Date: 1889
Springer Litho. Co.
Showing posts with label Unidentified artist. Show all posts
Showing posts with label Unidentified artist. Show all posts
7/8/24
6/7/24
Unidentified artist, Illustration for "A Story of the Dead-Watch House"
From Frank Leslie's Popular Monthly, 1876
6/5/24
Unidentified artist, Al Aaraaf. Illustration from Poems by Edgar Allan Poe
Illustration from "Poems by Edgar Allan Poe; complete with an original memoir by R.H.Stoddard and illustrations", George Routledge and Sons, London, 1875. The illustration was probably first published in "The Poetical Works of Edgar Allan Poe and Richard H. Dana" in 1857. The publisher was (also) G. Routledge & Co.
5/11/19
Unidentified artist, St. Pancras at night
Technique: Oil on canvas, 76.2 x 63.5 cm
3/17/19
Unidentified artist, Poster for a theatrical adaptation of 'Strange Case of Dr Jekyll and Mr Hyde'
Technique: Unknown
5/10/17
Unidentified artist, Unidentified Street Scene
Date: 19th century
Technique: Oil on canvas, 50.6 x 75.7 cm
4/24/17
Unidentified artist, Schlossansicht im Winter
Technique: Oil on canvas, 38 x 43.5 cm
11/11/16
7/7/15
Unidentified artist, The Wicker man illustration
Illustration from The Complete English Traveller, or a new survey and description of England and Wales, etc, by Nathaniel Spencer. 1854
6/26/13
Unidentified artist, Spring-heeled Jack
Technique: Unknown
Spring-heeled Jack is an entity in English folklore of the Victorian era who was known for his startling hops. The first claimed sighting of Spring-heeled Jack was in 1837. Later sightings were reported all over Great Britain and were especially prevalent in suburban London, the Midlands and Scotland.
There are many theories about the nature and identity of Spring-heeled Jack. This urban legend was very popular in its time, due to the tales of his bizarre appearance and ability to make extraordinary leaps, to the point that he became the topic of several works of fiction.
Spring-heeled Jack was described by people who claimed to have seen him as having a terrifying and frightful appearance, with diabolical physiognomy, clawed hands, and eyes that "resembled red balls of fire". One report claimed that, beneath a black cloak, he wore a helmet and a tight-fitting white garment like an oilskin. Many stories also mention a "Devil-like" aspect. Others said he was tall and thin, with the appearance of a gentleman. Several reports mention that he could breathe out blue and white flames and that he wore sharp metallic claws at his fingertips. At least two people claimed that he was able to speak comprehensible English.
2/14/13
Unidentified artist, Head of Medusa
Date: 16th century
Technique: Oil on panel, 49 x 74 cm
From an early point, museums endeavoured to add the name of Leonardo to their collections. As early as 1782 this panel in the museum's depository was linked to a head of Medusa by Leonardo da Vinci which Vasari mentions. It is likely, though, that a well-read Netherlandish artist had read the biographer's description of the monster that is said to have frightened Leonardo's father, and amalgamated it and an independent head of Medusa to produce this painting.
1/17/13
Unidentified artist, Vase Bat
Date: c. 1905
Riessner & Kessel Porzellanfabrik Turn-Teplitz
12/10/12
Unidentified artist, The Doppelgänger
Date: 1871
Technique: Wood engraving
Illustration from Harper's magazine.
Source
5/24/12
Unidentified artist, Great Moon Hoax - "Ruby Amphitheater"
Date: 1835
Technique: Lithograph
New York Sun, 4th article of 6
"The Great Moon Hoax" refers to a series of six articles that were published in the New York Sun beginning on August 25, 1835, about the supposed discovery of life and even civilization on the Moon. The discoveries were falsely attributed to Sir John Herschel, perhaps the best-known astronomer of his time.
The articles described fantastic animals on the Moon, including bison, goats, unicorns, bipedal tail-less beavers and bat-like winged humanoids ("Vespertilio-homo") who built temples. There were trees and oceans and beaches. These discoveries were supposedly made with "an immense telescope of an entirely new principle".
The author of the narrative was supposedly Dr. Andrew Grant, who described himself as the travelling companion and amanuensis of Sir John Herschel, but Dr Grant was fictitious.
Eventually, the authors announced that the observations had been terminated by the destruction of the telescope, by means of the sun causing the lens to act as a 'burning glass', setting fire to the observatory.
Source
3/26/12
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