Illustrator of the Week: Frank Earle Schoonover

The Last of the Mohicans!

Born in Oxford, New Jersey, Schoonover studied under Howard Pyle at the Drexel Institute in Philadelphia and became part of what would be known as the Brandywine School. A prolific contributor to books and magazines during the early twentieth century, the so-called “Golden Age of Illustration”, he illustrated stories as diverse as Clarence Mulford’s Hopalong Cassidy stories and Edgar Rice Burroughs‘s A Princess of Mars. In 1918 and 1919, he produced a series of paintings along with Gayle Porter Hoskins illustrating the American forces in the First World War for a series of souvenir prints published in the Ladies Home Journal. Schoonover helped to organize what is now the Delaware Art Museum and was chairman of the fundraising committee charged with acquiring works by Howard Pyle. In his later years he restored paintings including some by Pyle and turned to easel paintings of the Brandywine and Delaware landscapes. He also gave art lessons, established a small art school in his studio, designed stain glass windows, and dabbled in science fiction art (illustrating Edgar Rice Burroughs’ A Princess of Mars), he was known locally as the “Dean of Delaware Artists.” Schoonover died at 94, leaving behind more than two thousand illustrations.

Schoonover’s name received national attention in 2011 when his painting of World War I hero Alvin C. York was returned to York’s home state of Tennessee. Businessman and philanthropist Allan Jones of Cleveland, Tennessee purchased the painting on Veteran’s Day from the Blakeslee Gallery in Wellington, Florida.

Jones said, “When I learned that Mr. Blakeslee would consider selling the painting to the right buyer, I felt it was essential to bring this piece back to its rightful home in Tennessee and have the painting here on Veterans Day 11-11-11.”

Prior to being acquired by Jones, the painting was on loan to the 82nd Airborne Division War Memorial Museum.


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Illustrator of the Week: Trina Schart Hyman


Hyman won the annual Caldecott Medal from the American Library Association, recognizing the year’s best-illustrated U.S. children’s picture book, for Saint George and the Dragon, published by Little, Brown in 1984. Margaret Hodges wrote the text, retelling Edmund Spenser‘s version of the Saint George legend.[1] She also won the Boston Globe–Horn Book Award for picture books, recognizing King Stork (Little, Brown, 1973), text by Howard Pyle (1853–1911).

She was a Caldecott runner-up three times, for her own retelling of Little Red Riding Hood in 1984, Hershel and the Hanukkah Goblins by Eric Kimmel in 1990, and A Child’s Calendar by John Updike in 2000.[1] And she was a Boston Globe–Horn Book picture book runner-up twice, for All in Free but Janey by Elizabeth Johnson in 1968 and On to Widecombe Fair by Patricia Gauch in 1978.

She is also considered one of the first white American illustrators (after Ezra Jack Keats) to incorporate black characters into her illustrations regularly, as a matter of principle, in large part triggered by her daughter’s marriage to a man from Cameroon. Her grandchildren appear in several of her books.


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Illustrator of the Week: Jan Brett


Jan Brett (born December 1, 1949) is an American illustrator and writer of children’s picture books. She is known for colorful, detailed depictions of a wide variety of animals and human cultures ranging from Scandinavia to Africa. Her best-known titles include The MittenThe Hat, and Gingerbread Baby. She has adapted or retold numerous traditional stories such as the Gingerbread Man and Goldilocks and has illustrated some classics such as “The Owl and the Pussycat“.

Brett maintains a list of books online that may be complete for her original writings and adaptations. For almost every listing she identifies a specific setting such as Salzburg, Austria, for her first book as a writer, Fritz and the Beautiful Horses (1978), and Novgorod, Russia, for her recent adaptation Cinders: A Chicken Cinderella (2013).[4]


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Illustrator of the Week:

The Shadow Knows!

Edward Daniel Cartier[1] (August 1, 1914 – December 25, 2008), known professionally as Edd Cartier, was an American pulp magazine illustrator who specialized in science fiction and fantasy art.

Born in North Bergen, New Jersey, Cartier studied at Pratt Institute. Following his 1936 graduation from Pratt, his artwork was published in Street and Smith publications, including The Shadow, to which he contributed many interior illustrations, and the John W. Campbell, Jr.-edited magazines Astounding Science FictionDoc Savage Magazine and Unknown.[1] His work later appeared in other magazines, including Planet StoriesFantastic Adventures and other pulps.

Cartier was given the 1992 World Fantasy Lifetime Achievement Award. In 1996 and 2001, he was nominated for Retro Hugo Awards for artwork published in 1945 and 1951.

Edd Cartier: The Known and the Unknown is a 2000-copy limited edition hardcover published by Gerry de la Ree in 1977. Cartier’s illustrations of L. Ron Hubbard’s fiction were reprinted in Master Storyteller: An Illustrated Tour of the Fiction of L. Ron Hubbard by William J. Widder (Galaxy Press, 2003.).



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Illustrator of the Week: Howard Pyle

The Father of the Pirates

I got to visit his Brandeywine School a few summers ago. His work was amazing. Unfortunately, the Wyeth’s have taken it over….

In 1894 he began teaching illustration at the Drexel Institute of Art, Science, and Industry (now Drexel University). After 1900, he founded his own school of art and illustration, named the Howard Pyle School of Illustration Art. The scholar Henry C. Pitz later used the term Brandywine School for the illustration artists and Wyeth family artists of the Brandywine region, several of whom had studied with Pyle.

Some of his more notable students were N. C. WyethFrank SchoonoverElenore AbbottEthel Franklin BettsAnna Whelan BettsHarvey Dunn, Clyde O. DeLand, Philip R. GoodwinViolet OakleyEllen Bernard Thompson PyleOlive RushAllen Tupper TrueElizabeth Shippen Green, and Jessie Willcox Smith.
His 1883 classic publication The Merry Adventures of Robin Hood remains in print, and his other books, frequently with medieval European settings, include a four-volume set on King Arthur. He is also well known for his illustrations of pirates and is credited with creating what has become the modern stereotype of pirate dress.[2] He published his first novel, Otto of the Silver Hand, in 1888. He also illustrated historical and adventure stories for periodicals such as Harper’s Weekly and St. Nicholas Magazine. His novel Men of Iron was adapted as the movie The Black Shield of Falworth (1954). In 1905 he was elected into the National Academy of Design

Pictures From Howard Pyle



Illustrator of the Week: N.C. Wyeth


Newell Convers Wyeth (October 22, 1882 – October 19, 1945), known as N.C. Wyeth, was an American artist and illustrator. He was the pupil of artist Howard Pyle and became one of America’s greatest illustrators.[1] During his lifetime, Wyeth created over 3,000 paintings and illustrated 112 books,[2] 25 of them for Scribner’s, the Scribner Classics, which is the work for which he is best known.[1] The first of these, Treasure Island, was one of his masterpieces and the proceeds paid for his studio. Wyeth was a realist painter just as the camera and photography began to compete with his craft.[3] Sometimes seen as melodramatic, his illustrations were designed to be understood quickly.[4] Wyeth, who was both a painter and an illustrator, understood the difference, and said in 1908, “Painting and illustration cannot be mixed—one cannot merge from one into the other


Illustrator of the Week: Arthur Rackham


Arthur Rackham created the world of fairies, elves, gnomes and the other woodland creatures. He influenced Alan Lee and Brian Froud. His critters filled children’s head for nearly a century now!

Arthur Rackham is widely regarded as one of the leading illustrators from the ‘Golden Age’ of British book illustration which encompassed the years from 1900 until the start of the First World War. During that period, there was a strong market for high quality illustrated books that typically were given as Christmas gifts. Many of Rackham’s books were produced in a de luxe limited edition, often vellum bound and sometimes signed, as well as a larger, less ornately bound quarto ‘trade’ edition. This was often followed by a more modestly presented octavo edition in subsequent years for particularly popular books. The onset of the war in 1914 curtailed the market for such quality books, and the public’s taste for fantasy and fairies also declined in the 1920s.
Arthur Rackham’s works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses.


Rackham invented his own unique technique which resembled photographic reproduction; he would first sketch an outline of his drawing, then lightly block in shapes and details. Afterwards he would add lines in pen and India ink, removing the pencil traces after it had dried. With colour pictures, he would then apply multiple washes of colour until translucent tints were created. He would also go on to expand the use of silhouette cuts in illustration work, particularly in the period after the First World War, as exemplified by his Sleeping Beauty and Cinderella.[4]
Typically, Rackham contributed both colour and monotone illustrations towards the works incorporating his images – and in the case of Hawthorne’s Wonder Book, he also provided a number of part-coloured block images similar in style to Meiji era Japanese woodblocks.
Rackham’s work is often described as a fusion of a northern European ‘Nordic’ style strongly influenced by the Japanese woodblock tradition of the 19th century.



Illustrator of the Week: Gustave Dore

Gustave Dore is one of my three favorite artists; all of which died on my birthday. Albrecht Durer, Gustov Dore, and Salvador Dali will die on my birthday. Plus if you have not noticed, all of our last names start with D.   D as in Dowgin…

In fact the three of us have a sense for the macabre. Dore and Durer have the most in common with their engravings over us all though.

At the age of fifteen Doré began his career working as a caricaturist for the French paper Le Journal pour rire,[1] and subsequently went on to win commissions to depict scenes from books by RabelaisBalzacMilton and Dante.

In 1853, Doré was asked to illustrate the works of Lord Byron.[2] This commission was followed by additional work for British publishers, including a new illustrated English Bible. In the 1860s he illustrated a French edition of Cervantes‘s Don Quixote, and his depictions of the knight and his squire, Sancho Panza, have become so famous that they have influenced subsequent readers, artists, and stage and film directors’ ideas of the physical “look” of the two characters. His illustration of Baron Munchhausen was the inspiration for Terry Gilliam’s character of the same name. Doré also illustrated an oversized edition of Edgar Allan Poe‘s “The Raven“, an endeavor that earned him 30,000 francs from publisher Harper & Brothers in 1883.[6]


Doré’s illustrations for the English Bible (1866) were a great success. Doré’s later work included illustrations for new editions of Coleridge‘s Rime of the Ancient MarinerMilton‘s Paradise LostTennyson‘s The Idylls of the KingThe Works of Thomas Hood, and The Divine Comedy. Doré’s work also appeared in the weekly newspaper The Illustrated London News.

Doré  continued illustrating books until his death in Paris following a short illness. The city’s Père Lachaise Cemetery contains his grave.


Gallery of Gustave Doré
The Judgment of Solomon
Illustration: Orlando Furioso
Illustration: Orlando Furioso
Illustration: Orlando Furioso
Illustration: Paradise Lost
Depiction of Satan, the antagonist of John Milton‘s Paradise Lost c. 1866
The Heavenly Hosts, c. 1866, illustration to Paradise Lost
Illustration: Death Depicted as the Grim Reaper on Top of the Moon from “The Raven
Doré illustrated several fairy talesCendrillon (or Cinderella)
Camelot, an illustration for Idylls of the King
Merlin advising King Arthur, an illustration for Idylls of the King
Charon herds the sinners onto his boat, taking them to be judged, from the Divine Comedy
Illustration: Dante is accepted as an equal by the great Greek and Roman poets, from the Divine Comedy
The Tempest of Hell in the Divine Comedy
La Défense Nationale, bronze sculpture, Rosenberg LibraryGalveston, Texas
The first ascent of the Matterhorn
The fatal accident on the first ascent of the Matterhorn in 1865
Over London by Rail, c. 1870. From London: A Pilgrimage
Landscape in Scotland, ca. 1878, Walters Art Museum
The council of the rats
Death on the pale horse, Bible illustration


Doré was a prolific artist; thus the following list of works, though extensive, is by no means comprehensive (e.g. it does not include his sculptures, paintings, nor many of his journal illustrations):

Date Author Work Volumes / Format Illustrations Publisher Ref
1854 Gustave Doré Histoire pittoresque dramatique et caricaturale de la Sainte Russie, d’après les chroniqueurs et historiens Nestor Nikan Sylvestre Karamsin Ségur etc. 1 vol. 500 Paris: de Bry [9]
1854 Rabelais Oeuvres contenant la vie de Gargantua et celle de Pantagruel … 1 vol. 4to. Frontis. & 15 J.Bry Ainé, Paris [10]
1855 Honoré de Balzac Les Contes Drôlatiques 425 Société Générale de la Libraire, and in Le Journal pour Tous [11]
1856 Fierabras d’Alexandrie, Légende Nationale traduite par Mary Lafon 1 vol in 8vo 123 Librairie Nouvelle [12]
1856 Mémoires d’un Jeune Cadet, par Victor Percival 48 [12]
1856 La Légende du Juif Errant 1 vol. grand in folio 12 Image:Wandering jew title page.jpg Michel Lévy [12]
1857[13] Dante Alighieri L’Enfer 70[citation needed] [14]
1857 autumn Ed. de La Bédollière Nouveau Paris, Histoire de ses 20 Arrondissements 1 vol in 4to 150 Barba [15]
1857 autumn Valéry Vernier Aline, Journal d’un Jeune Homme, one large page Dentu [15]
1860–1862 Thomas Mayne Reid L’Habitation du Désert, 1 vol. in 16mo 60 Hachette [15]
1860–1862 Ann S. Stevens La Fille du Grand Chieftain 1 vol. 15 [15]
1860–1862 M. V. Victor Flêche d’Or 1 vol. 13 [15]
1860–1862 E. S. Ellis L’Ange des Frontières 1 vol. 10 [15]
1860–1862 N. W. Buxted Les Vierges de la Forêt 1 vol. 10 [15]
1860 William Shakespeare The Tempest 1 vol. in 4to (London) [15]
1861 Les Figures du Temps, 1 vol. in 12mo (Paris) [15]
1861 Plouvier and Vincent Les Chansons d’Autrefois in 12mo Coulon and Pineau, Paris [15]
1861 Edmond About[16] Le Roi des Montagnes 1 vol. in 8vo 157 Hachette and Co., Paris [15]
1862 Saintine Les Mythologies du Rhin 1 vol. in 8vo 165 Hachette and Co., Paris [15]
1862 L’Abbé Léon Godard L’Espagne, Mœurs et Paysages, 2 vols in 8vo Image:Moeurs et paysages title page.jpg Alfred Mame et Fils, Tours Image:Moeurs et paysages title page.jpg or Paris[15] [15]
1862 Malte-Brun[17] Les États Unis et le Mexique 1 vol. in 4to Brun, Paris [15]
1862 Histoire aussi intéressante qu’invraisemblable de l’intrépide Capitaine Castagnette, neveu de l’Homme à la Tête de Bois 1 vol. in 4to 43 Hachette [15]
1862 Charles Perrault Les Contes de Perrault 11 [18]
1866 Aventures du Baron de Münchausen, traduction nouvelle par Théophile Gautier fils 1 vol. (London) [15]
1863 M. Épiné Légende de Croquemitaine 1 vol. in 4to 177 Hachette [15]
1863 Gastineau La Chasse au Lion et à la Panthère 1 vol. in 8vo Hachette and Co. [15]
1863 Miguel de Cervantes Don Quixote de la Mancha translation by Louis Viardot 2 vols. folio 370 Hachette and Co., Paris, and Cassell and Co., London [15]
1863 Les Contes de Perrault or in Spanish Los Cuentos de Perrault 100+ Hetzels. in Spanish by Ledouse [15]
1865 Gastineau De Paris en Afrique 1 vol. in 12mo (Paris) [15]
1865 A. Masse L’Histoire d’un Minute 1 vol., 12mo (Paris) [15]
1866 Victor Hugo Travailleurs de la Mer Sampson Low and Co., London [15][19]
1865 E. Edgar Cressy and Poictiers 1 vol. in 8vo 50+ (London) [15]
1865 Thomas Moore L’Épicurien (French translation) in 8vo (Paris) [15]
1865 Tom Hood Fairy Realm in folio (London: Ward, Lock, and Tyler) [15]
1865 Quatrelles Le Chevalier Beautemps grand in 8vo (Paris) [20]
1865 Chateaubriand Atala 2 vols, grand folio 80 Hachette Edition [15]
1866 Théophile Gautier Le Capitaine Fracasse 1 vol. grand in 8vo 60 Charpentier [15]
1866 G. La Bédollière Histoire de la Guerre en Mexique in 4to (Paris) [15]
1866 Dante Alighieri The Vision of Hell London, Cassell, Petter, and Galpin [15]
1867 Dante Alighieri Il Purgatorio ed il Paradiso Hachette and Co. [15]
1866[21] X. B. Saintine Le Chemin des Écoliers 1 vol. in 8vo 450 Image:Le chemin des ecoliers title page.jpg(not all by Doré) Hachette and Co. [15]
1866 La Sainte Bible, according to the Vulgate, new translation 2 vols. grand in folio 200+ Mame, Tours; Cassell and Co., England [15]
1866 John Milton Paradise Lost 50 Plates Cassell and Co. [15]
1867 La Bédollière La France et la Russie (Paris) [15]
1867 Les Fables de Lafontaine 2 vols. in folio 8 large and 250 small plates Hachette and Co. [15]
1867 Les Pays-bas et la Belgique in 8vo (Paris) [15]
1870 Thomas Hood (Poems) 2 vols. in folio 9 Plates Ward and Lock, London [15]
1870 Samuel Taylor Coleridge The Rime of the Ancient Mariner[22] grand in 4to 40 large and 3 small drawings [15]
1873 New edition of Rabelais 2 vols. in folio Paris : Garnier; London: Chatto and Windus [15]
1876 Louis Énault London 1 vol. in 4to 174 wood engravings Hachette and Co. [15]
1874 Baron Ch. Davilliers L’Espagne in 4to 309 wood-engravings Hachette and Co.; London: Sampson Low and Co. [15]
1875 Michaud Histoire des Croisades 2 vol. medium folio 100 grand compositions Paris: Hachette and Co. [15]
Alfred Tennyson Idylls of the King [15]
1877 Ariosto Orlando Furioso 36 drawings Hachette and Co. (London: Ward and Lock) [15]
1884 Edgar Allan Poe The Raven
Check back later for other cool stuff and some more of my favorite illustrators.

Illustrator of the Week: Frank C. Pape

Today I would like to share another of my favorite illustrators, Frank C. Pape. The first book I came across from him was Penguin Island, written by Anatole France,  about a partially blind monk who lands on an island of penguins and baptizes them. To solve the theological dilemma that arises from this mistake, God decides to turn the inhabitants into humans with only minor characteristics of penguins. The history of the island is thus given which parodies the history of France. In one part porpoises are alluded to the Vikings that had invaded France in the real world. Well anyway, check out some of his illustrations….

Penguin Island


 Frank C. Pape Gallery:
Check back later for other cool stuff and some more of my favorite illustrators.

Illustrator of the Week: Paul Serusier

Now that is Bright…

Here is another post from the leading advocate of Salem House Press, me! Today boys and girls we will learn about a new artist I just found, Paul Serusier.

Serusier was a Post-Impressionist painter, a part of the group of painters called Les Nabis. Sérusier along with Paul Gauguinnamed the group. Pierre BonnardÉdouard Vuillard and Maurice Denis became the best known of the group, but at the time they were somewhat peripheral to the core group.

He later taught at the Académie Ransonand published his book ABC de la peinturein 1921. He died at Morlaix. He lived from 9 November 1864 – 7 October 1927.

I appreciate the intense fairy tale like Parrish colors. All of his paintings have this moon and stars quality I love. He veers away from the abstract toward illustrative figures. He seems to meld the wonder of van Gogh with Maurice Sednak. Take a look…

I think I might just do some new color studies now. Keep an eye out for them…

So that is all for the moment from the quirky illustrator from that even quirkier town of Salem.