{books} – Page 7 – { feuilleton }

In Carcosa

Along the shore the cloud waves break,
The twin suns sink beneath the lake,
The shadows lengthen
In Carcosa.

Strange is the night where black stars rise,
And strange moons circle through the skies
But stranger still is
Lost Carcosa.

The King in Yellow, Act i, Scene 2

It’s been a while since I posted anything here which has been created solely for myself rather than a commission. This new piece is a portrait of the King in Yellow, the sinister regent whose supernatural presence pervades the four weird tales that open Robert W. Chambers story collection of the same name. The drawing is a big one, big enough to fill an A2 sheet which I was intending to make available in print form at Etsy. Not having looked at my Etsy shops for a while I didn’t know that they’d changed the shipping section to such an extent that I’d be having to guess what the shipping rates were for different regions. The printer I use has rough guidelines for setting shipping costs on external sales sites but not in the detail that Etsy requires. Prints of this picture may still be ordered direct from me, however. A2 or A3 giclée on Hahnemühle Pearl paper; send me an email if you’re interested.

To return to the artwork… Prior to this my sole drawing of Chambers’ King was for one of the illustrations in Lovecraft’s Monsters, but that depiction is only a reflection in a pub mirror. The new piece was the result of a number of impulses which coalesced after I’d finished work on the forthcoming Bumper Book of Magic. I’d been doing a lot of drawing for the book—there’s a 20-page section, for example, which is all full-page, colour illustrations—and I wanted to keep my hand in while working on the current round of design-related projects. I’d also been wanting to try a proper depiction of the King in Yellow for some time, the previous attempt being unsatisfying even when detached from its pub scene. I’d reworked the earlier drawing a while ago after a Chinese publisher asked for a couple of illustrations for a Chinese edition of Chambers’ book. They paid me for the drawing, and for an old painting which I’d titled The King in Yellow but I still don’t know if the pictures were used anywhere.

A promotional poster by Robert W. Chambers, circa 1895.

A more general impulse has been the urge to get back to doing things for myself when I have the time. Time is always the problem when you’re engaged in commercial work. This new piece has been worked on over a series of months, chipping away at weekends and the ends of the working day. I had the idea at first of following Chambers’ own drawing of the King fairly closely, wings and all, but I’ve never been sure whether the wings are meant to be real appendages or symbolic shapes like the halo that Chambers also draws. The same goes for the guttering torch which the figure holds upside down, and which was used as a decoration on the spine of the third printing of the book.

Among the other details, the Art Nouveau border is intended to connect the drawing to the 1890s, the decade in which the stories were written, but for the architecture I wanted something more severe and less earthbound. Most of the architectural design is my own but the arches are a variation on the vestibule that Peter Behrens designed for the German pavilion at the 1902 Prima Esposizione Internazionale d’Arte Decorativa Moderna in Turin. Behrens started out working in the Jugendstil mode but soon evolved a style of his own which prefigures the stylings of Art Deco. The inscription on the steps is Cassilda’s Song, a page of verse which opens the first story in Chambers’ book, The Repairer of Reputations. The words have been set in the Lingua ignota alphabet devised by Hildegard von Bingen. In the past I might have used the alphabet from The Voynich Manuscript but I like the appearance of Hildegard’s lettering even though I doubt she’d approve of this usage.

• The King in Yellow at Standard Ebooks

Previously on { feuilleton }
• Eldritch idols
• In the Key of Yellow
• Lovecraft’s Monsters
• The Court of the Dragon
• The King in Yellow

Robert Lawson’s House of Usher

Spook Month starts tomorrow so it no longer feels too early to post this marvellous (undated) etching of the opening scene from The Fall of the House of Usher by Edgar Allan Poe. Robert Lawson (1892–1957) was an American author and illustrator whose early etchings were featured here some years ago after I turned up another wonderfully atmospheric piece depicting galleons rotting in the weed-tangled waste of the Sargasso Sea. I’m pleased that this gallery page which shows many more Lawson prints is still active over a decade later; they don’t have the Poe etching, however. A few copies may be found on the big auction sites but the best ones are blighted with a watermark.

Preparatory pencil drawing.

The title of Poe’s story refers to two separate falls, the dissolution of the Usher family line, and the physical collapse of the house in which Roderick and Madeline Usher pass their days, a calamity augured by the crack in the masonry which the narrator sees when he arrives at the shore of the black tarn. Lawson pays close attention to all the relevant details which Poe’s narrator is unable to regard as offering a sublime spectacle, something that film-makers and other illustrators (when they depict the house at all) don’t always honour:

I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveler upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it—I paused to think—what was it that so unnerved me in the contemplation of the House of Usher?

Unless there’s more like this from Lawson the only other print of his that approaches horror is the Sargasso one; everything else is historical scenes or the light fantasy he continued to draw in his subsequent career as an illustrator of children’s books.

Elsewhere on { feuilleton }
• The etching and engraving archive

Previously on { feuilleton }
• Edmund Dulac’s illustrated Poe
• The Fall of the House of Usher, 1928
• The Purloined Eidolon
• Martin van Maële’s illustrated Poe
• Mask of the Red Death, 1969
• Narraciones extraordinarias by Edgar Allan Poe
• Fritz Eichenberg’s illustrated Poe
• The Pendulum, the Pit and Hope
• Hugo Steiner-Prag’s illustrated Poe
• Burt Shonberg’s Poe paintings
• Illustrating Poe #5: Among the others
• Illustrating Poe #4: Wilfried Sätty
• Illustrating Poe #3: Harry Clarke
• Illustrating Poe #2: William Heath Robinson
• Illustrating Poe #1: Aubrey Beardsley
• Poe at 200
• The Tell-Tale Heart from UPA
• William Heath Robinson’s illustrated Poe

Weekend links 745

Eros (1905) by Julius Kronberg.

• At the Internet Archive (for a change): All 15 episodes (with English subs) of Návštevníci (The Visitors, 1983/84), a Czech comedy TV serial about time travellers visiting the present day. Directed by Jindrich Polák, better known for the serious science fiction of Ikarie XB-1 and another time-travelling comedy, Tomorrow I’ll Wake Up and Scald Myself with Tea. The main interest for this viewer is the involvement of Jan Svankmajer who creates collage animation for the first episode while animating food and other objects in later episodes. This was the period when Svankmajer was mainly working as an effects man at the Barrandov Studios after the Communist authorities had put a stop to his film-making. Even with Svankmajer’s involvement I’m not sure I can endure 450 minutes of Czech wackiness but it’s good to keep finding these things.

• “…for the melomaniac who wasn’t in and around Bristol in the 1980s or 90s, the term [trip hop] simply opens the door to a whole universe of music that blurs the lines between so many styles in a way that is still compelling three decades on.” Vanessa Okoth-Obbo on the 30th anniversary of Protection by Massive Attack.

• Coming soon from Strange Attractor: Moon’s Milk: Images By Jhonn Balance, compiled by Peter Christopherson & Andrew Lahman.

For some in Ireland, [The Outcasts] is a dim but impressive memory, glimpsed on late-night television during its only broadcast in 1984. The Outcasts over the decades became a piece of Irish cinema legend, less seen and more peppered into conversations revolving around obscure celluloid. The Irish Film Institute describes this film as “folk horror”, a phrase I find too liberally applied these days to just about anything featuring sticks, rocks, and goats or set in the countryside. The Outcasts does not necessarily strive for the ultimate unified effect of horror. Instead, this film is of a rarer breed, more akin to Penda’s Fen (1974) in its otherworldly ruminations. I’ve come to prefer the phrase “folk revelation” as perhaps a more accommodating description for these sorts of stories. Whatever the case, I hope you get to see this remarkable film.

Brian Showers discussing the contents of The Green Book 24, newly published by Swan River Press. The Outcasts has just been released on blu-ray by the BFI

• Still casting a spell: Broadcast’s 20 best songs – ranked!

• New music: Earthly Pleasures by Jill Fraser.

• At Dennis Cooper’s: John Carpenter‘s Day.

• RIP Maggie Smith.

• The Visitors (1981) by ABBA | Two Different Visitors (2003) by World Standard & Wechsel Garland | We Have Visitors (2010) by Pye Corner Audio

Weekend links 744

Postage stamp design by Dario Canovas celebrating Argentina as guest of honour at the 2010 Frankfurt Book Fair.

• Sideways Through Time, Joe Banks’ book of Hawkwind interviews, was initially available as an exclusive supplement with the special edition of Days of the Underground, Joe’s essential history of Hawkwind’s first decade. From the end of October both books will be available as separate editions from Strange Attractor, with the interview collection being republished in a revised and expanded edition.

• “Two heads are better than one”: Another extract from Two-Headed Doctor: Listening For Ghosts In Dr John’s Gris-Gris by David Toop.

• “Rammellzee was an electric presence”: Thurston Moore on NYC’s graffiti-writing hip-hop pioneer.

• New music: Long Tail Of The Quiet Gong by Robert Rich, and Neostalgia by Heiko Maile, Julian Demarre.

• At Colossal: Postage stamp designs by Tùng Nâm showing portraits of endangered animals.

• At Public Domain Review: Edwin D. Babbitt’s Principles of Light and Color (1878).

• At Print magazine: An interview with design anthropologist Keith Murphy.

• At Unquiet Things: Tristan Elwell’s visual spellcraft.

• Mix of the week: Bleep mix 287 by Sarah Davachi.

• Mariam Rezaei’s favourite music.

• Over Under Sideways Down (1966) by The Yardbirds | Stepping Sideways (2003) by John Foxx & Harold Budd | Trip Sideways (2010) by The Time And Space Machine

MacKellar, Smiths & Jordan’s mortised card cuts

This one is partly intended as an aide-memoire for my future self should I need to recall where these particular illustrations are located. The Internet Archive has a good collection of specimen books created by type foundries, most of them American volumes although there are a few from Britain, France and Germany. The bulk of these books comprise typeface samples which I usually ignore, my interest being in the sections near the end which contain all manner of decorative detail: borders, ornaments and the small illustrations (“cuts”) that today would be classed as clip art. A few of these books have proved very useful when I’ve been working on a design that requires imitation of the decoration found in 19th-century print design (my cover for The Atropine Tree is a recent example) but I don’t always remember which book contains the elements I might want, hence this post.

Another of those cannibalistic advertising animals.

If you’re looking for antique print decoration then the catalogues published by the Johnson Type Foundry of Philadelphia (later MacKellar, Smiths & Jordan) are the ones to go for. I’ve copied or adapated ornaments and decorative details from this book on many occasions over the past ten years. The Internet Archive had a more substantial MSJ catalogue in their collection but it was a bad scan, one that was poor enough to receive some rare complaining comments from other Archive users. Happily another copy of the same book, The Eleventh Book of Specimens of Printing Types (1878), arrived there recently. The Johnson/MSJ catalogues are a much better source of decorative material than those created by their competitors, with a wider variety of combination ornaments (tiny details which could be pieced together to create unique borders or other peripheral decorations) and, in the eleventh volume, a larger stock of illustrations for advertising purposes. Before discovering these scanned catalogues I’d been relying on books from Dover and Pepin Press as source material for antique design. Pepin published a book/CD-ROM collection in 1999, Graphic Frames, which reproduces a number of the advertising cuts from the eleventh MSJ catalogue, including a couple of the ones shown here. The scans are seldom ideal in their raw state, I usually end up tracing the required design as a new version which I then convert to a vector shape. But they’re valuable in being the actual print decoration from the period, not modern reconstructions (or interpretations) of “Victorian” design.

The “Mortised Card Cuts” and “Mortised Comic Cuts” in the MSJ catalogue were comic illustrations intended for advertising purposes, although any “comic” quality is more likely to appear grotesque to our eyes. Shouting figures with very large, yawning mouths are popular in these kinds of drawings, as are dogs with singularly ugly faces. You can even see a forerunner of the “Kilroy” graffiti in the figure with a nose poking over the advert. I used a few of these faces for my Alice in Wonderland picture series in 2009: the top half of the smoking figure appears in “Advice from a Caterpillar” while other faces may be seen in the background of “Who Stole the Tarts?”.

Sondheim enthusiasts may recognise this particular figure as the origin of the razor-wielding character on the poster for the original Broadway run of Sweeney Todd – The Demon Barber of Fleet Street. Designer Frank Verlizzo (aka “Fraver”) shows how easily an old illustration can be made to slip from the comic to the sinister.

And from the comic to the plain bizarre… The past is often revealed to be a weirder place than you’d imagine once you start rummaging in its ephemera. The illustrations in most print catalogues are seldom this peculiar but until you go looking you don’t know what else might be out there.

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