paintings [center, right]. I assume that he must have noticed, that Millais quoted from the 16th century painting.

See also: www.academia.edu/9856486/Henry_Holiday_-_and_Millais_Christ_in_the_House_of_His_Parents_ . The discovery here is the allusion by Henry Holiday to the painting by J.E. Millais. Finding Millais' allusions to an anonymous painter and to Galle's print is a "bycatch" of my Snark hunt. The relation between the anonymous painting and Galle's print already has been explained by Margaret Aston in 1994. That relation brobably has been discovered even earlier by Millais. . [left]: Henry Holiday: Depiction (1876) of the Baker's visit to his uncle in Lewis Carroll's " The Hunting of the Snark " (engraved by Joseph Swain). Outside of the window are some of the Baker's 42 boxes. [right top]: John Everett Millais : Christ in the House of His Parents aka The Carpenter's Shop (1850). Location: Tate Britain (N03584) , London. Literature: * Deborah Mary Kerr (1986): John Everett Millais's Christ in the house of his parents ( circle.ubc.ca/handle/2429/26546 ) * p.34 in (01) Éva Péteri (2003): Victorian Approaches to Religion as Reflected in the Art of the Pre-Raphaelites, Budapest 2003, ISBN 978-9630580380 (shortlink: www.snrk.de/EvaPeteri.htm ) * Albert Boime (2008): Art in an Age of Civil Struggle, 1848-1871 p. 225-364: The Pre-Raphaelites and the 1848 Revolution ( en.wikipedia.org/wiki/Special:BookSources/0226063283 ) [right middle]: Anonymous : Edward VI and the Pope , An Allegory of Reformation, mirrored view (16th century, NPG 4165 ). Iconoclasm depicted in the window. Under the "window" 3rd from left is Thomas Cranmer who wrote the 42 Articles in 1552. Edward VI and the Pope (NPG 4165) was, until 1874, the property of Thomas Green, Esq., of Ipswich and Upper Wimpole Street , a collection 'Formed by himself and his Family during the last Century and early Part of the present Century' (Roy C. Strong: Tudor and Jacobean Portraits , 1969, p.345). Thus, when Millais' Christ in the House of His Parents ('The Carpenter's Shop') was painted in 1849-1850, the 16th century painting was part of a private collection. It was sold by Christie's 20 March 1874 (lot 9) to a buyer unknown to me, that is, when Holiday started with his illustrations to The Hunting of the Snark . Location: National Portrait Gallery, London [right bottom]: Philip Galle after Maarten van Heemskerck , Redrawn print Ahasuerus consulting the records (1564). The resemblance to the image above (right middle) was shown by Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus . Location: Rijksmuseum, Amsterdam

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.

Anne Hale, Mrs Hoskins (1629) by Marcus Gheeraerts the Younger and a segment (mirror view) of an illustration by Henry Holiday (cut by Joseph Swain) to Lewis Carroll's The Hunting of the Snark (1876)