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Showing posts with label Captain Jas. Hook. Show all posts
Showing posts with label Captain Jas. Hook. Show all posts

Wednesday, February 11, 2015

The Mystery of the Red Coat

A year and a half ago, I thought I had found the first instance of Captain Hook in a red coat--illustrations by American Roy Best from 1931. Before then, Hook was depicted in coats of blue and gray. Of course, since the 1957 Disney film (which went into development in 1935), he's generally depicted wearing red.

But now I've learned that British painter Gwynedd M. Hudson had the same idea as Best at around the same time. As Hudson is one of my favorite Peter Pan illustrators, I'm glad now that I decided Jas. should have not only his original blue and gray coats, but red. (Although in The Stowaway, they are reserved for battle and other important occasions.)


 James, splendid in his red coat.


I'm amused how well my characterizations of the crew align with Hudson's.

My visit to the Marchpane children's bookshop at Charing Cross in London turned out to be edifying in this regard. Not only did I get to hold a 1904 first edition Peter and Wendy (with appropriate whimpers and hopes of "someday"), the seller also had a 1931 Hudson first edition with dust jacket (those don't usually survive) which now lives at my house. That was a fantastic surprise.




I have several versions of Peter Pan that include Hudson's illustrations, reprinted in a single color. I knew from pictures I'd seen online that some of the originals were in two or three colors--but in the first edition Hudson, there are many full-color illustrations as well.




It turns out to be almost impossible to find information about Hudson online. However, Antiques Atlas has a profile that gives me far more information than I've been able to find before:

Gwynedd May Hudson, 1882-1932, was a Sussex artist, who studied at Brighton College of Art. She exhibited a painting at the Royal Academy in 1912, but is best know for her much loved illustrations of Alice in Wonderland in 1922 for Hodder & Stoughton and Peter Pan and Wendy in 1931, also for Hodder and Stoughton.

She also did a series of posters for the London Underground 1926-1929, copies of which are in the London Transport Museum. One of these lithographic posters of 'The Zoo' for the Underground achieved a price of £2,750 at Christie's in 2012.






Most sources give Hudson's date of birth as 1909. She might have been a prodigy who published Alice in Wonderland illustrations when she was thirteen,but it's unlikely she exhibited at the Royal Academy at the age of three. I'm also glad to know she didn't die at the age of 33.



Hudson seems to be best known for her Alice paintings.These are easily found reproduced online and for sale from auction houses, and even on mugs and t-shirts.

Friday, January 23, 2015

A partnership

A bit of back story that doesn't have a place in The Stowaway, but has found one here in Hook's Waltz.



She wasn't afraid of him, though perhaps she should have been. Of course it was her own establishment, and not as if the Scarlet Slipper relied upon the custom of him or his men—although certainly young Dorothy would have protested the loss of Mr. Mullins.

He had certain predilections which were not to her taste, to be sure, and she understood why the girls found him forbidding. But he was cleverer than most of her clientele, and more stylish, and his manner of speaking brought a bit of class to her drawing room. The drawing room where she met him now, where he refused to take a seat beside her, instead standing by the window out of the circle of light cast by the tasseled lamp overhead.

“I suppose this is when you tell me I am no longer welcome in your establishment.” He drew the curtain aside to peer out the window into the rain-swept Dover street and did not turn to meet 'Becca's eyes.

Dover, Inner Harbour, after John Henderson I.
 J.M.W. Turner, c. 1794-7, Tate UK

"You sound as though you are familiar with the request. But no, Captain, that is not why I asked to speak to you. Although I expect you know—”

“That my demeanor unsettles the ladies,” he said, throwing himself down upon the settee with such force that the teacup and saucer on the adjoining table did a merry dance. “They have not made it much of a secret.”

Good, thought 'Becca. She didn't want her girls to feel they couldn't speak up, couldn't defend themselves if they found it necessary. She had made her living and her reputation from a coterie of women who were genuinely willing to ply their trade, not to mention the pride her customers could take in being worthy of their attentions. If the Slipper lost a client from time to time, the loss was scarcely noted. And the loyalty her girls felt towards her, and the camaraderie among them, were qualities she had been told not to expect and which she was now most proud to have cultivated.

“Captain,” she said, interrupting the rapid tapping he made upon the arm of the settee with the point of his hook. “Please, do think of the furniture.”

“James,” he said. “If we are familiar enough to have such a conversation, you can speak to me by name.”

“James it is, then. And I am 'Becca.”

“'Becca,” he said, with the first inclination toward a smile she had seen upon his face. How strange that at times he seemed to have both the manners of a gentleman and the humbleness of a chastened boy.

“So, James, I have another proposition for you, should you care to hear it.”

“If courtesy alone did not do so, curiosity would persuade me to ask.”

Withdrawing a leather-bound notebook from beneath the cushion at her elbow, she handed it to the Captain, and dove into the waters of hope.

“'Tis the trade I had hoped to embark upon originally,” she said as he thumbed through the book, speaking quickly so she would not be distracted by the looks he cast upon the pages. “But making a living as a dressmaker was not as easy as I had hoped, not if I wanted to do more than patch the elbows of shirts and darn the heels of socks.”

He rose and carried the book with him to the window, pulling aside the draperies again to allow light to fall upon the drawings. “These are your designs?”

“Every one.”

“Have you sewn any of them yourself, or are these the drawings from which someone else will work?”

“I have sewn every scrap upon my person, and upon my girls as well.”

His eyes scanned the mauve silk of her gown, from the finely-stitched collar to the pintucked bodice to the rows of lace which adorned the skirt. “Most impressive. I had no idea.”



Later 'Becca would examine the fine gold of his compliment, but now was no time for such indulgence. “Look to the end of the book, if you would.”

The Captain complied, and a true smile grew upon his face as he did so.

“Coats worthy of a pirate captain,” said 'Becca, her confidence swelling. “And swatches of fabric on the back cover, if you would care to examine them as well.”

“This scarlet, it is quite magnificent. And the blue...”

“I thought 'twould bring out your eyes.” Perhaps she should not have said such a thing, that she had noticed that this fierce and notorious man, with his outrageous hair and remarkable height, the terrible steel hook in place of his right hand, had eyes the exact shade of forget-me-nots.

“Do you think so?” said James, pursing his narrow lips. “Perhaps it would do me no harm to dress to my natural inclinations, and Mr. Smee would be happy enough to forgo the responsibility of outfitting the crew.” He returned his attention to the notebook. “Gentleman Starkey, surely, would have need of this trade as well as your other. And Mr. Cecco would welcome the chance to strut his finery upon my deck. Although I should warn you, he is inclined towards removing the sleeves from his shirts. Perhaps waistcoats would better suit our Mr. Cecco.”

'Becca could not keep the grin from her face. “Have we a bargain, then, James Hook?”

“We do indeed, 'Becca Bloom, and I shall make your efforts worthwhile,” said the Captain, holding out his left hand. She took it in her own, a handshake to conclude a business transaction the likes of which she had never dreamed about in her tiny Yorkshire bedroom years before.

“Tea, Captain?”

“Yes, indeed. Let us drink to a partnership that I hope will transcend the years.”

'Becca poured a cup for the Captain and another for herself. “And James? You are content to leave our business as such?”

“'Tis rare enough that I may count someone a friend, 'Becca Bloom. If this means I may reckon you one, I will be well content to follow the rules as you make them.”

“Then a friend you shall have, James Hook. And a friend you shall be."

His face grew gentle, then, and his eyes warmed. She would not have guessed at such a tenderness the day he first appeared at her door, leading a half dozen of his men, all wet to the skin from rain and demanding entry. For not the first time, she was pleased that she had allowed them in.


Thursday, May 1, 2014

Dressing the Captain

After writing a post about Vivian Drew's attire, I would be remiss if I did not address that of Captain Hook. (And if she throws mugs at me to get her post, I don't want to think what he might do.)

J. M. Barrie mentions the captain's ruffled lace collars and his hair, which was "dressed in long curls, which at a little distance looked like black candles, and gave a singularly threatening expression to his handsome countenance." And he describes Jas. Hook as adopting "the attire associated with the name of Charles II, having heard it said in some earlier period of his career that he bore a strange resemblance to the ill-fated Stuarts."


Hook as pictured by contemporary artist Maxim Mitrofanov.
I can't find the year he  illustrated Peter Pan, or worse,
how to get my hands on  a copy of the book.

Ah, Charles II, the "merrie monarch" who took the throne after the puritan reign of Oliver Cromwell, who rescued the tradition of playing cards and reintroduced the celebration of Christmas as we know it today. And whose tenure is wonderfully summed up by Mathew Baynton in BBC's "Horrible Histories" (watch and sing it for hours, and then watch the rest of the Stuart episodes, and after that, just keep going through the many eras of Britain's history).




At first it seemed obvious that James would wear a red coat, but the more research I did, the more I realized this was a later convention, and one not necessarily adhered to by contemporary artists, either. As I mentioned in an earlier post, the first depiction I've found of Hook in red is by Roy Best in 1937, a look popularized by the 1953 animated Disney Peter Pan. Before that Captain Hook was depicted mostly wearing blue, and sometimes gray. Aha, I thought--red coats must be for battle. And so, in The Stowaway, they are.


Anne Graham Johnstone's Hook, 1988


Bilious green, I'm afraid, was too unflattering to be a serious option, as no doubt the Captain figured out for himself early on.


Peter Pan playing card issued
 by Pepys in 1910 with art by
Charles Buchel, 1904


The Captain would also have quickly found knee breeches with stockings and buckled shoes impractical for working on board a ship, and I see him trading those in fairly quickly for sturdy trousers and knee-high boots. Yet he would continue to revel in his brocade waistcoats and full-skirted coats with their ornate embroidery and deep cuffs to better display the the lace ruffles at his wrists. Vivian Drew points out--rightly--that James's wardrobe, elaborate as it is, rather resembles a uniform. He cannot disagree. Yet, within those parameters, he is every bit the clothes horse he encourages her to be.

And while this is not directly related to my research into the clothing choices of Jas. Hook, I can't close this post without sharing the art of Charlotte Whatley in her unusual and delicious steampunk paper doll version of Peter Pan.




There. Now I've shown James in his underwear too. Happy, Viv?

Thursday, February 27, 2014

Ten facts about Captain Hook

As promised! More Captain Hook in the blog this year. (Such a burden.) Some of these details were previously chronicled by J.M. Barrie, while others have been revealed as I work on The Stowaway. (Sources at the end.)

1. Peter Pan has convinced himself that he cut off the hand of Captain Jas. Hook and threw it to the Neverland crocodile. [1] The truth, however, is more complicated and sadder, and took place long before the two met. [3]

2. Books from the Eton library, inscribed with the name "Jacobus Hook," can still occasionally be found in second-hand bookstores. [2]


3. James Hook does fear the crocodile, but no more than he would any large and deadly creature. [3]


4. His hatred of Peter Pan results from the boy killing his men without remorse, tormenting him ceaselessly, and being irrepressibly cocky. [1,3]





5. James Hook is an inveterate clothes horse. The red coats for which he has become known are his battle coats, and the time of The Stowaway, he has three. For regular seafaring, he wears blue or gray. [3]

6. He has patterned his appearance after King Charles II, most spectacularly in the long black ringlets in which he wears his hair. [1] While many artists--mostly post-Disney--depict him in stockings and knee-breeches, he learned early on that such dress was not practical for piracy. [3]


7. Hook's eyes are the blue of forget-me-nots. [1] Barrie describes him as "blackavized" [1], or swarthy. Perhaps this coloration can be traced to his Welsh ancestry. [3]


8. His black hair comes from his mother's side of the family, while the chin he near-despises is a legacy from his thoroughly-despised father [3].





9. James Hook was a (largely unwilling) boy soprano. [3] He also played flute [2] and harpsichord. [1]

10. The Captain detests fiction, feeling that he gets enough make-believe during the time he spends in Neverland. Rather, he prefers histories for the understand they give him of the larger world. [3]


Bonus: The ship the Captain sails at the time of Peter Pan and The Stowaway is the third incarnation of the Jolly Roger. [3]


Sources:
[1] Peter Pan, J.M. Barrie, 1911
[2] "Hook at Eton," speech given by J. M. Barrie in 1927
[3] The Stowaway, by your blogger, still in progress