Drawn to the Sea: Charles Bradford Hudson (1865-1939), Artist, Author, Army Officer, with Special Notice of His Work for the United States Fish Commission and Bureau of Fisheries

Item Type article

Authors Springer, Victor G.; Murphy, Kristin A.

Download date 09/10/2021 17:20:47

Link to Item http://hdl.handle.net/1834/26288 During 1911, CBH painted one illus- to CBH’s home. Chase was one of the auspices of the Geographical tration of a fish (Plate 15 B), a rainbow America’s foremost impressionist art- Society [sic] will get a desirable trout from a hatchery on the McCloud ists. CBH was also about to finish writ- sort of publicity. I surmised they River. It was done for the USBF, but, ing his second novel, which would be might be interested in the matter until our present study, was only pub- published in 1917. and sincerely hope they will put lished on a postcard issued by the Stein- In 1914, Barton Warren Evermann it through.70 But really, I am very hart Aquarium, San Francisco, possibly resigned his position with the USBF doubtful about painting any more at its opening in 1923. in Washington, D.C., and on 16 Mar. fish. The last work I did put me into Similarly, during 1912, CBH painted 1914 became director of the California eye-glasses, and I’ve wondered that his last illustration of a fish, again for Academy of Sciences69 in San Fran- the business did not put me into the USFC, again it was a rainbow trout cisco. The Academy was then in the an insane asylum, though it was (Plate 15 C), and again it was only first process of finishing construction of a always interesting, and such a great published (Bond, 1985) well after its new building and planning for exhibits. work as you propose would be a[n] preparation, and then only as part of an Its first building had been destroyed inspiration.” announcement of, and poster for, the in the 1906 San Francisco earthquake. Smithsonian exhibition “Drawn from The move brought Evermann within Possibly, even before arriving at the Sea, Art in the Service of Ichthyol- easy commuting distance of his most CAS, Evermann and John Rowley71, an ogy” (curated by VGS). important colleague, David Starr Jordan, exhibits specialist at CAS since 1907, CHBMS for May, 1912, wrote, and the active group of Stanford Univer- were preparing plans for a new way, the “Grace in Palo Alto hospital-hopes CBH sity ichthyologists at Palo Alto, and, no diorama, to exhibit mounted wildlife. will ‘never paint another fish,’” and for less importantly, Evermann’s favorite A diorama shows groups of animals ~23 May: “CBH complains of eye strain. illustrator of fishes, Charles Bradford naturally posed in their native habitat. CBH finishes Steelhead” [trout; actually, Hudson, at Pacific Grove. Although The models are placed in the foreground, the rainbow form, Plate 15 C]. proximity to CBH would benefit Ever- which, depending on the species, In 1913, probably right after com- mann, proximity to Evermann would includes sand, rocks, logs, or lifelike pleting the “steelhead,” and similar to benefit CBH even more. reproductions of the vegetation. To give it, CBH painted a rainbow trout in oil, On learning of Evermann’s move to a sense of depth to the diorama, the which painting we saw hanging on the San Francisco, CBH wrote him from background is painted to blend in with wall of Claire Hudson Brett’s home in Pacific Grove on 30 Sept. 1914: the foreground, and variously shows, for 1987. example, the ocean, shore, trees, distant “I have recently finished another mountains, or a desert scene. The size California Academy 67 novel. It has taken me consider- of the CAS dioramas was variable, but of Sciences Days ably longer than a year to write and the largest painted backgrounds were Associated with the cessation of his reduced my capital materially. I’m 18 × 25 ft (5.5 × 7.0 m)72, mural size. illustrating fishes, CBH was turning looking for a job. Can I do anything more toward his interests in fine art and for you, for the Academy, or for 70It never was. writing. In 1914, he attended William anyone you know about?” 71 68 John Rowley (1866–1928), a taxidermist and Merritt Chase’s Summer School of early exhibits specialist, began work in 1889 at Art in Carmel-by-the-Sea, very close Well, not quite “anything.” In a letter the American Museum of Natural History. In 1903, he moved to California and assisted David with the same date as CBH’s (the short Starr Jordan in building the university’s bio- 67Unless noted otherwise, information in this distance between Pacific Grove and logical museum. In 1907 he joined the staff of section is largely taken from CASA B. W. Ever- San Francisco, may have made this the California Academy of Sciences as chief of mann, correspondence Box 1918, A–H. possible), Evermann responded that he exhibits. In 1917 he was appointed director of the 68A compiled biography of Chase (1 Nov. 1849– Oakland Museum, and in 1920 he became chief 25 Oct. 1916) is available at http://www.answers. had submitted a proposal to the Carnegie of exhibits at the Los Angeles County Museum. com/topic/chase-william-merritt. CBH is vari- Foundation to do a study of the salmonid He participated in and supervised many of the early dioramas at the California Academy of Sci- ously reported to have studied with Chase at the fishes of the world, which he had men- Art Student’s League in New York, but there is ences, including those for which CBH painted no record of this in the ASL’s archives (S. Cas- tioned to CBH in the past, and wanted the backgrounds (distilled from Wonders, 1993: sidy, ASL archivist, email to VGS, 2 Feb. 2009). CBH to be the illustrator—it would 140–141). 72 SQBMS for summer 1914, lists an unspecified provide CBH work for years to come. Information about the dioramas, including CBH-Chase Summer School relationship, and invoices for payments to CBH for his back- CHB (10 Feb. 1985, letter to VGS), in response CBH responded on 18 Oct 1914: ground paintings are found in manuscripts in to VGS’s request for date of CBH’s study with CASA files: North American Hall, Boxes 1 and Chase, wrote “Studies with Chase, I believe, 2, and Simson African Hall, Boxes 1 and 2. Also were while he was at home in Pacific Grove con- “I am glad you still have the included for each hall, is a CAS published pam- currently sketching the Monterey coast, etching Salmonidae project in mind. It phlet illustrating in gray scale a photograph of it and writing his book [“The Royal Outlaw”]- will be a great work, and under each included diorama in that hall, identifications mainly during the years 1912–1916, before of the species and sundry comments on behavior, 1917-Academy of Sciences years which led to distribution, and conservation, of the elements in serious landscape painting.” 69Jennings (1997:302). continued on next page

71(4) 21 The next letter between Evermann sketching and “studying marines ‘down “. . . the leopard seal background . . . is and CBH, came from Evermann some the coast.’” Because CBH had prom- now on exhibition in my office, where months later. On 28 Apr. 1915 (a ised Evermann to be in San Francisco it is much admired by all who have seen Wednesday), he wrote that he was going in the fall, she wanted to know if the it. I take special delight in calling it to to visit Pacific Grove “next Saturday” new CAS building would be finished the attention of visitors.” Rowley, who and “I want to talk Salmonidae with by September. If so, she could make must have been away, had not seen it, you, also background painting for the plans about renting the Hudson’s Pa- but CBH, wrote Evermann on 16 Oct. Academy.” cific Grove home and moving closer that he had heard from Rowley, who was If salmonids were broached during to the Academy so CBH might begin gratified by the preliminary study and Evermann’s visit, CBH was not inter- work. Evermann responded a few days suggested some “features, which can be ested, but the possibility of painting the later that the staff would be finished readily introduced.” Furthermore: diorama backgrounds did interest him. moving into the new building by 1 After all, CBH had been sketching, Sept., but that there would be no need “[Rowley] tells me the size of the drawing, etching, and painting outdoor for artists before the middle or last of painting is to be 18ʹ × 48ʹinstead of scenes for himself and for others for September. 18ʹ × 25ʹ—about double the area. many years. Things moved slowly. Evermann I assume that the price will be Having finished his second novel, and was not ready for CBH to begin work increased in proportion. I should lacking any contracts for illustration, at CAS in September, but Rowley had be glad to know before making CBH had time in 1915 to pursue his assigned CBH a subject, leopard seals, the additional studies.” [CBH’s interest in art and writing. In August, for his first background painting. Eager underlining] CBH (1915) published a magazine ar- to get moving, CBH wrote Evermann ticle, “Monterey on the Etching Plate,” on 10 Sept. that he would soon send To which Evermann responded some- about the historic Monterey area and its him “a small preliminary study of the what tersely on 31 Oct. 1915: physical and cultural deterioration. It subject selected by Mr. Rowley for the included reproductions of several of his background assigned to me. If the study Dear Captain Hudson: etchings, also done in 1915, and it would meets your approval I will [prepare] be the last article, either his own or for a larger one at once. Can you tell me The size of the backgrounds given another author, for which he specifically about when I may begin work . . . I am by Mr. Rowley, 18 x 48 feet, is only prepared illustrations. In an appreciative, figuring, in a general way, on the middle approximate. The total length of if effusive, review of CBH’s article (see of October.” Evermann responded on the case is 25 feet. The fact that the a more complete discussion in the CBH 13 Sept. that it would be the middle of background is curved will increase Authored Publications section), the October or “at worst, a little later” before that but slightly. Our contract with writer mentioned that CBH’s canvases, the museum would be ready to begin Mr. Corwin [another artist CAS which were mostly of scenes along the on the backgrounds, and that it was not employed] is for $500.00 for back- Monterey coast, had “received attention decided whether the leopard seals would grounds, regardless of size. We and recognition” for their “artistic han- be among the first. Evermann was ever can’t possibly increase the price. dling” and “splendid technique.” optimistic. Our funds for this year are very On 27 July 1915, Grace Hudson Throughout the correspondence limited at this time. wrote Evermann that CBH was away among Rowley, Evermann, and CBH, I hope you may come up soon and including payment invoices and and visit the Museum and see just the labeling of the seal diorama, the what the cases are to be like. 72 (continued) the diorama, acknowledgement of the supervisor, artist, and exhibits responsible for participants were actually referring to With kindest regards, the preparation. The North American Hall (Anon- the harbor seal, Phoca vitulina Lin- ymous, 1939a) was dedicated on 22 Sept. 1916, with only a few dioramas completed, the others naeus, of the northern hemisphere, Sincerely, to be opened soon. The Simson African Hall not the leopard seal, Hydruga lep- [Barton Warren Evermann] pamphlet (Anonymous, 1937b) is similar to the tonyx (Blainville), which is native to Director other pamphlet, but it includes a more extensive introductory history of CAS, staffing list, infor- the Antarctic and sub Antarctic. At mation about the donor, Leslie Simson, a 2-page one point the finished diorama was To which CBH blinked, and replied article by him, “Collecting Animals in Africa,” an labeled “Leopard Seal; Harbor Seal” the next day: illustrated 2-page article on taxidermy and mod- eling plants. The halls were redesigned and refur- (Anonymous, 1939a), and indicated bished during 1986–88, and the North American as Phoca richardii (Gray), currently Dear Doctor Evermann: Hall was recast and renamed as the Wild Califor- nia Hall. In the process, several of the dioramas considered to be a valid subspecies of with CBH backgrounds were destroyed. Finally, P. vitulina. I can be ready to begin on the beginning in 2004, CAS closed its facilities to the CBH sent the small preliminary study leopard seal background about public, destroyed the building, and erected a new one, completing it in 2008. None of the original to Evermann for approval on 6 Oct. the middle of the month. Would dioramas were saved. 1915. On 13 Oct., Evermann replied, prefer not to leave Pacific Grove

22 Marine Fisheries Review Figure 16.—California Academy of Sciences harbor seal diorama (now destroyed); background painted by Charles Bradford Hudson in 1916. Photograph courtesy of the late Claire Hudson Brett.

until the canvas73 is entirely ready I may have two of the orders, for, is variously reported to have completed for me to commence, and shall be as I said to you before, the single 12 background paintings (e.g. Wonders, glad if [you] post me about a week painting will hardly make it worth 1993:232), but we have only been able to in advance. Should be glad, too, if my while to go to the expense establish that he painted 11.75 Among the you will return the study, that I may and inconvenience of [me and my first seven, all were scenes for California have it on hand while making the family moving to be near CAS] or other western American biota, of supplementary ones. . . .’The [Royal] Outlaw’ [CBH’s which three (leopard seal, fur seal, white I wish I could follow your sug- second novel] has been taken by E. pelican) include the Pacific Ocean in the gestion to go up and look over the P. Dutton & Co.- one reason why background painting. Our source for the scene of trouble, but my hands will I’m anxious about the dates, etc., dates and payments for numbers 1, 2, be full until the last day. for I am rushing another to get it in and 7, below, is “CASA North American shape for their consideration at the Hall, contracts, payments etc.” (Fig. 16). This spurt of correspondence did not earliest convenience.”74 (Among the following, we have entered get things moving, however, and two a few of CBH’s other activities among and a half months later, 19 Jan. 1916, a Evermann responded a week later that the chronologically arranged listings concerned CBH wrote Evermann: Rowley could be ready for CBH “any of the background paintings to indicate time after a week or two that may be that he was involved in more than just “I presume from the fact that I have convenient to you . . . Besides the leopard painting backgrounds during the period not heard from you that you had seal group perhaps you would be will- he worked at CAS.) unexpected troubles and delays ing to undertake the desert bird group.” in the completion of the [CAS] CBH would and did, but the delays did 1) For the leopard seal background, building. I am not especially in not end in 2 weeks. CBH was paid $500, in two $250 install- a hurry to begin, but am anxious Finally, on 6 Mar. 1916, Evermann ments, 4 Apr. 1916 and 31 July 1916. to know whether it is likely that wrote, “Mr Rowley . . . is now ready for I can finish the work before April you to begin on the leopard seal group, 75CHB (in litt, 18 Nov. 1985) sent VGS photo- 1. What is the average length of so you can come on any time convenient graphs of the dioramas for which she thought time required on the backgrounds . . .” To which, CBH’s response on Mar. CBH had painted the backgrounds. She included one of the Steller sea lion, which all three print- - about? And is there any possibil- 9, begins “Hooray!” ings (1939, 1945, 1947) of the CAS pamphlet, ity that I may have two to make? Thus, began a lengthy, if periodically “North American Hall” shows and credits to Charles Abel Corwin (1857–1938), as do pay- . . . I wish you could arrange it that interrupted, association of CBH as a di- ment vouchers (Karen Elsbern, CASA, emails 23 orama background painter for CAS. He and 25 Feb. 2009); we earlier checked the North American Hall Box 1914 and found a notation that 73Rather than painting the backgrounds directly two payment vouchers for the “Elephant Seal” on the wall, they were painted on canvases, 74We think this suggestion of another, impend- Group, were made to Corwin, one for 11 May which were affixed to the walls. ing, novel was disingenuous. 1923 for $400 and one for 31 May 1923 for $600.

71(4) 23 2) CBH received two $250 payments (information from CASA Simson Afri- the plants, birds and small mammals for the desert bird background, 30 June can Hall, agreement between CAS and here are the same species or closely 1916 and 31 Aug. 1916. To prepare for Simson, box 2). related to those found in the subalpine this background painting, CBH made 8) Oryx group background, 31 May zone of California’s Sierra Nevada. One a trip to the California desert near the 1932, $500. reason the Academy chose to retain this Salton Sea, where he made sketches 9) Zebra group background, two diorama in California is that the stunning that he used not only for the diorama, payments, both dated 30 July 1932, background mural is one of the finest but later, probably, for some of his fine- progress, $300; final, $200. works by the well-known artist Charles art paintings of the California desert. 10) Dik-dik group background, two Bradford Hudson. Its removal would On 7 June 1916 he sent a letter about payments, both dated 31 Oct. 1932, on mean its loss.” The entire building was his experiences in the desert to G. O. account, $100; final, $100. closed in 2004 and destroyed, and a new Shields, friend, publisher, author, and 11) Bushbuck group, background, building opened in 2008. None of the staunch conservationist, who forwarded two payments, both indicated progress backgrounds were saved from the old the letter to the New York Times. The and dated 30 Nov. 1932, $150, 250. building (T. Iwamoto, CAS, emails to Times published it in its entirety on 18 VGS 03, 23 July 2008). June 1916 (which we repeat; see section There is a payment dated 28 Feb. 1933 There remains a grace note for “Publications by CBH”). “Final payment painting four groups in CBH’s diorama backgrounds. He pre- 3–5) CBH was finishing the back- African Mammal Hall, $50.” This was, pared small studies to work from in ground for the white pelican group in perhaps, a bonus for having completed painting some or all the backgrounds. May 1918, and would soon start on a the paintings so promptly. We are unaware of the disposition of background for the fur seal group and Finishing the last two of the African those studies, except for the one he one for the Roosevelt elk group (5).76 Hall backgrounds must have evoked made for the grizzly bear background. The fur seal diorama was completed mixed feelings of relief and sadness in CBH had traveled to Jackson Lake, sometime after 19 Feb. 1919 and before CBH. They would be his last work for Wyoming, in the summer of 1925 to 4 Aug. 1920 (based on Evermann, CAS, and Evermann would die before paint the Grand Teton scene used in the 1920:368, and publication date of the CBH finished them. CBH had just background. The study, oil on canvas, Proceedings of the CAS). The entire elk started working on the second of the four 18 × 24 in. (46 × 61 cm), was neither diorama was completed on 20 Dec. 1919 African backgrounds when Evermann, signed nor dated. CBH gave it to Ev- (Evermann, 1920: 369), which means who had not been well for some time, ermann77 and it hung in his office and the background would have been com- entered Stanford University Hospital that of subsequent directors for many pleted before the mounted specimens on 23 June 1932 (Jennings, 1997:305). years. Evermann’s son and daughter were in place. Evermann died on 27 Sept. 1932, having donated it to CAS, along with many of On 6 Apr. 1917, the United States never left the hospital. CBH and Ever- Evermann’s personal items that were in entered World War I. On 17 Mar. 1918, mann had worked and traveled together his office when he died.78 The painting CBH (1918) published a letter to the since 1901, and since 1916, there had is no longer on view, but stored in the editor of the New York Times, under been many social interactions between CASA holdings. We think it should be the title “Persistence of Teuton’s Traits them and their families. in a museum on display. In the mean- from Caesar’s Time.” In it he developed Few things last forever, and CBH’s time, we photographed it and reproduce his belief that Germanic bellicosity diorama backgrounds were not excep- it in color (Fig. 18).79 This figure shows was a culturally fixed character trait. tions. Some of the dioramas, including another, but less common theme than It would be the last publication he the backgrounds, were eliminated in the Pacific Ocean, in CBH’s paintings: authored. 1988, when the North American Hall mountains (Fig. 18). 6) CBH completed the background was recast as the Wild California Hall. for the waterfowl group after numbers For the 9 Oct. 1988 opening of the Wild 3–5, but before Apr. 1921 (based on California Hall, a small spiral-bound 77As acknowledged by Evermann in letter to CBH dated 17 Apr. 1929 (CASA, Evermann a halftone photograph of the group in booklet, “Wild California” (Anony- letter files, 1914). Evermann (1921:212). mous, 1988), was issued containing 78Letter from Toxaway Bronte Evermann and 7) CBH finished the background for comments and half-tone illustrations Edith Evermann Humphrey to Trustees and Council CAS, Oct. 1932 (CASA correspon- the grizzly bear group on about 20 Feb. of the incorporated dioramas, of which dence, Box 1932 D–G). 1926, for which he was paid $1,200. two of the backgrounds were by CBH, 79Photographs of all seven of the North Ameri- The last four backgrounds CBH Desert Floor (formerly, Desert Bird can Hall dioramas and three of the four Simson painted were of African mammal groups Group), and Montane Slope (formerly, African Hall dioramas for which CBH painted the backgrounds were given to VGS in late Nov. Grizzly Bear Group) (Fig. 17). 1985, by CHB, who had had them photographed. The remarks in the booklet concern- About 1935, CAS prepared postcards showing 76Letter from Evermann to E. L. Goldsborough, the dioramas. The photograph of the grizzly bear 9 May 1918 (CASA Evermann Correspondence ing the Montane Slope diorama stated, diorama used on the postcard was taken by the Box 1918, A–H. “Though in a Rocky Mountain setting, famous photographer Ansel Adams.

24 Marine Fisheries Review Figure 17.—California Academy of Sciences grizzly bear diorama (now destroyed); background (about 18 × 25 ft; 5.5 × 7.6 m) painted by Charles Bradford Hudson in 1926; compare with Figure 18 below. Photograph courtesy of the late Claire Hudson Brett.

Figure 18.—Wyoming Grand Teton scene (24 × 18 in; 61 × 46 cm), oil on canvas, not signed, painted by Charles Braford Hudson, summer, 1925, as study for background painting used in California Academy of Sciences grizzly bear diorama (see Figure 17 above). Painting in files of CASA.

71(4) 25 “Scapeing” Sea and Land

Early in CBH’s association with CAS, Evermann introduced him to Abraham L. Gump, whose family owned the well-known Gump’s department store in San Francisco. Among fine articles of furniture and oriental art, the store also specialized in exhibiting and selling the artwork of California artists. Gump’s would become the sole purveyor of CBH’s landscapes and seascapes. In Wilson’s (1949:147–148) book about Gump’s, she mentioned how A. L. Gump became impressed with CBH and his paintings, noting that “Gump had felt a strong personal liking for Hudson from the beginning of their acquaintance. He particularly admired [Hudson’s] scientific approach . . . When Hudson undertook a long camping trip on a barren island in the middle of Pyramid Lake, Nevada [in 1917 ] to Figure 19.—“October, Point Lobos,” by Charles Bradford Hudson, oil on can- study the native habitat of white pelicans vas, signed lower right, no date, dimensions not provided. Royal Collections, [for a CAS diorama background paint- Sweden. Purchased 1926 from Gump’s department store, San Francisco. (Photo- graph ©Kerstin Hagsgård, 2008). ing], Gump was fascinated. As he sold Hudson paintings, A. L. interjected his own enthusiasm for the personality of Among the CBH paintings noted Final Years the man who could reproduce so faith- in his biographies that we have not fully the peculiar atmosphere of a desert been able to locate are: the painting After finishing his work on the CAS sunrise or the exquisite blend of pink of the 11th Cavalry that hung in the dioramas in late 1932, and continuing lavender in the dusk of sunset.” officers club of the Presidio of Mon- until his death on 27 June 1939, CBH Wilson describes how in 1926, terey, Calif. (Presidio and military would restrict his artistic efforts to sea- Crown Prince (later King) Gustaf archivists believe it may have been scapes and landscapes. His daughter, Adolf of Sweden, on a visit to Gump’s, taken by an officer when the Cavalry CHB, wrote VGS (in litt., 31 May 1985) admired a Hudson painting, “October, vacated the Presidio during or just that CBH; Point Lobos.” Shortly after the Crown before World War II); small painting Prince departed, members of the Swed- of sea lions in the E. H. Harriman “. . . painted right up to 5 days ish–American Society of San Francisco collection, which vanished after before he died. (His heart was purchased the painting and sent it as a 1993; the disposition of paintings damaged by peritonitis 12 years gift to him. The painting (Fig. 19) still (one or more not indicated) stated earlier . . .). The 3 little paintings hangs in an office of the Royal Palace.80 to be in the collection of California he left on his easel were small It is one of but a few CBH paintings or Senator James D(uval). Phelan (also masterpieces . . . He was affected etchings we found that are still present a former mayor of San Francisco)81; by the “Modern” art he saw around in the collections specifically noted in a painting indicated as being in the him in Paris and was amazed at its his previous biographical statements. Dominion Gallery, New Zealand (now spread by the “lunatic fringe,” but Others are at: Boston Museum of Fine the Museum of New Zealand, or Te he admired what was being done Arts, the Crocker Museum (Sacramento, Papa Tongarewa, which informed us by the “masters”—some of them, Calif.), Luther Burbank Museum (Santa they have no record of ever having although he didn’t know any of Rosa, Calif.), and probably the Oakland owned a CBH painting). them . . . He wrote a book (never Museum, Calif. published) entitled, “Fine art and 81According to email (4 Mar. 2009) from Babette the average man.” I have only been 80Kerstin Hagsgård, associate curator, The Royal McKay, Phelan left only his villa and grounds in able to find a few chapters. I think Collections, Stockholm, Sweden, email, 20 June Saratoga, Calif. (now the Montalvo Arts Center), he vented his feelings and attitudes 2007. Hagsgård photographed the painting and to the trusteeship of the San Francisco Art Asso- granted us permission to reproduce it. We note ciation. “Most of his personal possessions were in that manuscript; a side occupa- that the painting is in need of cleaning. left to his nieces and nephews.” tion while he was painting.”

26 Marine Fisheries Review Honors, Awards, Laudatory by an article by C. Ravenel (1902:18) depicting on canvas the life colors of Assessments who wrote that, “Silver medals were American fishes.” None of the illustra- awarded to Mr. A. H. Baldwin and Mr. tions of fishes in this study, including Medals C. B. Hudson for ‘water-color drawings that of Emblemaria hudsoni, were drawn Upon his graduation from Columbian of fishes made to illustrate publications by CBH. Species is valid. Preparatory School82 in Washington, of the Commission.’” A letter86 from the 3) Lutianus hudsoni Evermann and D.C., in 1883, CBH, age 18, was award- Ex. Assistant Commissioner General Shaw, 1927 (Family Lutjanidae). Ev- ed the Janus gold medal in French.83 At of the United States Commission to the ermann and Shaw (1927:116) wrote, his graduation from Columbian College Paris Exposition of 1900 to CBH, states, “This species is named for Captain (now George Washington University) 4 “I have the honor to send you herewith Charles Bradford Hudson, most able years later, CBH received a B.A. degree, a medal in bronze, commemorative of American artist in depicting the life and, additionally, a certificate of profi- the award made to you on your exhibit colors of fishes.” The species was not ciency in collegiate mathematics and a in Class 53 at the Paris Exposition of illustrated. The name is no longer valid diploma in Greek and Latin.84 CBH was 1900.” and is considered a junior synonym of offered a chair in the Classics Depart- Acanthopagrus schlegelii (Bleeker). ment at Columbian College, which he New species 4) Callionymus hudsoni Fowler did not accept.85 Biologists who describe new species (Family Callionymidae). Fowler We have already mentioned the silver consider that they have honored some- (1941:10) wrote, “Named for Capt. and bronze medals awarded CBH for one by naming a new species for them. Charles B. Hudson, whose valuable his illustrations at the International There are four new species of fishes and figures of Japanese dragonets were Fisheries Exposition in Bergen, Norway one new species of opisthobranch mol- published in 1903.” All the species de- (16 May–30 Sept. 1898). Hornaday lusk that have been named for CBH. His scribed in this study were illustrated by (1899b) included an illustration of the friend, Barton Warren Evermann, partic- Fowler. The name is no longer valid and silver medal. CBH was also awarded a ipated in three of the four descriptions of is considered to be a junior synonym of bronze medal for drawings exhibited at new species of fishes, indicating overall Callionymus enneactis Bleeker. the 1900 Exposition Universelle in Paris his high regard for CBH’s work.87 5) Acanthodoris hudsoni MacFarland [world’s fair]. (Family Onchidorididae). McFarland There is confusion in the literature as 1) Dendrochirus hudsoni Jordan (1905: 51–52) wrote, “Species [of to the nature of the medal that CBH was & Evermann (Family Scorpaenidae). mollusk] named in recognition of the awarded for his drawings and paintings Jordan and Evermann (1903:203) wrote, able work of my friend Capt. Chas. shown at the Paris Exposition. The con- “Named for Capt. C. B. Hudson, in B. Hudson, Artist of the U.S. Bureau fusion possibly originated from a New recognition of the excellence of his of Fisheries.” The species was not il- York Times article, 2 Sept. 1900, page paintings of Hawaiian fishes.” No illus- lustrated. Frank Mace MacFarland 21, in which it is indicated that CBH trations accompanied the publication; (1869–1951) was a member of the Stan- (listed as a Collaborator [of the U.S. however, CBH’s illustration of the spe- ford University faculty for many years. Fish Commission], New York) received cies appeared as Plate 73 in Jordan and He probably became acquainted with a silver medal. The story is indicated as Evermann (1905), and we reproduce it CBH through David Starr Jordan and or coming from the Paris Exposition Edi- in our Plate 25 F. Jordan and Evermann’s Barton Warren Evermann. The species tion of The New York Times, 18 Aug. species is no longer valid, and is now name is still considered to be valid. 1900. The confusion was compounded considered a junior synonym of Dendro- chirus barberi (Steindachner). Appraisals of CBH as an Illustrator 82A former department, which no longer exists, 2) Emblemaria hudsoni Evermann Hornaday (1891:viii) wrote, “I am of Columbian College (now George Washington and Radcliffe (Family Chaenopsidae). also under obligations to Mr. Charles University). Evermann and Radcliffe (1917:147) Bradford Hudson, the accomplished 83Washington Post, 16 June 1883, p. 1. wrote, “We take pleasure in naming this artist, whose skill has done so much to 84Washington Post, 9 June 1887, p. 2, and Wash- ington Evening Star, for same date, unnumbered new species for our friend, Capt. Charles explain and embellish the text. The spirit supplement p. 4; also, additional informa- Bradford Hudson, artist and author, who and interest with which he entered into tion from CBH’s great granddaughter from his has succeeded better than any other in his share of the work very materially second marriage, Sarah Quayle Brett, attachment to email to VGS 17 Oct. 1998. lightened and encouraged my own tardy 88 85Christine Hudson Kempton (interviewed by 86B. D. Woodward, in litt., 8 May 1902 to CBH labors.” VGS 3 May 1985), CBH’s daughter by his first (copy in files of VGS). Hornaday (1899b:449, 451) wrote, marriage, mentioned the offer of a chair. Claire 87Only one of the four new species of fishes (the Hudson Brett (in litt., to VGS, 22 May 1985), second mentioned) is currently considered valid; “The most remarkable thing about him daughter by second marriage, wrote that it was in the other three are junior synonyms of species [CBH] is his versatility, and in that re- the Classics [Department], as he had majored in described earlier by other authors, who used dif- Greek and Latin,” and “ . . . he always had a selec- ferent scientific names. This situation does not 88This quotation and the CBH illustration used as tion from one or the other [of these languages] detract from the honors being accorded CBH by a preface to Hornaday’s book, were reproduced ‘for breakfast’ on either side of his plate.” the authors of these three species. in “The Literary News,” July 1891, 12(7):195.

71(4) 27 spect I have never seen his superior. He compares, more favorably, only to those mentions, in referring to Hudson, that produces portraits, figures, landscapes, of Albertus Hutchinson Baldwin, a good “This artist’s natural history efforts have seascapes, interiors and exteriors, in pen friend of CBH’s, and co-illustrator with been by no means confined to fishes. and ink, oil, or wash drawing; all with CBH on Jordan’s 1901 expedition to Several of the finest panoramic scenes a degree of artistic excellence which to Hawaii. In volume 2, page 87, Jordan in the San Francisco Academy of Sci- me is astonishing.” wrote: ences are by him.” Jordan (volume 1, On 12 Mar. 1903, CBH, who was page 238), probably intended to edit a in Detroit taking care of his ill father “Hudson’s fish paintings in oil are comment he made, but unfortunately but also working on drawings for D. S. the finest yet made by any one. never completed his changes. We quote Jordan, wrote a letter to Jordan, at Stan- His custom was to draw first an Jordan’s remarks on that page and, in ford University, with a request, “I wish outline sketch of a dead specimen, italics, add what we believe is the sense to ask a very great favor. You have, on then paint from a living example of what Jordan intended: one or two occasions, said that some of in our aquarium at Waikiki . . . The my drawings of fishes are the best that obvious drawback to this system “Upon leaving the Bureau of have been made in their time. A letter was that it could be applied only Fisheries, he [Barton Warren Ev- from you containing such an expression to relatively common forms, those ermann] became curator of the would be of the greatest value to me and we were certain soon to capture California Academy of Sciences, I should appreciate it very highly.89” and keep alive. For several of the an office he has successfully filled Jordan responded to this request, 20 most interesting, only one or two [here replace comma with period.] Mar. 190390: specimens have ever been taken, Evermann employed Charles Brad- and for these we had to be content ford Hudson, who painted a superb “Dear Sir:-Referring to your draw- with Albertus Baldwin’s more series of landscape groups in their ings of fishes, permit me to say that conventional method, good of its natural environment, being the of the many artists in that work who kind but necessarily in a different most striking features of the Acad- have arisen in this country and who class.” emy Museum.” have been employed at the United States National Museum and else- In volume 2, pages 277–278, Jordan Charier (1924:15) reported on the where, there are two whose work wrote, “In it [Jordan and Evermann, 1924 exhibition of the Society of In- has been very distinctly better than 1905] we gave full accounts of the nu- dependent Artists of New York93 for a that of any of the others, and who merous species, with drawings of most may be fairly said to have done the of them and especially fine colored plates 92 [continued] to VGS). The 1994 edition (also a best work of the kind on record in of several, these last the work of Charles Carlson gift to the Smithsonian), if not the others, was published in booklet form. Information any country. These two are Mrs. B. Hudson, that most skillful of fish about the postcards sold by the aquarium was Chloe Leslie Starks91 and yourself. painters.” In a footnote to these remarks, provided us by M. Heckman, Director of Educa- The excellencies [sic] of your work Jordan mentioned that the paintings by tion, Waikiki Aquarium, and Bruce Carlson. Other postcards depicting CBH illustrated and those of hers are somewhat Hudson and Albertus Baldwin, which fishes, were issued and reissued by the Steinhart different, but we cannot speak too were published in Jordan and Evermann Aquarium in San Francisco, which opened in Sept. 1923 (McCosker, 2007:171), a year after high praise of either.” (1905), were reduced to postcards and Jordan (1922) published his remarks. Based on “have ever since found great favor with the combined holdings of the Division of Fishes In Jordan’s 1922 two-volume memoir, tourists.”92 In a second footnote, Jordan and those of J. E. McCosker (director emeritus, Steinhart Aquarium, 1973–1994), 12 colored “Days of a Man,” there is no mention postcards were issued by Steinhart, of which 10 of Chloe Starks, but Jordan continues were by CBH, reproducing five of CBH’s illus- to praise CBH, whose illustrations he 92Jordan’s remarks, published in 1922, refer trations of Hawaiian fishes and five of his North only to postcards sold to tourists who visited the American trout species. The other two were of Waikiki Aquarium in Hawaii. The rare first pub- Hawaiian species illustrated by Albertus H. Bald- lication (“Hawaiian Fishes,” Honolulu, Hawaii: win. Hudson and Baldwin were the illustrators 89Department of Special Collections, Stanford Island Curio Co.) of the printings, which were on Jordan and Evermann’s 1901 expedition to University Libraries, SC058 D. S. Jordan, Box to be issued later as postcards, was sold by the Hawaii. 36, Folder 352. aquarium and published in Germany about 1910. The color reproductions, both in the booklets 90Ibid., SC058, D. S. Jordan, Series Iaa, Box 7, It is hardbound and in leporello (accordion fold) and on the separate postcards, are greatly wanting v. 13 format. We know of only two copies listed as compared with either the original illustrations or 91Chloe Leslie Starks (1866–1952), attended present in U.S. libraries: Harvard University their first appearances in scientific publications. Stanford University but apparently did not grad- and the Smithsonian Institution (the latter gifted 93Founded in 1916; exhibition was open to any uate; ultimately she became Associate Professor to the institution by Bruce A. Carlson, a former artist who wanted to show his/her work. The of Education (graphic arts) at Stanford; she was director of the Waikiki Aquarium). The Waikiki “1924 Catalogue of the Eighth Annual Exhibi- the wife of Edwin Chapin Starks, ichthyologist Aquarium opened in 1904, the year before CBH’s tion . . . ” indicates that it took place at the Wal- and Stanford professor of zoology. All of Chloe and Baldwin’s illustrations were first published dorf Astoria Hotel, 7–30 Mar. CBH was listed as Starks published illustrations are in black and by Jordan and Evermann (1905). The postcards living at 817 [317] Alder Street, Pacific Grove, white; many of the original illustrations are pres- were reproduced several times, most recently in Calif. Each artist was allowed to exhibit one or ent among the illustration files of the Smithson- 1990 and 1994 (Carlson, in litt., 13 Nov. 2007 two paintings, depending on their size. CBH ian Institution’s Division of Fishes. continued exhibited only one painting.

28 Marine Fisheries Review French periodical devoted to the arts. Emilia Hodel, 9 July 1938, probably while to write Tomelleri and ask if He singled out the work of only a few from the San Francisco Chronicle94, the similarity was coincidental or if of the 710 artists represented in the ex- in an article titled “Landscapes in at some point he was influenced by hibition for comment, and also provided New Exhibition at Gumps by Charles Hudson’s techniques. He graciously brief biographies of those artists. His Hudson” wrote, “The Uptown Galler- responded (in litt., 24 Feb 2006), remarks on CBH’s submission, “Sunset, ies have a variety of exhibitions this “I would have to say [CBH] did not California Coast,” are extracted here and week. First in importance is the group influence the technique, as we used translated. Charier also expressed his of landscapes by the Canadian–Ameri- different media . . . his being painted, general appreciation and knowledge of can artist, Charles Bradford Hudson mine being drawn.” CBH used wa- CBH’s paintings, which implies a famil- at Gumps.” tercolor, ink and gouache. Tomelleri iarity with CBH’s work that antedated An Anonymous author (1939b:4) in wrote that he uses “solid pencil pig- the exhibition. the Christian Science Monitor, 26 Aug. ments” highlighted “with acrylic paint 1939 [just two months after CBH’s when needed . . . That being said, I “At the Salon of Independent Art- death], wrote, “At the San Francisco have admired [CBH’s] work for many ists, in New York, I liked greatly an branch of the Society for Sanity in Art95 years. Dr. Robert Behnke has always effect of “Summer” on the “Coast . . . in so large a show it is impossible to spoken in glowing terms of Hudson’s of Monterey County (California)” detail all meritorious items. Excellent paintings, and Hudson’s achievements done with infinite penetration by oils are by [14 artists’ names follow, are a benchmark for illustrators.” This Charles Bradford Hudson. This one of which is] Charles Bradford from one of, if not the foremost illus- example shows him to be a trained Hudson.” trators of fishes in the world today! draughtsman, an adroit techni- Behnke (1982), on the dust jacket of cian, and a delicate and vibrant the hard-bound edition, and the front CBH’s Non-ichthyological colorist.” cover of the paperback edition, are five Illustrations in Publications “This artist . . . was among the reproductions of Salmo aguabonita by Other Authors best equipped to avoid the dif- (see our Plate 15 F). Behnke (1982: The following comprises an annotated ficulties that are inherent to the xiii) wrote, “. . . drawn from life by the listing of publications not authored by landscape style.” eminent artist Charles B. Hudson. It is CBH, but that include his illustrations. “Loving nature greatly, he ap- reproduced from the Nineteenth Bien- Excluded are publications that include proaches her as closely as possible nial report of the State Board of Fish CBH’s illustrations of fishes that he in his work, in effect as well as Commissioners of the State of Califor- made for the USFC, USBF and Cali- color. His favorite subjects are the nia, for the years 1905–1906.” fornia Department of Fish and Game. sea [!], first, and then the sights Pister (2003:102) wrote, in re- We discuss those in the section “CBH’s of the desert. He has a marked viewing Peter Moyle’s (2000) book Ichthyological Illustrations.” Although predilection for the great French on California inland fishes, wrote: we made a concerted effort to locate all school, whose influence he admits “Moyle resorts to accurate and distinc- the nonexcluded type of publications, to gladly.” tive line drawings, supplemented by an our list is undoubtedly incomplete.96 “Having traveled widely, ad- assortment of Joe Tomelleri’s superb Even late in this study we continued to mired much, and above all, con- color artwork. Tomelleri is indeed encounter publications we had missed templated much, he interprets the a worthy successor to the legendary earlier. scenes of nature with remarkable artist Charles Bradford Hudson, who With few exceptions, we report only eloquence, imprinting them with accompanied and illustrated the ef- the earliest dated publication for a CBH an indescribable expression of forts of Barton Warren Evermann in illustration that appeared in more than calm and serenity, an impression of his pioneering studies of California’s one publication. Arrangement is chrono- space and “vastness,” which impart golden trout a century ago . . .” logical by year of first publication, but to his works an imperishable qual- We and others have noted the not necessarily chronological within a ity of beauty.” similarity of CBH’s and Joseph R. given year. Unless indicated otherwise, Tomelleri’s colored illustrations of all illustrations are black and white A partial English translation of the salmonid fishes. We thought it worth- or gray-scale, although one or both of French article was published in the his two paintings (current dispositions Monterey Peninsula Daily Herald for 94Article provided VGS by CHB. unknown) of the Fish Commission 4 Dec. 1924. We presume it was pre- 95Sanity in Art “is [was?] an association and a Schooner Grampus may have been in movement” founded by Mrs. Frank Granger pared by CBH, as it reads identically Logan, who with her husband, had been issuing color. The year in which an illustration to a copy of his handwritten translation a medal and cash prize since 1917 for art. She was prepared, if indicated by CBH, is of a selected portion of the French ar- wrote, “Sanity in Art Means Soundness, Ratio- given in the listing. nalism, a Correct Integration of the Art Work ticle (both made available to us by his Itself in Accordance with some Internal Logic.” daughter, CHB). (Anonymous, 1937a). 96See also Anonymous (1982), below.

71(4) 29 The earliest CBH illustrations done for payment appear to have been drawn during 1882–85. These illustrations were apparently meant for archaeologi- cal or ethnological studies and done at Otis T. Mason’s request, although not necessarily for him, and were paid for by the Smithsonian Institution. In a few instances, the Smithsonian ac- count ledgers for these years indicate the names of the authors or general references (usually annual reports) for which these early illustrations were intended. In no case, however, have we found any of these illustrations, either as originals (search of SIA and NAASI records or annual reports of the Board of Regents of the Smithsonian Institution). Figure 20.—CBH illustration in Willoughby (1889:fig. 6), article on On the other hand, Otis T. Mason’s Quinaielt [Quinault] Indians; signed Hudson, lower left. diary (in NAASI), which covers the period 1884–9197, has several entries for 1887 and 1888 indicating CBH’s work CBH is best known for his ichthyo- England, is by CBH, it is dated 1888. It on studies for authors (during the period logical illustrations of fishes (treated was undoubtedly based on a photograph 1 July 1887–10 Apr. 1888), and we have in another section), the first of which or other illustration, perhaps a sketch located some, if not all, the publications were done in 1896. by Collins, who was also a capable for which these were intended. The earli- Willoughby (1889) published a illustrator. The other vessels drawn by est publications of the 1887 illustrations study of the Indians of the Quinaielt CBH during this early period were all appeared in Willoughby (1889) and [Quinault] Agency in the Washington done for, or closely supervised by, J. W. Merrill (1889).98 Territory. It includes four pen and ink Collins (e.g. Watkins, 1891; Whitney, The first published CBH illustra- drawings, three portraying Indians, 1889–1891; Collins, 1901). Most were tion for Joseph W. Collins (who was one of which shows an Indian using a not published for 3 or 4 years after they employed by the USFC) was dated small net to catch salmon. The fourth were drawn (e.g. Collins, 1891a, b; 1888, although based on Mason’s diary, is an especially detailed scene, entitled, Rathbun, 1892), but two (Collins, 1901: work for Collins started in 1887. These “Example of Quinaelt [sic] burial” Fig. 14; plate 66) waited 13 years to be drawings and others prepared for the (Fig. 20). published. USFC about the same time were all Merrill’s (1889) extensive article on Collins (1890) published “Fishing primarily concerned with boats and the U.S. National Museum’s collec- Craft of the World,” an almost encyclo- ships. CBH began a year of salaried tion of building and ornamental stones pedic article, including 18 illustrations work for the USFC on 1 July 1888 and includes five plates and two text figures prepared by CBH of various relatively was assigned to Collins, so it is not prepared by CBH. All are pen and ink small fishing vessels and boats. Fifteen possible to distinguish CBH’s 1888 drawings. Four of the plates, based on of the illustrations are dated 1890, the drawings made during that year from photographs, concern rock quarries other three are undated. The illustra- those that were started or made before and are the most complex illustrations tions are detailed, although presumably he became a salaried USFC employee. produced by CBH that we know of. We the originals have been much reduced reproduce one of them as Figure 21. in size in the publication. We also 97NAASI, Otis T. Mason papers, 49033. Collins (1889:plate 9; our Figure presume CBH worked from models, 98Charles Clark Willoughby (5 July 1857–21 2299) published an extensive report photographs, or other illustrations, Apr. 1943), during his early adult years was an on beam-trawl fishing by European which now appear to be lost. Although art dealer with an interest in archaeology. By 1894 he became employed by Harvard’s Pea- countries. It contained many illustra- Collins was employed by the USFC in body Museum as an assistant, ultimately becom- tions, but only one, a scene of trawling 1890, we are uncertain whether CBH ing its director, 1915–1928 (E. A. Hooten (1943) published an extensive obituary). George Per- cutters at Brixham, a port in southern was so employed at the time of draw- kins Merrill (1854–1929), in 1887, was curator, ing, or whether he was paid for these Department of Lithology and Physical Geology, illustrations on contract. We include U.S. National Museum (SIA RU 7177, has an 99The original drawing for this illustration is pre- historical note and listing of holdings concern- served in the National Museum of American His- four examples of the illustrations in ing him). tory Archives, Collection 256, Box 4, Folder 3. Figure 23.

30 Marine Fisheries Review Figure 21.—CBH illustration in Merrill (1889:plate 9) article on building and ornamental stones in the collection of the U.S. National Museum; signed Hudson, lower left.

Whitney (1891:5575100) includes a Collins (for the latter, see Watkins, 1891, Shufeldt)” in the legends to the plates. In detailed labeled line drawing of a sail- and Collins, 1901). CBH’s ship illustra- the lower left-hand corner of each plate ing ship drawn by CBH (Fig. 24) in the tion appears on the same page (5,575) in are the initials WHC [= W. H. Chanlee Century Dictionary. The illustration is all editions of the Dictionary through the ] & CBH, positioned over the year date, not credited to anyone, but his daughter, last in 1914. In July 2008, a thumbnail of if one is present. Chanlee illustrated Claire, had a copy of it that her mother the illustration, which could be enlarged, a number of ethnological articles for had excised from the dictionary and appeared on a website advertising the the Smithsonian and was mentioned placed in her CBH files.101 Supporting Dictionary. as jointly working with CBH “on Mr. this attribution is the editor’s acknowl- Hornaday (1891) published a book on Shufeldt’s paper” in Mason’s diary, edgement of Capt. J. W. Collins, USFC, taxidermy. The frontispiece (our Figure although the diary does not indicate that for nautical information, on page 30 of 25, upper) and plates 5, 7, 8, 10, 13, 16 either Chanlee or CBH were working “Writers and Authorities” in a supple- (our Figure 25, lower), 19, 20, 21, and on Shufeldt’s paper in 1888.103 In fact, ment to volume 8 of the 1895 edition figures 18, 21, 23, 28, 54, 58, 69, 70, CBH is only indicated as working for of the Dictionary. During the years 72, 79 are by CBH. The frontispiece is Capt. [J. W.] Collins or the Fish Com- 1889–90, CBH had prepared paintings dated 1889; plates 7, 8, 10, 19 are not mission after 16 Sept. 1887 and until 10 and drawings of ships, both for and with dated, all other plates and figures are Apr. 1888. Because both Chanlee and dated 1890. All the illustrations, except CBH were working in close proximity, 100The first edition of “The Century Dictionary” plate 19, a half-tone, are pen and ink we suspect that CBH may have devoted was originally issued in 24 fascicles between 1889 and 1891; these were then combined vari- drawings. Plate 16 was reproduced, only a minor amount of time to the ously into up to 10 volumes. Several editions without attribution to CBH, in Wonders Shufeldt project during early 1888. were published through 1914. Page 5,575 was (1993).102 Smith (1891) wrote a short article on published in 1891 and is the same in all editions through the last in 1914 (James Mead, Division Mason (1891) includes six plates, all the crab fishery of a small town on the of Mammals, U.S. National Museum of Natural consisting of line drawings, dated as fol- Chesapeake Bay. The article included History, personal commun. Mead, a colleague lows: two, ‘87; one, ‘88; three undated. six plates, two by CBH; one, a small and bibliophile, has copies of all editions of the Dictionary). The next edition, “The New Cen- All portray various aspects of handling scene of crabbing from a “Chesapeake tury Dictionary of the English Language, “was deer skins and are indicated as “(After published in 1952 and does not include CBH’s illustration. 102Wonders did include a short biographical 103We were unable to find any publication 101CHB to VGS, in litt., 28 Feb. 1985, 10 Sept. sketch of CBH on page 232 of her “Appendix: authored by Shufeldt that contained a CBH 1988. select list of diorama painters.” illustration.

71(4) 31 Figure 22.—Boats by CBH: A, dated 1890, from Smith (1891:plate 39); B, C, dated 1890, from Collins and Collins (1891:plate 9, 10), D, dated 1888, from Collins 1889:plate 9).

32 Marine Fisheries Review Figure 23.—Four of 18 CBH illustrations, each signed and dated 1890, appearing in Collins’ (1890) on fishing craft of the world. canoe;” the other, a simple one of a crab of the ship, and a “lithograph, faulty in plate 4 (undated), which we reproduce dredge. many of the details of hull, sails, and in Figure 27 (upper two figures). Watkins (1891:plate 151) contains an rigging, has been the basis of all previ- Collins (1891b) described the con- illustration (reproduced as our Figure ous illustrations of this historic vessel.” struction and equipment of the U.S. Fish 26) of the steamship Savannah, reputed Following this remark, details are given Commission schooner Grampus, which to be the first steamship to cross the by Collins explaining the basis for the he had designed. Among the many illus- Atlantic Ocean (1819). This illustration, reconstruction. The present location of trations, plates 1, 5, 7, 8, 11 (all dated which has been published subsequently the original painting is unknown, but 1888), 6 and 9 (undated), and 10 (dated in many different venues, was prepared an old photographic negative of it is 1889) are pen and ink drawings by CBH. in 1889 by CBH under the direction of J. present in the files of the Smithsonian’s Colllins’ plate 1 (our Figure 28, upper) W. Collins, and both their names appear Photographic Services. is a line drawing of the Grampus sailing at lower left on the painting. According Collins (1891a) includes two pen and to the left. It is based on, or served as to Watkins (p. 611), prior to this illus- ink drawings of Great Lakes fishing a basis for, a CBH painting (Figure 29 tration, there were no reliable drawings boats by CBH:plate 1 (dated 1888) and upper), also dated 1888. The other plates

71(4) 33 Figure 24.—Unattributed CBH illustration appearing on page 5,575 in all editions of The Century Dictionary, from the first (1889–91) through the last (1914). For accompanying figure legend, see the Century Dictionary.

are interior views of the Grampus, of made after his salaried position with the review of the Lewis book104 contained which we reproduce plates 6 and 11 as Commission had ended. the following remark, “To add to the Figures 28, lower left and right. (See re- Libbey’s (1891) plate 124 (repro- attractiveness of his little collection marks about Plate 1 following Ronnberg duced as our Figure 29, lower) is it has been handsomely illustrated reference below.) The original drawing a half-tone reproduction of a CBH by Charles Bradford Hudson.” The of plate 1 is present in the Smithsonian painting, dated 1891 below his name, Publisher’s Weekly, for 12 Mar. 1892, American History Archives, Collection of the Grampus, sailing to the right. page 418, states that many of the 256, Box 4, Folder 3. It is much larger Except for the direction in which it is poems, had “already been published in than the published version (or the one we sailing, it is almost identical in appear- the Philadelphia Star, New York Sun, reproduce in Figure 28. See also Collins ance to CBH’s 1888 painting of the and Frank Leslie’s Monthly, etc.” We (1987) and Ronnberg (1987), below, for Grampus sailing to the left upon which are uncertain if any of these included further information and comments about the line drawing shown in Figure 28 a CBH illustration. the Grampus. Chapelle (1960:224) is based. Rathbun (1892) wrote a general provided additional information on the Lewis (1892) contains about 30 line article on the work of the U.S. Fish construction of the Grampus and noted drawings by CBH, all dated 1891, so Commission. Of the many illustrations the presence of a model (No. 29832) far as can be discerned. The drawings in this article, only one (on page 691), of the ship in the National Watercraft cover a wide variety of subjects. We a pen and ink drawing of the steamer Collection. reproduce two of these: one on page Albatross, dated 1888, is by CBH. Collins and Collins (1891:plate 9–10) 17 in Lewis, is reproduced in our Although there are many photographs includes two CBH pen-and-ink drawings Figure 1 (frontispiece), and the other, of the Albatross, this illustration has of pinkie boats and fishing skiffs, signed on page 21 in Lewis, we reproduce been reproduced many times, and we and dated 1890, which we reproduce in our Figure 30. Of the two men in reproduce it in our Figure 31. It may in Figure 22 B, C. The Collins’ report the left foreground of Figure 30, we be the only illustration of the Albatross covers the period 14 Mar. 1887–30 June suspect that CBH has included his steaming under full sail. 1888, as indicated in the text, and it own face on the man to the left and his would appear that CBH’s drawings were father’s on the man to the right. A short 104Washington Post, 10 Feb. 1892, p. 4.

34 Marine Fisheries Review Figure 25.—Two CBH illustrations from Hornaday (1891): upper, frontispiece, dated 1889; lower, plate 16, dated 1890.

Collins (1892a:20), in an introduction clearly attributed to CBH or Baldwin, Collins (1892b), in an article on to a group of articles on the fisheries of except plate 18, which has a “B” in the Pacific coast fishing vessels and the Pacific coast of the United States, lower left corner and possibly refers to boats, includes two pen and ink il- wrote, “The maps have mostly been Baldwin. In spite of Collins’ statement, lustrations, both signed and dated made, under my direction, by Mr. C. E. some drawings (e.g. plate 15) include 1889 by CBH. We reproduce Collins’ Gorham; the other drawings for illus- the name “H.W. Elliott.”105 Plate 15, Figure 2, and Plate 16 in tration have been prepared by Messrs. Figure 27. C. B. Hudson and A. H. Baldwin.” Hornaday (1894a:601) includes 105Henry Wood Elliott, 1846–1930, highly pro- Among the numerous illustrations in ductive illustrator, among his other activities, for a half-tone illustration of sea otters these articles, there are none that can be the USFC. signed and dated 1894 by CBH.

71(4) 35 Figure 26.—Illustration from Watkins (1891:plate 151) of the steamship Savannah, reputed to be the first steam- ship to cross the Atlantic Ocean (1819). Illustration, dated 1889, prepared by CBH under the direction of J. W. Collins and signed by both men.

Hornaday (1894b:957) includes a Hornaday’s (1896) novel, “The Man mary in the Washington Post, 26 Dec. fine, full-page half-tone illustration of a Who Became a Savage,” contains 16 1927).106 walrus being attacked by two Eskimos, illustrations [plates], all by CBH. Only Hornaday’s (1899a) poem contains signed and dated 1894 by CBH, repro- the pen and ink frontispiece (first plate), seven small CBH half-tone illustrations, duced by us as Figure 32. unsigned, undated, and title page of this initialed but not dated, variously depict- Hornaday (1894c) contains five novel were seen by us. ing a wolf and a hunter and his horse in half-tone illustrations of sea lions and Inman’s (1898) novel includes four desert scenes. fur seals, and three, shown in habitat half-tone plates by CBH, all dated 1897. Hornaday’s (1899b) tribute to CBH, groups, are by CBH, all signed and They show people and animals in vari- includes a full-page half-tone plate dated 1894. ous and usually fearsome situations, e.g. (page 450), signed and dated 1899, by Yale (1894) published an article on our Figure 35 (upper). CBH, that was to be included in Brown American game fishes, which included Webster’s (1898) frontispiece (our (1899; see below). It depicts white Rho- eight CBH half-tone illustrations, all Figure 35, lower), signed and dated desian horsemen battling out-gunned dated 1894. Three of the illustrations, 1898 by CBH, illustrates a hunter African natives. brook trout, striped bass, and large- aiming a rifle at a crouching tiger. Barry (1899:460) includes a small mouth bass (Fig. 33), are essentially Hornaday (1899b:451) reported that CBH, initialed but undated, and uncom- portraits. Three of the illustrations the frontispiece was CBH’s last il- plicated, half-tone mountain scene; the are excellent scenes of men fishing lustration before leaving for duty in legend reads, “In the Sioux country.” (of which we reproduce three, one the Spanish–American War. If so, the Brown’s (1899) book about South in Figure 33 and two in Figure 34). illustration was completed before May Africa contains four half-tone illustra- A fourth scene, which we do not re- 1898, as the Washington Post for 11 tions, signed by CBH and dated vari- produce, is of a sailboat underway, on May 1898, reported that Lieut. Charles ously 1898 or 1899. We reproduce one which one can just make out three men, B. Hudson was among those encamped plate (opposite page 338 in the book) one of whom is fishing. Unfortunately, in the District of Columbia, and the as our Figure 36. Brown gives special the quality of some of our figures is issue for 22 May 1898, described the acknowledgment to W. T. Hornaday lacking compared to that of those in 21 May departure of the troops from the article from which we made our the District. The troops returned on 106Washington Post, information from ProQuest copies. following 19 Aug. (historical sum- Historical Newspapers.

36 Marine Fisheries Review Figure 27.—Four CBH boat illustrations: upper two figures, Great Lakes fishing boats (from Collins, 1891a:plate 1 and 4), left dated 1888, right undated); lower two figures, Pacific coast fishing boats, both dated 1889 (from Collins, 1892b: left, Plate 16, right, Plate 15, Fig. 2). for involving him in the expedition S. H.’s (1899) article is a poor attempt lews without a miss while riding along that led to the writing of the book, to be humorous by an author who chose and keeping abreast of the flying flock. and it seems probable that Hornaday to identify himself only by his initials. Collins (1901) published an extensive recommended CBH to Brown as an It includes two large and two small volume describing the USFC exhibit at illustrator. See also Hornaday (1899b, half-tone signed but undated CBH il- the International Fisheries Exposition above). lustrations. in Bergen, Norway, in 1898. Among Henshall (1899:289) mentions in a Sharp’s (1899) poem about his rifle the numerous illustrations, one (Col- footnote that “The pen-drawings of the includes five full-page, half-tone CBH lins’ plate 66, our Figure 37) is a de- oldest [fishing] reels are by Mr. Charles illustrations, each dated 1899 and ac- tailed pen-and-ink drawing of a British Bradford Hudson, except several by companied by a stanza of the poem. trawler, and is initialed by CBH and myself.” There are 13 drawings of fish- Allen (1900) has a half-tone fron- dated 1888. The other (Figure 14, not ing reels, excluding several line draw- tispiece (with legend, “I killed 17 of reproduced here) is of a fishing sloop, ings of reel mechanisms. Six or seven of them”) signed “Chas. B. Hudson 1900.” less detailed and undated, but indicates the reel drawings appear to have names It illustrates a man riding a horse and that it was drawn by J. W. Collins and of the artist in a lower corner, underneath aiming his shotgun at a high-flying flock CBH. We presume that CBH’s early four of which appears to be a year date. of birds, and illustrates the author’s de- drawings of boats for the USFC were Our copy is not clear enough to discern scription of a tall tale told by a person closely supervised by the demanding the names or dates. who claimed to have shot 17 flying cur- Collins, who prepared many excel-

71(4) 37 Figure 28.—Five of eight CBH illustrations (all but one dated 1888) of the U.S. Fish Commission schooner Grampus, which first appeared in Collins (1891b) and indicated as plates. Upper figure (plate 1) is based on, or served as basis for upper illustration in our Figure 29. Mid-left figure (plate 8) above is “Laboratory looking forward;” mid-right figure (plate 5) is “Forecastle looking forward;” lower left figure (plate 6, undated) is “Forehold looking to starboard;” lower right figure (plate 11) is “Cabin looking aft.” Figures much reduced in size from original published versions. The three other Collins (1891b) plates are reproduced in Cart (2004:16).

38 Marine Fisheries Review Figure 29.—Charles Bradford Hudson’s paintings of the Grampus. Upper, dated 1888, print from negative in files of Smithsonian Imaging Services (see also Figure 28); lower, dated 1891, copied from Libbey (1891:plate 124). Originals possibly in color; both now lost.

71(4) 39 Figure 30.—Left, CBH illustration in Lewis (1892:21); upper right, enlarged faces of two men in left foreground of illustration; below, lower left, Lieutenant CBH (from (Hornaday, 1899b:449); lower right, CBH’s father, T. J. Hudson (from Hudson, 1904). Composition in sup- port of our presumption that CBH included his own and his father’s faces in the illustration.

lent drawings of ships during his time of Mrs. Edward H. Harriman107, and it sketches of CBH that his paintings are with the Commission. CBH would is the basis for reports in biographical included in the Harriman collections.108 have been a quick study and after brief The present location of the painting 107A black-and-white CBH painting was hang- is unknown. Burroughs’ article also instruction would have needed little ing in Arden House, home of Mrs. Edward H. supervision. Collins (1901:17) noted Harriman, during 1917. G. P. Du Bois (1917), includes two other CBH illustrations, that CBH was awarded two medals stated (on p. 296), “In the upper hall there are sea both small linecuts signed and dated lions in black and white by Charles B. Hudson for his illustrations at the exhibition: a that probably were executed during the Harri- 1900. On page 78 of the article is a silver one for his “drawings of fishing man Alaskan Expedition.” CBH, however, did scene, “Uyak Bay, Kadiak Island,” not participate in the expedition. We tried unsuc- showing a section of the bay in the vessels and boats,” (for an illustration of cessfully to locate the painting. Sarah Elliston the medal, see Hornaday, 1899b:449), Weiner, Curator of Art Properties, Columbia foreground with vegetation on the shore and a bronze medal “for [a] painting University Libraries Special Collections (in and mountains indicated in the distant litt., 10 June 2008, to D. H. Mortimer, Colum- illustrating [a] method of fishing.” bia University; cc to VGS), wrote that there was background. On page 95 is a scene, Collins (1901:49) described the paint- a record of a CBH painting, “Seals on Rock,” “Sea-lions,” illustrating eight sea lions ing as a “fleet of American schooners briefly described as a group of seals at the sea- resting on rocks. shore, in an inventory of the paintings in Arden fishing for mackerel with hook and House. The description closely fits the published Muir (1902), who wrote on Pacific line; entitled ‘Mackerel fishing in the photogravure. The inventory did not include a coast glaciers in the Harriman Alaska photograph of the painting, but it is described as fifties.’” It is unfortunate that Collins being oil on board, approximately 8 inches high, expedition report, included on page 124, did not reproduce this painting in his, 14 inches wide, therefore, approximately twice a small CBH linecut signed and dated otherwise comprehensive volume. The the size of the published photogravure, which is 1900, and labeled “Mountains on Lynn 4 1/16” by 7 3/16”. The location of the painting present location of the painting, if it in the home was given as “4th floor, bathroom Canal opposite Davidson Glacier.” exists, is unknown. closet.” Mortimer (in litt, 10 June 2008) wrote Grinnell (1902a), who wrote on that the inventory is probably 15 years old, so Burroughs’ (1902) narrative of the that it is not definite that the painting is still in Alaska natives in the Harriman Alaska Harriman Alaska expedition of 1899, the house. “The Harrimans gave . . . Arden House expedition report, contains three very includes a fine photogravure repro- to Columbia in 1950. Three and a half years ago small linecut figures by CBH, all ini- the university closed it and sold it to a conser- duction, opposite page 94, (which we vation organization. Much of the noteworthy art tialed but not dated: on page 156, a reproduce as Figure 38) of a CBH has been dispersed and the house has remained carved two-headed dancing mask and boarded up . . . . The last time I was in the house, painting. The legend reads, “Sea-Lions, the walls were quite bare.” The painting was two perspectives of a carved curved Pribilof Islands, Bering Sea,” signed probably based directly on a photograph taken mixing bowl (both views initialed); on and dated 1900. It appears that the on the Harriman Expedition, as is the other CBH lithograph published in the Harriman expedition 108For example, the obituary announcement of painting on which the lithograph was series (see C. H. Merriam (1902) below); its dis- CBH in the Monterey Peninsula Herald, for 28 based was once hanging in the home position is also unknown. June 1939.

40 Marine Fisheries Review