Still Life with Animals — Melchior d’Hondecoeter

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The Love Letter — Jacob Ochtervelt

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Wolf-Hound — Paulus Potter

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Around the Moon — Émile-Antoine Bayard and Alphonse de Neuville

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Three Books

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Speedboat by Renata Adler. 1988 trade paperback edition by Perennial Fiction Library (Harper & Row). No designer credited, but the cover illustration is by Steve Guarnaccia. A strange and funny (anti-)novel.

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The Uses of Literature by Italo Calvino (trans. Patrick Creagh). 1986 trade paperback by Harvest/HBJ. Design by Kaelin Chappell, with a cover illustration by Saul Steinberg. A book to never finish.

 

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The King by Donald Barthelme. Features wood engravings by Barry Moser. 1990 trade paperback by Harper and Row. No designer credited, but surely Moser had a hand, no? This is the only Barthelme novel I haven’t read. Every time I pick it up I think, But then there will be no more. Fool. One can always reread.

Mariana in the Moated Grange — John Everett Millais

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Perpetual Motion — Rene Magritte

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…it was here that Melville saw the work of JMW Turner

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Whalers, JMW Turner

It is clear from Melville’s journal, one of only two such surviving documents, that his mind was already playing with these ideas. Late at night, he “turned flukes” down Oxford Street as if he were being followed by a great whale, and thought he saw “blubber rooms” in the butcheries of the Fleet Market. And when he saw Queen Victoria riding past in a carriage, he joked that the young man sitting beside her was the Prince of Whales. London – which itself had only lately been a whaling port – was stirring up the ghosts of his past.

Perhaps most importantly, it was here that Melville saw the work of J M W Turner, a clear visual influence on his book-to-be. Turner had painted a series of whaling scenes for Elhanan Bicknell, whose British whaling company was based in the Elephant and Castle; parts of Moby-Dick would read like commentaries to those tempestuous, brutally poetic canvases, not least the painting that greets Ishmael at the Spouter-Inn, “a boggy, soggy, squitchy picture” of “a black mass . . . floating in a nameless yeast . . . an exasperated whale”. It is all the more intriguing to note how Melville’s Anglophilia was the yeast out of which this great American novel emerged – especially given that the book failed spectacularly in his homeland and it was left to British writers to recognise first its wilful, prophetic genius.

Read the rest of Philip Hoare’s essay “White Whale in the Big Smoke: How the Geography of London Inspired Moby-Dick” at the New Statesmen.

Leda and the Swan — Lelio Orsi

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Voyage d’Hermès — Moebius

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Still Life with Raisin Cake, Fruit and Wine — William Michael Harnett

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The Ship of Fools — Hieronymus Bosch

The Astonishment of the Mask Wouse — James Ensor

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