I was looking for an image to accompany a riff I wrote on Thomas Pynchon’s novel Against the Day. The riff circles around the skyship adventurers The Chums of Chance, characters who are both “real” in the novel and also “literary” — that is, they are the stars of dime novels that other characters in the novel read. I was hoping that maybe some creative soul had created a Chums of Chance book cover that I could use with the post. Through a few basic searches and a Metafilter board, I found my way to something far more intriguing—the strange watercolor and collage pieces of Charles August Albert Dellschau.
Here’s a little background on Dellschau (from John Foster’s excellent article–chock full of images!—at Observatory):
It turns out that the drawings/watercolors were the work of one Charles August Albert Dellschau (1830 – 1923). Dellschau was a butcher for most of his life and only after his retirement in 1899 did he begin his incredible career as a self-taught artist. He began with three books entitled Recollections which purported to describe a secret organization called the Sonora Aero Club. Dellschau described his duties in the club as that of the draftsman. Within his collaged watercolors were newspaper clippings (he called them “press blooms”) of early attempts at flight overlapped with his own fantastic drawings of airships of all kind. Powered by a secret formula he cryptically referred to as “NB Gas” or “Suppa” — the “aeros” (as Dellscahu called them) were steampunk like contraptions with multiple propellers, wheels, viewing decks and secret compartments. Though highly personal, autobiographical (perhaps!), and idiosyncratic, these artworks could cross-pollinate with the fiction of Jules Verne, Willy Wonka and the Wizard of Oz. The works were completed in a furiously creative period from 1899 to 1923, when air travel was still looked at by most people as almost magical. Newspapers of that period were full of stories about air travel feats and the acrobatic aerial dogfights of WWI were legend.
Verne, Oz, and steampunk are all clear comparisons. I’d add to them the manic spirit of Kurt Schwitters’s collages, the buzzing claustrophobia of Joseph Cornell’s boxes, and the cartoony contours of turn-of-the-century comics.It also reminds me of Luigi Serafini’s surreal cryptoencyclopedia, Codex Seraphinianus. And of course, Dellschau’s work resonates strongly with Pynchon’s novel Against the Day, more ludic than lunatic. His work shows an obsession fueled by science and science fiction alike, as well as a frankly adolescent sense of line, proportion and color. I love it. See more here and here.