Katherine Keenum

Just as appealing as Miereke Nelissen's animals are her illustrations for The Wonderful Wizard of Oz—or more precisely for De tovenaar van Oz. Lisabeth Zwerger's version may have influenced Nelissen. Certainly Zwerger made clear that a modern sensibility can work wonders divorced from more traditional variations on W. W. Denslow's first-edition illustrations (see, for example, those of Scott Gustafson and Michael Hague and 25 more).

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Badgers are my totem, with Mr. Badger in The Wind in the Willows a sentimental favorite, so it was a great delight to discover one among the work of a children's illustrator new to me, Marieke Nelissen. Several of her pictures appear in Terri Windling's post, How to Begin!— for writers, a two-fer!

Blog post alert: My interest in gardening history keeps me on the lookout for humble gardens, flower boxes, and pots grown in windows. In this image, other writers might take note of the laundry, the broken window panes, the proximity of the ramshackle building to the wall. And this is just a detail! For the full image and many more, see John Thomas Smith's Antient Topography at the ever rich Spitalfields Life.

I keep an eye out for images of medieval scribes and artists. This one from Pierre Sala's emblematic Livre d'amour jumped out at me because the artist is painting a jester—yea! Oh, and wait a minute, look!—the jester is painting a portrait of the artist.
 
The British Library labels the artist and jester, wise man and fool; and the Livre d'amour certainly contains emblems. Could this one suggest that any persona we project is also a parody of ourselves? I can imagine having a writer or actor in a story pin it up as a reminder of that lesson.

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My bedtime reading this week is Peter Dickinson's lively YA historical novel, The Dancing Bear. I first read it as a library book and then was lucky enough to come across a secondhand copy with its dust jacket by David Smee intact. I read it every few years, and this time around it seems as good as ever.
 
For the first time, though, I got to wondering about David Smee. I can't find much about him on the internet, although a Summary Bibliography of his works has images of many dust jackets and interior illustrations, including the jackets he created for Ursula Le Guin's Earthsea books. I can see how those covers would seem definitive to the readers who were introduced to Earthsea by them.

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Blog post alert: Once again, wallpaper caught my eye, this time in a trade card for James Wheeley's London Paper Hanging Warehouse. The designs of the unrolled merchandise and the paper on the wall; the dress of the customers, the salesman, and his assistants; the chair and the cutting table—any of these might provide a detail for a story. And there many, many more such cards to be studied in Spitalfield Life's Trade Cards of Old London.
 
It's remarkable where any of them might lead. You can even obtain the will of James Wheeley if you want. And on the wallpaper trade itself, check out Shopping for Wallpaper at the Victoria and Albert Museum.

Selling odd rolls of wallpaper on the street? Well, why not? Surplus manufactured goods always wind up somewhere. Still, this abject vendor from Costume of the Lower Orders of the Metropolis by Thomas Lord Busby brought me up short. How did she obtain her wares and who were the buyers? I still don't know, but a quick search led me to Eking out a living on the streets of Paris at a wonderful website to explore, Parisian Fields, and to A brief history of wallpaper at the Victoria and Albert Museum. Question: would you make the vendor your central character, or would one of your characters seek out cheap paper by going to a street market?

Website alert: I happen to be rereading Howl's Moving Castle by Diana Wynne Jones at bedtime. Its heroine, Sophie Hatter, works in her stepmother's millinery shop. Okay, so today something prompted me to check to see whether Jim Kay is working on illustrations for another Harry Potter book. He is, The Order of the Phoenix, as I discovered at the website he shares with his wife Louise Clark. Who, yes! is a hatter. Go take a look her Millinery page if you love hats; they're all as delicious as this one (which is perfect for a Sophie Hatter creation). And if you are curious about Diana Wynne Jones, a Tor essay on where to start reading her books is a good overview.

Serendipity delivers again. No sooner had I read Maria Dahvana Headley's exhilarating new translation of Beowulf, with its dragon fight, when up pops this splendid illustration of a different one by Sija Hong in Monstrous Tales: Stories of Strange Creatures and Fearsome Beasts from Around the World (2020). According to her website, the artist is "is a Chinese award-winning illustrator based in New York City." She is wholly new to me, and very appealing. Check out her website for more of her work. (Yeah, and, bro/sis, check out Beowulf, too.)

Via Lines and Colors.

Blog post alert: For an insider's look at commercial art, ghostwriting, and publishers, the always interesting Kathleen Jennings has a long interview—"Ghoulish but sentimental"—with fellow artist and writer, Socar Myles. Myles's startling artwork is gorgeous. I've never read any of her fiction, whether ghostwritten or published in her own name; but I was fascinated by everything she had to say.