{"id":8499,"date":"2010-12-23T01:14:10","date_gmt":"2010-12-23T01:14:10","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=8499"},"modified":"2010-12-23T01:14:10","modified_gmt":"2010-12-23T01:14:10","slug":"cardwell-higgins-versus-harry-clarke","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2010\/12\/23\/cardwell-higgins-versus-harry-clarke\/","title":{"rendered":"Cardwell Higgins versus Harry Clarke"},"content":{"rendered":"

\"higgins1.jpg\"<\/p>\n

A Delightful Page in the Record of My Existence.<\/em><\/p>\n

This picture popped up at Chateau Thombeau<\/a> a few days ago and it’s also been circulating in Tumblr’s recursive labyrinth. The very obvious debt to Harry Clarke’s black-and-white style caught my attention, especially to the artist’s Poe illustrations with the reclining woman being a blatant swipe from one of the Pit and the Pendulum<\/em> drawings.<\/p>\n

\"clarke.jpg\"<\/p>\n

The Pit and the Pendulum (1919) by Harry Clarke.<\/em><\/p>\n

Searching around revealed that the artist responsible, Cardwell Higgins, produced a small series of similar pieces in the late 1920s. He then settled into a career as an illustrator for American magazines and advertising, working in a far more commercial style which isn’t really the kind of thing I get very excited over. Six drawings from the black-and-white series were published as a lthograph set in 1979. Some of the originals came up for sale recently which accounts for the surfacing of these copies.<\/p>\n

<\/p>\n

\"higgins2.jpg\"<\/p>\n

Persian Orientalist Showgirl.<\/em><\/p>\n

The Grapefruit Moon Gallery has this piece listed as being a 1927 design for Paramount Pictures<\/a>. They also have a page about the artist’s later career here<\/a> and other work, including details of the Siamese Dancers<\/em> (below) here<\/a>.<\/p>\n

\"higgins3.jpg\"<\/p>\n

Persian Orientalist Showgirl (detail).<\/em><\/p>\n

\"higgins4.jpg\"<\/p>\n

Siamese Dancers.<\/em><\/p>\n

\"higgins5.jpg\"<\/p>\n

The Elements Involved.<\/em><\/p>\n

\"higgins7.jpg\"<\/p>\n

The Circle of Life.<\/em><\/p>\n

The Circle of Life \/ The Perfect Man and Perfect Woman, seeking one another in unison \/ For the creation of the Perfect Child; \/ With the Protecting Hand of the Father and the Supporting Hand of the Mother, \/ The embodiment of Father, Mother and Child is the total life. \/ The Sun, the supplier of the life-giving elements necessary for survival. \/ The Hourglass of Time. \/ The Evil influence that comes into their lives; \/ The slowly burning candle of Life, And the inevitable\u2014Death! \/ By Cardwell S. Higgins<\/p><\/blockquote>\n

\"higgins6.jpg\"<\/p>\n

An ad for the lithograph set.<\/em><\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The illustrators archive<\/a><\/p>\n

Previously on { feuilleton }
\n\u2022 Modern book illustrators, 1914<\/a>
\n\u2022 Illustrating Poe #3: Harry Clarke<\/a>
\n\u2022 Strangest Genius: The Stained Glass of Harry Clarke<\/a>
\n\u2022 Harry Clarke\u2019s stained glass<\/a>
\n\u2022 Harry Clarke\u2019s The Year\u2019s at the Spring<\/a>
\n\u2022 The art of Harry Clarke, 1889\u20131931<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

A Delightful Page in the Record of My Existence. This picture popped up at Chateau Thombeau a few days ago and it’s also been circulating in Tumblr’s recursive labyrinth. The very obvious debt to Harry Clarke’s black-and-white style caught my attention, especially to the artist’s Poe illustrations with the reclining woman being a blatant swipe … Continue reading “Cardwell Higgins versus Harry Clarke”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,30,48],"tags":[2116,99,2373,5038],"class_list":["post-8499","post","type-post","status-publish","format-standard","hentry","category-art","category-black-white","category-illustrators","tag-cardwell-higgins","tag-harry-clarke","tag-stained-glass","tag-thombeau"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2d5","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/8499","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=8499"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/8499\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=8499"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=8499"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=8499"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}