Book-plates of To-day

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A design by Harold Nelson.

That title probably requires a (sic) for those unaware that “today” was commonly hyphenated until about 1920. Wilbur Macey Stone’s Book-plates of To-day (1902) is a small overview of the art of the bookplate at the Internet Archive. Among the artists flourishing the Art Nouveau foliage are a couple of familiar illustrators such as Robert Anning Bell (below), and there’s also a plate by the Belgian Symbolist Fernand Khnopff, the first such work I’ve seen by that artist.

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Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
Louis Rhead bookplates
Pratt Libraries Ex Libris Collection
Robert Anning Bell’s Tempest
The Evil Orchid Bookplate Contest
David Becket’s bookplates

Assorted peacocks

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I have a peacock-heavy piece of art out next month so with that grasping for spurious relevance here’s a few more peacock discoveries.

Antoine Helbert‘s untitled peacock man is one of a number of striking portraits turning humans into birds. Via Chateau Thombeau.

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Peacock styles, Anchor Buggy Co. (1897) at the Library of Congress.

Continue reading “Assorted peacocks”

Louis Rhead bookplates

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Yet another Internet Archive discovery, examples from a small book collection from 1907 of ex libris plates by Art Nouveau illustrator Louis Rhead (1857–1926). Rhead’s brightly-coloured poster art is often represented in Art Nouveau design books, less visible is his black-and-white work, some of which, like the example below, owes a clear debt to Aubrey Beardsley.

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Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
Pratt Libraries Ex Libris Collection
The Evil Orchid Bookplate Contest
David Becket’s bookplates
Louis Rhead’s peacocks
More Arabian Nights
Buccaneers #1

Mayuri lute

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Mayuri means “peacock” and although this splendid instrument doesn’t look like a European lute, a lute it is, albeit styled for Indian court performances. Via Wunderkammer.

Popular at nineteenth-century Indian courts, this bowed lute borrows features of other Indian stringed instruments, such as the body shape of the sarangi and the frets and neck of the sitar. There are four melody strings and fifteen sympathetic strings, which sound when the instrument is played to accompany popular religious song. The peacock is the vehicle of Sarasvati, the goddess of music, and it appears in Indian poetry as a metaphor for courtship. (More.)

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As a complement, here’s something I’m still hoping to find in a good colour reproduction, all one usually sees are details. The Peacock Garden (1889) was one of a number of wallpaper designs created for William Morris by Walter Crane. This copy showing the full pattern is from an 1897 issue of the German arts periodical Pan, part of a section highlighting arts and crafts in England. Walter liked his peacocks, here’s Juno and her birds from The Baby’s Own Aesop (1887).

Previously on { feuilleton }
Jaipur peacocks
Maruyama Okyo’s peacocks
Louis Rhead’s peacocks
The White Peacock
Peacocks
Whistler’s Peacock Room
Beardsley’s Salomé

Maruyama Okyo’s peacocks

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Peacock and Peahen (18th c.).

I’ve had an untitled Japanese painting of a peacock as a desktop image for a while now, its origin forgotten, and I’ve wondered a few times who the artist was. A recent posting about Maruyama Okyo (1733–1795) at Bajo el Signo de Libra made me think that Okyo might be the artist responsible. As it turns out, he wasn’t, my bird is by one of his pupils, Nagasawa Rosetsu (1754–1799), and looks like a copy of the picture below. Mystery solved anyway, and the search gives me a good excuse to link to some of Okyo paintings. These differed from the prevailing style of the period, Okyo having studied Western artists and their methods in order to produce work which was more realistic than that of his contemporaries.

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Peony and Peacocks (1781).

A realist and an eccentric | Okyo and Rosetsu profiled.

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Peacock (no date).

Previously on { feuilleton }
Louis Rhead’s peacocks
The White Peacock
Peacocks
Whistler’s Peacock Room
Beardsley’s Salomé