Edwin Austin Abbey
Edwin Austin Abbey was an American muralist and painter. He flourished at the beginning of what is now referred to as the "golden age" of illustration, is best known for his drawings and paintings of Shakespearean and Victorian subjects, as well as for his painting of Edward VII's coronation, his most famous set of murals, The Quest and Achievement of the Holy Grail, adorns the Boston Public Library. Abbey was born in Philadelphia in 1852, he studied art at the Pennsylvania Academy of the Fine Arts under Christian Schuessele. Abbey began as an illustrator, producing numerous illustrations and sketches for such magazines as Harper's Weekly and Scribner's Magazine, his illustrations began appearing in Harper's Weekly at an early age: before Abbey was twenty years old. He moved to New York City in 1871, his illustrations were influenced by French and German black and white art. He illustrated several best-selling books, including Christmas Stories by Charles Dickens, Selections from the Poetry of Robert Herrick, She Stoops to Conquer by Oliver Goldsmith.
Abbey illustrated a four-volume set of The Comedies of Shakespeare for Harper & Brothers in 1896. He moved to England in 1878, at the request of his employers, to gather material for illustrations of the poems of Robert Herrick, published in 1882, he settled permanently there in 1883. In 1883, he was elected to the Royal Institute of Painters in Water-Colours. About this time, he was appraised critically by the American writer, S. G. W. Benjamin: It must be taken into consideration that he is still young, and compare with these disadvantages the amount and the quality of the illustrations he has turned out, we see represented in him genius of a high order, combining inexhaustible creativeness and vividness of conception, a versatile fancy, a poetic perception of beauty, a quaint, delicate humor, a wonderful grasp of whatever is weird and mysterious, admirable chiaro-oscuro and composition. When we note such a rare combination of qualities, we cease to be surprised at the cordial recognition awarded his genius by the best judges, both in London and Paris before he had left this country.
He created illustrations for Goldsmith's She Stoops to Conquer, for a volume of Old Songs, for the comedies of Shakespeare. Among his water-colours are "The Evil Eye", "The Rose in October", "An Old Song", "The Visitors", "The Jongleur", his best known pastels are "Beatrice," "Phyllis," and "Two Noble Kinsmen." In 1890 he made his first appearance with an oil painting, "A May Day Morn," at the Royal Academy in London. He exhibited "Richard duke of Gloucester and the Lady Anne" there in 1896, in that year was elected A. R. A. Becoming a full member in 1898. In 1902 he was chosen to paint the coronation of King Edward VII, it was the official painting of the occasion and, resides at Buckingham Palace. He did receive a knighthood, although some say he refused it in 1907. Friendly with other expatriate American artists, he summered at Broadway, England, where he painted and vacationed alongside John Singer Sargent at the home of Francis Davis Millet, he completed murals for the Boston Public Library in the 1890s.
The frieze for the Library was titled "The Quest and Achievement of the Holy Grail". It took Abbey eleven years to complete this series of murals in his England studio. In 1904 he painted a mural for the Royal Exchange, London Reconciliation of the Skinners & Merchant Taylors' Companies by Lord Mayor Billesden, 1484. In 1908–09, Abbey began an ambitious program of murals and other artworks for the newly completed Pennsylvania State Capitol in Harrisburg, Pennsylvania; these included allegorical medallion murals representing Science, Art and Religion for the dome of the Rotunda, four large lunette murals beneath the dome, multiple works for the House and Senate Chambers. For the Senate chamber he finished only one painting, Von Steuben Training the American Soldiers at Valley Forge, he was working on the Reading of the Declaration of Independence mural in early 1911, when his health began to fail, he was diagnosed with cancer. Studio assistant William Simmonds continued work on the mural with little supervision from Abbey, with small contributions by John Singer Sergeant.
Abbey died in August 1911. William Simmonds travelled from England to install the completed murals with Abbey's widow Gertrude; the remaining two rooms, which Abbey had been unable to finish, were given to Violet Oakley, who completed the commission using her own designs. Abbey was elected to the National Academy of Design, in 1902, The American Academy of Arts and Letters, he was honorary member of the Royal Bavarian Society and the Société Nationale des Beaux-Arts, was made a chevalier of the French Legion of Honour. He was a prolific illustrator, attention to detail, including historical accuracy, influenced successive generations of illustrators. In 1890, Edwin married the daughter of a wealthy New York merchant. Mrs Abbey encouraged her husband to secure more ambitious commissions, although with their marriage commencing when both were in their forties, the couple remained childless. After her husband's death, Gertrude was active in preserving her husband's legacy, writing about his work and giving her substantial collection and archive to Yale.
Edwin had been a keen supporter of the newly founded British School at Rome, so, in his memory, she donated £6000 to
Humboldt is a city in Kittson County, United States. The population was 45 at the 2010 census. A post office called Humboldt has been in operation since 1896; the city is named after Alexander von Humboldt, exploring in the Americas and operating as a diplomat over the period 1797-1858. According to the United States Census Bureau, the city has a total area of 0.11 square miles, all of it land. U. S. Route 75 serves as a main route in the community; as of the census of 2010, there were 45 people, 20 households, 16 families residing in the city. The population density was 409.1 inhabitants per square mile. There were 26 housing units at an average density of 236.4 per square mile. The racial makeup of the city was 91.1% White and 8.9% from other races. Hispanic or Latino of any race were 13.3% of the population. There were 20 households of which 15.0% had children under the age of 18 living with them, 80.0% were married couples living together, 20.0% were non-families. 20.0% of all households were made up of individuals and 5% had someone living alone, 65 years of age or older.
The average household size was 2.25 and the average family size was 2.56. The median age in the city was 48.5 years. 11.1% of residents were under the age of 18. The gender makeup of the city was 55.6% male and 44.4% female. As of the census of 2000, there were 61 people, 25 households, 17 families residing in the city; the population density was 579.7 people per square mile. There were 38 housing units at an average density of 361.1 per square mile. The racial makeup of the city was 100.00% White. There were 25 households out of which 44.0% had children under the age of 18 living with them, 64.0% were married couples living together, 4.0% had a female householder with no husband present, 32.0% were non-families. 28.0% of all households were made up of individuals and 8.0% had someone living alone, 65 years of age or older. The average household size was 2.44 and the average family size was 3.06. In the city, the population was spread out with 24.6% under the age of 18, 6.6% from 18 to 24, 34.4% from 25 to 44, 26.2% from 45 to 64, 8.2% who were 65 years of age or older.
The median age was 35 years. For every 100 females, there were 144.0 males. For every 100 females age 18 and over, there were 130.0 males. The median income for a household in the city was $53,125, the median income for a family was $58,125. Males had a median income of $34,583 versus $25,417 for females; the per capita income for the city was $18,511. None of the population or the families were below the poverty line. Saxophonist Maury Finney is a native of Humboldt. "Humboldt, Minnesota, 1999". Rootsweb. Retrieved 5 June 2012. - includes links to dozens of Humboldt-related essays Diamond, The First State Bank of Humboldt. Rootsweb.ancestry.com Muir, Jeff. "Humboldt Minnesota". A Personal Space in a Big Universe. Retrieved 5 June 2012. Humboldt, MN scanner frequencies Kittson County Historical Society
Michigan is a state in the Great Lakes and Midwestern regions of the United States. The state's name, originates from the Ojibwe word mishigamaa, meaning "large water" or "large lake". With a population of about 10 million, Michigan is the tenth most populous of the 50 United States, with the 11th most extensive total area, is the largest state by total area east of the Mississippi River, its capital is Lansing, its largest city is Detroit. Metro Detroit is among the nation's largest metropolitan economies. Michigan is the only state to consist of two peninsulas; the Lower Peninsula is noted as shaped like a mitten. The Upper Peninsula is separated from the Lower Peninsula by the Straits of Mackinac, a five-mile channel that joins Lake Huron to Lake Michigan; the Mackinac Bridge connects the peninsulas. The state has the longest freshwater coastline of any political subdivision in the world, being bounded by four of the five Great Lakes, plus Lake Saint Clair; as a result, it is one of the leading U.
S. states for recreational boating. Michigan has 64,980 inland lakes and ponds. A person in the state is never more than six miles from a natural water source or more than 85 miles from a Great Lakes shoreline; the area was first occupied by a succession of Native American tribes over thousands of years. Inhabited by Natives, Métis, French explorers in the 17th century, it was claimed as part of New France colony. After France's defeat in the French and Indian War in 1762, the region came under British rule. Britain ceded this territory to the newly independent United States after Britain's defeat in the American Revolutionary War; the area was part of the larger Northwest Territory until 1800, when western Michigan became part of the Indiana Territory. Michigan Territory was formed in 1805, but some of the northern border with Canada was not agreed upon until after the War of 1812. Michigan was admitted into the Union in 1837 as a free one, it soon became an important center of industry and trade in the Great Lakes region and a popular immigrant destination in the late 19th and early 20th centuries.
Although Michigan developed a diverse economy, it is known as the center of the U. S. automotive industry, which developed as a major economic force in the early 20th century. It is home to the country's three major automobile companies. While sparsely populated, the Upper Peninsula is important for tourism thanks to its abundance of natural resources, while the Lower Peninsula is a center of manufacturing, agriculture and high-tech industry; when the first European explorers arrived, the most populous tribes were Algonquian peoples, which include the Anishinaabe groups of Ojibwe, Odaawaa/Odawa, the Boodewaadamii/Bodéwadmi. The three nations co-existed peacefully as part of a loose confederation called the Council of Three Fires; the Ojibwe, whose numbers are estimated to have been between 25,000 and 35,000, were the largest. The Ojibwe were established in Michigan's Upper Peninsula and northern and central Michigan, inhabited Ontario and southern Manitoba, Canada; the Ottawa lived south of the Straits of Mackinac in northern and southern Michigan, but in southern Ontario, northern Ohio and eastern Wisconsin.
The Potawatomi were in southern and western Michigan, in addition to northern and central Indiana, northern Illinois, southern Wisconsin, southern Ontario. Other Algonquian tribes in Michigan, in the south and east, were the Mascouten, the Menominee, the Miami, the Sac, the Fox; the Wyandot were an Iroquoian-speaking people in this area. French voyageurs and coureurs des bois settled in Michigan in the 17th century; the first Europeans to reach what became Michigan were those of Étienne Brûlé's expedition in 1622. The first permanent European settlement was founded in 1668 on the site where Père Jacques Marquette established Sault Ste. Marie, Michigan as a base for Catholic missions. Missionaries in 1671–75 founded outlying stations at Saint Ignace and Marquette. Jesuit missionaries were well received by the area's Indian populations, with few difficulties or hostilities. In 1679, Robert Cavelier, Sieur de la Salle built Fort Miami at present-day St. Joseph. In 1691, the French established a trading post and Fort St. Joseph along the St. Joseph River at the present-day city of Niles.
In 1701, French explorer and army officer Antoine de la Mothe Cadillac founded Fort Pontchartrain du Détroit or "Fort Pontchartrain on-the-Strait" on the strait, known as the Detroit River, between lakes Saint Clair and Erie. Cadillac had convinced King Louis XIV's chief minister, Louis Phélypeaux, Comte de Pontchartrain, that a permanent community there would strengthen French control over the upper Great Lakes and discourage British aspirations; the hundred soldiers and workers who accompanied Cadillac built a fort enclosing one arpent and named it Fort Pontchartrain. Cadillac's wife, Marie Thérèse Guyon, soon moved to Detroit, becoming one of the first European women to settle in what was considered the wilderness of Michigan; the town became a major fur-trading and shipping post. The Église de Saint-Anne was founded the same year. While the original building does not survive, the congregation remains active. Cadillac departed to serve as the French governor of Louisiana from 1710 to 1716.
French attempts to consol
Tom Lovell was an American illustrator and painter. He was a creator of pulp fiction magazine covers and illustrations, of visual art of the American West, he produced illustrations for National Geographic magazine and many others, painted many historical Western subjects such as interactions between Indians and white settlers and traders. He was inducted into the Society of Illustrators' Hall of Fame in 1974. Lovell was born in New York City on 5 February 1909 to Henry S. Lovell Jr, a telephone engineer, Edith Scott Lovell, he was the second of three children. He was a keen reader as a child, although he received no early training in art he visited the Museum of Natural History in New York, beginning a fascination with Native American objects and weapons. In 1927 he was the valedictorian of his high school, at graduation he spoke on "the ill treatment of the American Indian by the U. S. Government." He attended Syracuse University from 1927 to 1931. Lovell moved to Norwalk, Connecticut, they had two children and Deborah.
In 1940 Lovell and his family moved to an artists colony at Westport, where he became close friends with Harold Von Schmidt, John Clymer and Robert Loughweed. In 1972 he moved to Santa Fe New Mexico. In 1977 he built an adobe house and studio. Lovell died in a car crash in New Mexico on 29 June 1997, aged 88, his 48-year-old daughter Deborah was killed in the accident. Lovell enrolled at Syracuse University in 1927, graduating in 1931, his college roommate Harry Anderson, classmate Elton Fax and teacher Hibbard V. B. Kline influenced his decision to become an illustrator. In his junior year at Syracuse, Lovell sold drawings to popular "pulp" Western and detective magazines. In the early 1930s Lovell shared a studio space in New York with Al Carter, he moved to the artist colony of New Rochelle just outside New York City. New Rochelle was home to a number of other illustrators, including Norman Rockwell and Mead Schaeffer. After 1936, Lovell progressed into providing illustrations for advertising agencies and slick magazines such as Redbook, Collier's, The American, Woman's Home Companion, Cosmopolitan.
From 1940 onwards Lovell produced covers for several magazines including Ace-High Western, Complete, Detective Tales, Dime Detective, Rangeland Romances, Star Western, Top-Notch. He drew pen and ink interior illustrations for The Shadow, Courtroom Stories, Popular Western, Triple Western, Clues. Lovell served for two years in the Marine Corps Reserve during World War II, he was sent as a Staff Sergeant to Washington DC with John Clymer and Fred Lasswell to illustrate the Marine Corps magazine, Leatherneck. On returning to Westport Lovell produced a set of historical drawings for National Geographic Magazine, including depictions of the Norman invasion of England, the career of Alexander the Great, the conquests of the Vikings, he took great care in reproducing what he considered to be historical accuracy in the illustrations, including making models of weapons and ships, visiting historical sites and carrying out other research. In 1969, under commission from the Abell-Hanger Foundation, Lovell produced a series of paintings commemorating the history of the Southwest that are now on permanent display at the Permian Basin Petroleum Museum, Texas.
These works, a historical series about Native Americans, represent a turning point in the subject matter of Lovell's work. From this point on he concentrated on depictions of Native American life, exploration of the West, Western art, he created several paintings for The Church of Jesus Christ of Latter-day Saints. In 1973 he was invited to become a charter member of the National Academy of Western Artists, is the only artist to twice receive their Prix de West Award. In 1974 he was elected to the Society of Illustrators' Hall of Fame, in 1975 became a member of the Cowboy Artists of America. In 1992 he received the Robert Loughweed Award from NAWA as well as their Lifetime Achievement Award. In 1994 he displayed several pieces at the National Academy of Western Artists Show in Oklahoma City; the Tom Lovell Collection of personal letters and scrapbooks containing tear sheets of his completed paintings is held at the Norman Rockwell Museum Archives' Reference Center Collection. In 2006, the NRM put several of Lovell's paintings on display as part of the exhibition "National Geographic: The Art of Exploration".
Lovell said: "I consider myself a storyteller with a brush. I try to place myself back in imagined situations that would make interesting and appealing pictures. I am intent on producing paintings that relate to the human experience." On illustrating for pulp magazines in the 1930s and 1940s: "Painting for the pulps was great training. You learned to tell a story in close compass. You couldn’t spread out over two pages, you couldn't take three months to research it. You had to get the job out in ten days; this took discipline." On historical research methods: "When you're painting history, it always comes down to fundamentals. Reading is a help, but writers don't need the depth of information. With a few well chosen words, a writer can set the scene, whereas an artist must know the costumes, the weapons, what the interiors looked like, the horse tack – all the thousand things to make it come alive. I wasn't there, but I was able to do a painting of what Alexander did by working like hell at it." Notes References Guide to Tom Lovell Papers Tom Lovell Biography
Maxwell Coburn Whitmore was an American painter and magazine illustrator known for his Saturday Evening Post covers, a commercial artist whose work included advertisements for Gallo Wine and other national brands. He additionally became known as a race-car designer. Whitmore was inducted into the Society of Illustrators Hall of Fame in 1978. Coby Whitmore was born in Dayton, the son of Maxwell Coburn Whitmore Sr. and Charlotte Bosler. He attended the Dayton Art Institute. After moving to Chicago, Illinois, he apprenticed with Haddon Sundblom, illustrator of the "Sundblom Circle", in addition to working for the Chicago Herald Examiner and taking night classes at the Chicago Art Institute. Whitmore moved to New York in 1942 and shortly afterward joined the Charles E. Cooper Studio, on West 57th Street in New York City. There he did other commercial art. Whitmore and Jon Whitcomb were two of the top illustrators at Cooper, which in the 1940s and 1950s "monopolized the ladies' magazines like McCall's, Ladies Home Journal, Good Housekeeping with postwar images of the ideal white American family centered around pretty, middle-class, female consumers living in new kitchens, new houses, driving new cars, living with handsome husbands, adorable children, cute dogs".
Aside from women's magazines, Whitmore illustrated for Esquire, The Saturday Evening Post and Sports Illustrated. Additionally, Whitmore, by living in Briarcliff Manor, New York, teamed with former World War II fighter pilot John Fitch, an imported car dealer in White Plains, New York, to design and race sports cars in the 1950s and 1960s, he and his wife, moved Hilton Head, South Carolina, in 1968. He died there in 1988, at age 75. Whitmore's work influenced such comic-book artists as John Romita, Sr. and Phil Noto. Glen Murakami, producer of the 2000s Teen Titans animated series on Cartoon Network, cited Whitmore and fellow illustrator Bob Peak as "big influences on the loose, painterly style we have been using for the backgrounds", his work was presented alongside that of several contemporaries of illustrator Al Parker in the "Re-Imagining the American Woman" section of the retrospective "Ephemeral Beauty: Al Parker and the American Women's Magazine, 1940-1960", mounted by the Norman Rockwell Museum from June 9 to October 28, 2007.
Whitmore art is included in the permanent collections of The Pentagon, the United States Air Force Academy, the New Britain Museum of American Art, Syracuse University. Whitmore was inducted into the Society of Illustrators Hall of Fame in 1978, he received awards from the Art Directors Clubs of New York and Chicago. "Coby Whitmore Original Illustrations". LaRoche Collections. Archived from the original on July 25, 2010
Secret Agent X-9
Secret Agent X-9 was a comic strip created by writer Dashiell Hammett and artist Alex Raymond. Syndicated by King Features, it ran from January 22, 1934 until February 10, 1996. X-9 was a nameless agent. X-9 used the name "Dexter" in the first story and kept using it or being called by it in stories, but acquired the name "Phil Corrigan" in the 1940s; the nameless agency was specifically identified as the FBI, but this would be downplayed in the'70's as the Bureau weathered badpublicity once more nameless. After four stories by Hammett, Alex Raymond illustrated two stories written by Don Moore and one written by Leslie Charteris, who wrote three more stories illustrated by Charles Flanders. After Charteris left the strip in 1936, scripts were credited to a King Features house name, "Robert Storm". Nicholas Afonsky drew the strip for most of 1938, followed by Austin Briggs until 1940. Mel Graff took over the art in 1940 and began writing the strip as well in 1942, devising the name Phil Corrigan.
The name Phil Corrigan was inspired by Phil Cardigan, a character in one of Graff's earlier comic strips, The Adventures of Patsy. Graff gave X-9 more of a personal life, introducing Belinda "Linda" Reed as Corrigan's gal Friday and early romantic interest in 1940. Wilda Dorre, a beautiful, blonde mystery novelist, debuted in late 1944 as a romantic rival. Corrigan chooses Wilda in 1947. Graff provides Linda a happy ending as well, as she marries Phil's younger brother, introduced in 1945 and is Phil's partner through 1947. Both female characters inspired popular songs: "Linda" written by Jack Lawrence and "Wilda" written by Graff. Wilda and Phil marry in 1950, the two have a daughter, Philda, in 1952. Graff created a series of grotesque villains with colorful names, including Blue-Jaw, Liver-Lips, Grape-Eyes. There was Corrigan's criminal lookalike, Phil Haze. Additionally, Corrigan encountered the beautiful criminal businesswoman Bargain Benny and the endearing rogue Prince Iguana. Corrigan had two professional colleagues in addition to his brother: Joe Florida and Joe Otterfoot.
Otterfoot is the rare depiction of a Native American in comic strips of this period in that he is portrayed as intelligent, competent and attractive enough for a female painter to seek him out as a male model. He is unique for having an interracial romance with that painter. Graff was followed by artist Bob Lubbers, who used the pseudonym "Bob Lewis" and drew the strip from 1960 through 1966. From 1967 to 1980, the strip was drawn by Al Williamson. After a few years, Goodwin eliminated Wilda with an off-panel divorce in order to free up Corrigan for romance with the various attractive women he encountered; the attractive and intelligent Karla Kopak appeared in a number of stories between 1974 and 1980. Making her the niece of Kalla Kopak, a character from the comic strip Brick Bradford, Goodwin tied the narratives of the two strips together, he introduced a number of villains, including criminal matriarch Millicent Murkley, hitman Joe Ice, Corrigan's nemesis, Doctor Seven. The strip's final artist was veteran George Evans, who wrote and drew it from 1980 to his retirement in 1996.
Evans introduced two romantic interests for Corrigan: Anina Kreemar, the wealthy niece of Corrigan's bureau chief, Corrigan's friendly rival Jennever Brand, a spirited female agent of a rival clandestine spy agency. In 2000–2001, X-9 made a guest appearance in the Flash Gordon Sunday strip. One page was drawn by Evans; the only original comic-book story with X-9 produced in the U. S. was a serialized backup feature in the Flash Gordon book, in a quintet of five-page installments in issues #4–8. The first part was drawn by Williamson; the other parts are uncredited. Secret Agent X-9 has had a long history in European comic books. Agent X9, in Scandinavia and the Nordic countries, started in 1969 under the title X9 in Sweden, its two backup titles were "Jungle Jim" and "The Phantom". In 1971 the magazine was renamed Agent X9 and retooled into an anthology title, publishing many different comics in frequent rotation. After this, the feature "Secret Agent X-9" no longer appeared in every issue; the Agent X9 comic book has been published in the following countries: Sweden: 1969–present Finland: 1973-1994, 2010 Norway: 1974-2015, 2017–present Denmark: 1976-2002 West Germany: 1976-1977 Netherlands: 1984-1985During the 1980s, the Agent X9 editors requested more Secret Agent X-9 material from King Features since the newspaper stories were published.
King Features began to supply the magazine with exclusive stories that have never been published elsewhere. Although these stories were made directly for comic magazines, they were produced in the regular daily strip format; the following produced stories for the Agent X9 magazine: Joe Gill and Jack Sparling: two stories M. Gill and Miguel A. Repetto: 30 stories Dean Davis and John Dixon: 16 stories Mike W. Barr and Mike Manley: two stories Unlike the previous stories, the Barr & Manley stories did not use a daily strip format. An Australian comic book, Phil Corrigan: Secret Agent X9, was published by Atlas Publications between 1948 and 1956, it featured reprints of the newspaper strips. Secret Agent X-9 was the subject of two film serials
Walter Joseph Biggs was an American illustrator and fine art painter. Biggs was born in Elliston, Virginia, in 1886, he studied in New York City at the New York School of Art. He was a student of Robert Henri, some of his fellow students included Edward Hopper and Rockwell Kent, he taught at the Art Students League and the New York School of Art. He lived in the suburban community of New Rochelle, a well known artist colony and home to many of the top commercial illustrators of the day such as Frank and J. C. Leyendecker and Norman Rockwell. In residence were Al Parker, Mead Schaeffer and Dean Cornwell, along with Tom Lovell, N. C. Wyeth and Harold von Schmidt would become leaders in the field. Biggs became known in the 1920s and 1930s for his illustrations for popular magazines such as the Ladies' Home Journal. In 1944, Biggs was elected into the National Academy of Design as an Associate member, became a full member in 1947. In 1963 he was inducted into the Society of Illustrators Hall of Fame.
Walter Biggs died February 11, 1968. An historical marker was erected at the intersection of Roanoke Boulevard and College Street, in Salem, across from Biggs’ family home. Book: Great American Illustrators by Walt Reed, ISBN 0-517-31783-4 Walter Biggs artwork at American Art Archives web site Works by Walter Biggs at Project Gutenberg