|This biography from the Archives of AskART:|
|William Wallace Denslow (American, 1856-1915) artist, children’s book
illustrator, editorial cartoonist, designer, Roycroft artisan, author
& self-publisher, set & costume designer, poster illustrator,
and caricaturist. Denslow was best known for his beloved
illustrations for author Lyman Frank Baum’s famous children’s book The Wonderful Wizard of Oz, (1900) on which his fame mostly rests, and also for Clement Clark Moore’s Denslow’s Night Before Christmas,
(1902), his own Denslow’s Picture Book Series, an eighteen-volume set
which he adapted and illustrated himself (1903-04), and numerous other
publications and for his illustrative involvement with Elbert Hubbard’s
Roycroft community of Arts & Crafts artisans at the turn of the
20th Century. |
At the early age of fifteen he began studies at the Cooper Union School
of Art, and later studied at the National Academy of Design, both in
NYC, but was largely self-educated and self-trained. By the age of 16
Denslow had already begun his illustrative career by submitting
illustrations to different magazines, publishing his first
illustrations in Hearth and Home at the age of eighteen.
He married in 1882 but was divorced by 1884, and moved to Chicago to
begin working for the Chicago Herald. Through the mid
1880’s-1893, Denslow traveled all over the United States as a freelance
artist and newspaper reporter, going wherever the work was. During that
time, he gained an international reputation for his poster art which
was used in magazines, newspapers and books. By 1893 he was
living in San Francisco, but while visiting Chicago for the World’s
Columbian Exposition he decided to return to work again for the Chicago Herald.
“While employed by the Chicago Herald
in 1894 Denslow’s reputation as an illustrator grew. As these sketches,
generally signed “Den”, received wider recognition, he frequently added
to the signature his “totem”, the seahorse (or hippocampus), which he
had first used in San Francisco in a few sea or other water pictures.
Probably influenced by the monogram signatures on Japanese prints (an
international fad in the 1890’s), many artists adopted these
totems. As Denslow used his seahorse more and more, he realized
that a distinctive signature not only identifies an artist but also
contributes to the overall design of a picture. He wrote his
friend the photographer Alfred Stieglitz: “it is well to have a sign or
totem, as my hippocampus has saved many a composition for me, and I
hold him in reserve for that purpose.” His growing identity with the
seahorse earned him the nickname ‘Hippocampus Den.’”
1896, Denslow began his artistic collaboration with Elbert Hubbard, the
guiding force of the Roycroft Arts & Crafts community of artisans
located in East Aurora, New York. Denslow was the first
professional artist invited by Hubbard to work at the Roycroft shops.
“Elbert Hubbard was always “discovering” artists to bring into the
Roycroft Community. William Wallace Denslow was an early “discovery”
who began his association with the Roycrofters in 1896, designing book
illustrations, title pages and cover designs for the Roycroft
publications and fine books. Denslow was a collector of fine books, and
his “illustrated” order for a fine Roycroft book brought him to the
attention of Hubbard. Denslow’s popular caricatures and satirical
cartoons became regular features in The Philistine magazine.
Denslow’s contributions to the Roycroft press were recognized for the
success of many of the early editions. Hubbard adopted his seahorse as
the insignia of The Philistine, and among the items which he
sold to the Roycroft faithful was a set of seahorse andirons. He
collaborated with Hubbard on the design of several Roycroft buildings,
notably the Chapel/Library. After 1900 Denslow was only an occasional
visitor to East Aurora. Denslow later achieved fame as the illustrator
of L. Frank Baum’s “The Wizard of Oz” and concentrated on designing books for children.”
first met Baum in Chicago around 1896, possibly at the Chicago Press
Club of which both men were members. By 1898 their first collaboration
was published for the The Show Window, a trade journal which included illustrations by Denslow and also By The Candelabra’s Glare, which included two pen and ink sketches by Denslow. Then came Baum’s children’s book Father Goose, His Book,
published in 1899 which Baum and Denslow funded themselves and became
the best-selling children’s book of 1899. One year later with shared
funding again, their great American fairy tale The Wonderful Wizard of Oz
was published, an impressive achievement that became an instant
success, garnering the two men fame and firmly establishing their
reputations in the children’s book field. It originally sold for $1.50
and became another best-seller that year.
Today, Denslow is almost
solely remembered for that one work. “Despite their success together,
Baum and Denslow produced only one more children’s book, the pretty
fairy tale Dot and Tot of Merryland (1901). The two bitterly
clashed over the 1902 musical extravaganza The Wizard of Oz based on
their most famous book and went their separate ways.”  Baum and
Denslow shared joint-copyrights for each of their book collaborations
and the play adaptation, so royalty conflicts were more than likely
another reason for their failed relationship. In the same year 1902,
Denslow’s beloved & widely popular book Denslow’s Night Before Christmas,
by Clement Clark Moore, LLD, was published. It contained full-color
plate illustrations by Denslow plus full-color vignette illustrations,
with an introduction by Grace Duffie Boylen.
considerable profits from the plays and books, he bought a small island
in Bermuda, built a “castle” on it, and crowned himself King Denslow I
of Denslow Island. But all fashions fade. Denslow began drinking
heavily as his career went into a slump. He spent his last years
working for a third-rate advertising agency in New York, drawing
postcards, sheet music covers, advertising booklets, and an occasional
magazine illustration. In 1915, he unexpectedly sold a cover to the
popular humor weekly Life, went on a bender with the money, caught pneumonia and died. He was only 58 years old.”
was a character. The poet Eunice Tietjens described him as “a
delightful old reprobate who looked like a walrus.” He married three
times and divorced three times. Alcohol finally did him in. But he
produced some of the most important children’s books of his day.”
“I recall that ‘Den’, as we called him, had a striking red vest of which he was inordinately fond,” reported Harry Baum in the American Book Collector
(December 1962). “And whenever he came to our house, he would always
complain of the heat as an excuse to take off his coat and spend the
evening displaying his beautiful vest. The family used to joke about it
among ourselves, but it was a touchy subject with Denslow, and we were
all careful not to say anything about this vanity during his visit.”
The vest was hardly the most striking thing about this eccentric
artist. He had a large walrus mustache, and (as Elbert Hubbard’s son
explained in a letter of August 11, 1958) he “was a pretty gruff old
fellow.” When not smoking his corncob pipe, he chewed tobacco. Another
contemporary, Felix Shay, in his Elbert Hubbard of East Aurora
(1926), said that Denslow had “the voice of second mate in a storm—a
fog horn voice,” a twisted sense of humor, “always grumbling about
nothing, always carping, always censorious, and laughing uproariously
when he had secured an effect (Page 149)”
“To make children
laugh, you must tell them stories of action,” Denslow explained. “I
tell my stories with pictures, and I can often indicate action by
expression. Action and expression, then, are two of my mainstays, and
when you add the incongruous, you have the triad that I rely on.”
1856- Born, May 5th, Philadelphia, PA.
1871-72- At the age of fifteen, began studies through two winters at the Union School of Art, NYC.
1872- Began his illustrative career by submitting illustrations to different magazines.
1873-74- Continued studies through two winters at the National Academy of Design, NYC.
1874- Denslow’s first illustrations are published in the Hearth and Home at the age of eighteen.
November 30th, Denslow married his first wife Annie (née McCartney) and
opened a studio in New York City where he drew magazine illustrations
and designed theater costumes.
1884- Denslow and his wife divorced and he moved to Chicago, IL and started working as an illustrator for the Chicago Herald and also illustrated books.
1880’s-1893- Denslow traveled all over the United States as a freelance
artist and newspaper reporter. Briefly lived in Colorado and eventually
settling in San Francisco, CA, where he first started using his famous
“totem” monogram, the seahorse (or hippocampus).
1893- After visiting the World’s Columbian Exposition, Denslow relocated to Chicago, IL.
1894- Worked again as an illustrator for the Chicago Herald, Chicago, IL.
Began his artistic collaboration with Elbert Hubbard, the guiding force
of the Roycroft Arts & Crafts community of artisans located in East
Aurora, New York and was the first professional artist invited to join
the community. He designed book illustrations, title pages and covers
for Roycroft publications and fine books, with his popular caricatures
and satirical cartoons regularly featured in The Philistine
magazine. Denslow also collaborated with Hubbard on several designs for
different Roycroft buildings, notably the Chapel/Library. The same year
on February 20th, he married his second wife, Ann (née Waters Holden).
After 1900 Denslow only occasionally visited East Aurora. Denslow first
met the author Lyman Frank Baum, Chicago, IL.
1898- Denslow and L. Frank Baum began their professional collaboration and published The Show Window, a trade journal which included illustrations by Denslow as well as the privately published By The Candelabra’s Glare, which included two pen and ink sketches by Denslow.
1899- Denslow and L. Frank Baum, self-published the children’s book Father Goose, His Book, with Denslow illustrations, and joint-copyright. The book was the best-selling children’s book of 1899.
1900- L. Frank Baum’s most famous book The Wonderful Wizard of Oz
was published, with Denslow illustrations, again with shared funding
and joint-copyright. Denslow today is almost solely remembered for that
one literary work. It went on to be the best-selling children’s book of
1901- L. Frank Baum’s Dot and Tot of Merryland was
published, with joint-copyright. The book was one of Baum's weakest,
and its failure further strained an already faltering relationship with
Denslow, but was considered Denslow's most purely decorative creation.
It would be their last collaboration together in book-form.
1902- Following the success of the The Wonderful Wizard of Oz,
Baum and Denslow (set & costume designs) teamed up with composer
Paul Tietjens and director Julian Mitchell to produce a musical stage
version of the book under Fred R. Hamlin, with the title shortened to The Wizard of Oz.
It opened in Chicago, IL in June of that year, then ran on Broadway and
also successfully toured the United States until 1911 when it became
available for amateur use. The stage version was a huge success but
differed from the book and was aimed primarily at adults. Denslow and
Baum bitterly clashed over the musical play and parted ways soon
afterward. The beloved children’s book Denslow’s Night Before Christmas was published.
Denslow moved to NYC, where his second marriage to Ann Waters Holden
had ended in divorce. Christmas Eve of that same year, Denslow
remarried third wife Frances Golsen (née Doolittle), NYC.
1903-04- With royalties from the book and stage versions of The Wizard
of Oz, Denslow purchased Bluck’s Island off the coast of Bermuda, in
Great Sound (AKA Denslow’s Island, or Dyer Island), built a castle and
crowned himself King Denslow I. The Pearl and The Pumpkin, by Paul Clarendon (1904), was adapted into a play, for which Denslow designed the stage production.
Denslow’s Picture Books series are published, which consisted of an
eighteen volume set of nursery rhymes and stories, adapted and
illustrated by Denslow, G.W. Dillingham Co. Publishers.
1905- Maintained a NYC address at 129 Riverside Drive, in addition to his Denslow Island residence in Bermuda.
1906- Denslow separated from his third wife Frances Doolittle.
June, Carl E. Randrup negotiated the sale of Denlow’s Island in Great
Sound, Bermuda, with a large stone residence, cottage and other out
buildings to a New York buyer who wanted to make it his wintertime
residence, with the asking price of $30,000.
fallen on bad times, Denslow took a job with a small salary at a New
York City art agency. He also maintained a residence at 1050 Niagara
Street, Buffalo, NY.
1910-1915- Denslow occasionally sold poems and sketches to different magazines during the years before his death.
1915- July 15, his last cover illustration How Perfectly Absurd! was published in Life
magazine, Vol. 66, No. 1707, which he originally sold for $250, and was
the only substantial commission he had received in a long time.
Suffering from alcoholism, Denslow drank his commission away and two
days later he contracted pneumonia and died, May 27th, at the age of
58, NYC. No major newspaper ran his obituary. He was buried in Kensico
Cemetery, Valhalla, Westchester County, NY, and his grave went unmarked
until February 21, 1986.
2006- Exhibition, July 11 to October 22, “The Wonderful Art of Oz”, a selection of Denslow’s illustrations from The Wonderful Wizard of Oz, Eric Carle Museum, Amherst, MA.
Ad Club, Buffalo, NY; Chicago Press Club, Chicago, IL; Columbia Yacht
Club, NYC; Dingey Club, Hamilton, Bermuda.
Museums: Orange County Museum of Art, Newport Beach, CA.
Syracuse University, Syracuse University Library: Special
Collections Research Center, Box 1: Original artwork consisting of 7
items including a pencil drawing bearing the caption: A Nickel plate
of Soup: Dining Car all the Way on postal card to Mrs. W.T. Hall 1901
Mar., a pencil drawing of dog Dacious at 5 n.d., a pencil drawing
of man in bathtub n.d., a watercolor drawing bearing caption:
"'The granulated lid' goes all right on B'way" on postal card to Judge
W.T. Hall 1901 Oct. 16, a Christmas watercolor drawing "To Judge "Biff"
1901, a Christmas watercolor drawing "To Mrs. W.T. Hall" 1901 and a
calligraphic and watercolor invitation for a New Year celebration to
Mrs. & "Biff" Hall 1900 Dec.,
A number of pencil and ink drawings
by Denslow are held by the University Art Collections and can be found
at the Lowe Art Gallery in the Shaffer Art Building on the campus of
the University, Syracuse, NY;
Mentioned in letter by L. Frank Baum to
his brother Dr. Harry L. Baum regarding the The Wonderful Wizard of Oz,
April 8, 1900, Holograph manuscript, in the Arents Collection, Astor,
Lenox, and Tilden Foundations, along with “Dorothy gazed thoughtfully
at the Scarecrow”, 1899, Pen-and-ink drawing, “Exactly so, I am a
humbug”, “The Lion ate some of the porridge”, 1899, Pen-and-ink
drawing, and “The Monkeys caught Dorothy in their arms and flew away
with her”, 1899, Pen-and-ink drawing, “These People were all made of
china”, 1899, Pen-and-ink drawing, “Mice pulling lion”, 1899,
Pen-and-ink drawing in the Print Collection, Miriam and Ira D. Wallace
Division of Art, Prints and Photographs, and a 1902 cover illustration
of an “Inland Gnome” from the prospectus announcing the production for
the musical extravaganza, The Wizard of Oz: Grand Opera House, (previously drawn in 1894 for The Inland Printer),
The New York Public Library, Astor, Lenox, and Tilden Foundations; de
Grummond Collection, biographical information and drawings from three
books by Denslow published between 1900 and 1904, with six
mounted original pen & ink drawings from Denslow's 1903 picture
book, Jack and the Bean-stalk, also included in the collection is a printer's proof of a pen & ink drawing from Denslow's Scarecrow and the Tin-man and Other Stories (1904),
one of eighteen pamphlets that were part of the Denslow's Picture Book
series, the collection contains two mounted pen & ink drawings from
Little Red Riding Hood (1903), from the McCain Library and
Archives, University Libraries, University of Southern Mississippi,
W.W. Denslow Papers, Collection number DG0262, Collection dates
1900-1904, 1 box. And many more in collections not previously listed,
for such a prolific artist.
Dollars and Sense: or How to Get On, The Whole Secret in a Nutshell,
by P. T. Barnum, many B&W illustrations by Denslow, some photos and
other illustrations by Will Bradley, Eastern Publishing/Henry S.
The Show Window, illustrations for trade journal by L. Frank Baum, (1898);
By The Candelabra’s Glare, by L. Frank Baum, two pen and ink sketches (1898);
Father Goose, His Book, L. Frank Baum, the first of his children’s books to be illustrated by Denslow, (1899);
The Wonderful Wizard of Oz,
by L. Frank Baum, W.W. Denslow (shared copyright), 24 color plates and
two-color headpieces and tailpieces, chapter title pages, and other
marginalia, Geo. M. Hill Co., New York, (1900);
New York World, two
“Father Goose” illustrations, (1900); Dot and Tot of Merryland, by L. Frank Baum, Geo. M. Hill Co., Chicago, (1901);
When the Band Played: A Book for Readers and Entertainers,
by Grace Duffie Boylan, with illustrations by W.W. Denslow (cover), Ike
Morgan, J.T. McCutcheon, Everett E. Lowrey, W. Schmedtgen, Harry O.
Landers, Jules M. Gaspard, F. Holme, Clyde J. Newman and Harold R.
Heaton, Jamieson-Higgins Co., Chicago, (1901);
Mother Goose, W.W. Denslow (author, editor and illustrator), McClure, Philips, New York, (1901);
Billy Bounce, D.A. Bragdon & W.W. Denslow (joint authorship), syndicated comic strip with Denslow illustrations, (1901);
First issue, Denslow’s Night Before Christmas,
by Clement Clark Moore, LLD, cover & interior illustrations by W.W.
Denslow, M.A. Donahue Co., paper board-bound edition (cover wrap
illustration of Santa flying in his sleigh with his reindeer),
unpaginated, (1902), and also a second issue by with G.W. Dillingham
Co. Publishers, New York, introduction by Grace Duffie Boylen, cover
& interior illustrations by W.W. Denslow, cloth-bound edition with
paste-on color illustration (Santa in a circle with arms outstretched
standing in a snowstorm), unpaginated, (September, 1902);
The Wizard of Oz: Grand Opera House,
cover of the prospectus announcing the production for the musical
extravaganza, Inland Gnome illustration (previously drawn in 1894 for
The Inland Printer), (1902);
Pictures from the Wonderful Wizard of Oz,
by J.S. Ogilvie, slim pamphlet of unused sheets of 24 color plates for
the book, Denslow’s name of the cover and title page, with a new story
by Thomas Russell on verso, (1903);
Denslow’s Picture Book Series,
by W.W. Denslow, adapted and illustrated by Denslow, 18-volume set,
G.W. Dillingham Co. Publishers, (Published between 1903-1904);
The Marvelous Land of Oz,
by L. Frank Baum and W.W. Denslow (drew new cover, titlepage and end
covers) from the previous publication for the musical play under the
title Pictures from the Wonderful Wizard of Oz, by J.S. Ogilvie, The Madison Book Company (reformed as the Reilly & Britton Company), (1904);
The Pearl and The Pumpkin,
by Paul Clarendon West & W.W. Denslow (joint authorship) and
Denslow illustrations, G.W. Dillingham Co. Publishers, New York,
Denslow’s Scarecrow and Tin Man, comic strip, provided
to newspapers by the McClure Syndicate, fourteen weekly strips were
published between December 11th, 1904 and March 12th, 1905, Denslow's
offering was carried by relatively few papers, and soon died, only the
Cleveland Plain Dealer carried its entire run;
Me and Lawson: “Humpty” Hotfoot’s Little Run In With Frenzied Copper, Amalgamated Gas And Scrambled Oil,
by Richard Webb, G.W. Dillingham Co., New York, (1905);
Annual, Florence N. Levy (editor), American Art Annual, Inc., Vol. 5,
Pg. 348, New York, (1905-06);
The New Wizard of Oz, by L. Frank Baum and W.W. Denslow (drew new cover, titlepage and end covers) from the previous publication under the title Pictures from the Wonderful Wizard of Oz,
by J.S. Ogilvie, the original 24 color plates were cut down to 16,
Bobbs-Merrill (Previously named Bowen-Merrill until 1903),
Indianapolis, ID, (Printed in England in 1906);
The Jeweled Toad, by
Isabel M. Johnston, Bobbs-Merrill, Indianapolis, (1907);
When I grow
Up, W.W. Denslow (author & illustrator), Century Co., New York,
Through Foreign Lands with Sunny Jim, by W.W. Denslow (author, illustrator), 36 pg. book, Buffalo, NY, H.O. Company, (1910);
Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States,
by Albert Nelson Marquis (editor), Vol. VI, Pg. 510, Chicago, A.N.
Marquis & Company, London: Kegan Paul, Trench, Trubner & Co.
Who’s Who In New York City and State: A Biographical Dictionary of Contemporaries, Volume 9, Fifth Biennial Edition, W.F. Brainard, Press of Wm. G. Hewitt, Brooklyn, New York, 1911;
How Perfectly Absurd!, Life magazine cover illustration, Vol. 66, No. 1707, July 15th, (1915);
My Favorite Circus Book, complete reprints of Denslow’s illustrations from One Ring Circus and Other Stories (1903), Donohue, (1920);
Elbert Hubbard of East Aurora, by Felix Shay, (1926);
American Book Collector, “How my Father Wrote the Oz Books”,
by Harry Neal Baum, (son of Frank L. Baum), Volume XIII, No. 4, Baum
Special Issue, Pg. 17, December, 32 pages, illustrated, (1962);
American Book Collector, Volume XV, No. 4, Denslow Special Issue, 32
pages, illustrated, December, (1964);
The Annotated Wizard of Oz: The Wonderful Wizard of Oz, By Michael Patrick Hearn, (1973);
American Posters: of the Turn of the Century, by Carolyn Keay, (1975);
American Poster Renaissance,
by Victor Margolin, (1975); W.W. Denslow, By Douglas G. Greene and
Michael Patrick Hearn, [Mount Pleasant] Clarke Historical Library
Central Michigan University, (1976);
American Picturebooks from Noah's Ark to the Beast Within, by Barbara Bader, (1976);
Turn-of-the-Century America Paintings, Graphics, Photographs 1890-1910, by Patricia Hills, (1977);
A Treasury of the Great Children's Book Illustrators, by Susan E. Meyer, (1983);
Views and Viewmakers of Urban America, 1825-1925, by John W. Reps, (1984);
Artists of the American West: A Biographical Dictionary (3 volumes), by Doris Dawdy, (1985);
The Critical Heritage Edition of the Wizard of Oz, By Michael Patrick Hearn, Schocken, New York, (1986);
American Illustration 1890-1925 Romance, Adventure and Suspense, by Judy L. Larson, (1986);
Dictionary of Signatures & Monogram, by Peter Hastings Falk, (1988);
Denslow’s Picture Book Treasury, By Michael Patrick Hearn, Brown & Co./Arcade, (October 1, 1990);
Designed To Sell: Turn of the Century Posters, by Frederick R. Brandt, (1994);
Eyes of the Nation: A Visual History of the United States, by Vincent Virga and Alan Brinkley, (1997);
Who Was Who in American Art, 1564-1975, by Peter Hastings Falk (Editor in Chief), 3 Volumes, (1999);
Artists in California: 1786-1940, by Edan Milton Hughes, 2 Volumes, (2002);
Davenport's Art Reference: The Gold Edition, by Ray Davenport, (2005);
The Artists Bluebook: 34,000 North American Artists to March 2005,
by Lonnie Pierson Dunbier (Editor), AskArt.com, Inc., (2005);
other publications not previously mentioned, for such a prolific artist.
& compiled chronologically by Mark Strong of Meibohm Fine Arts,
Inc., East Aurora, NY, 11/2009)
Sources: Our internal records; With
permission from AskArt.com, info and prior submissions;
library.syr.edu, online William Wallace Denslow Collection, An
inventory of his collection at Syracuse University, Overview of the
Collection, Biographical History, Scope and Content of the Collection,
Related Material, Inventory; loc.gov, online database, The Wizard of
Oz: An American Fairy Tale, “To Please a Child”: L. Frank Baum and the
Land of Oz, section: Copyright Application for Father Goose, His Book,
section: Baum’s Letter to His Brother April 8, 1900; alibris.com;
Wikipedia.com, biographical information and portrait photo which is in
the public domain; Info and quote  and  from, W.W. Denslow,
By Douglas G. Greene and Michael Patrick Hearn, [Mount Pleasant] Clarke
Historical Library Central Michigan University, pgs. 35-36, (1976);
oz.wikia.com; quotes, , , , and artist quote  from online
article by Michael Patrick Hearn, “The Man Behind the Man Behind Oz: W.
W. Denslow at 150”, July 5th, 2006; The Annotated Wizard of Oz: The Wonderful Wizard of Oz,
By Michael Patrick Hearn, and quote  from page 31-32, Centennial
Edition, W.W. Norton & Company, Inc., (1973, 2000); dardhunter.com,
online article “W.W. Denslow, The Seahorse Design”; library.syr.edu,
biographical info; aiga.org, exhibition info;
bibliodyssey.blogspot.com, online article, “An Original Oz”, Friday
August 10th, 2007, posted by peacay; query.newyorktimes.com, online
digitized newspaper article from The New York Times, “Market for Islands Looking Up”, June 5, 1908, 104729120.pdf; books.google.com, online digitized publication, Who’s Who In New York City and State: A Biographical Dictionary of Contemporaries,
Volume 9, Fifth Biennial Edition, W.F. Brainard, Press of Wm. G.
Hewitt, Brooklyn, New York, 1911; findagrave.com, Record added: Nov 16,
1998, Find A Grave Memorial# 4022; eBay.com, prior listing for 2
bookplate illustrations, “What’s the Use?” and “Victory?”, from “The
Isle of Content”, by George F. Butler, and both illustrations ahead of
chapters of poetry by the same name, Erudite Press, (1902); online
digitized book, American Art Annual, Florence N. Levy (editor), American Art Annual, Inc.,
Vol. 5, Pg. 348, New York, (1905-06); lib.usm.edu, online de Grummond
Collection, biographical information from the McCain Library and
Archives, University Libraries, University of Southern Mississippi,
W.W. Denslow Papers, Collection number DG0262, Collection dates
1900-1904, 1 box; imdb.com, biographical information; Online digitized
book, Who’s Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States,
by Albert Nelson Marquis (editor), Vol. VI, Pg. 510, Chicago, A.N.
Marquis & Company, London: Kegan Paul, Trench, Trubner & Co.
Ltd., (1910-11); fultonhistory.com, online digitized newspaper, info
for the book, Through Foreign Lands with Sunny Jim, by W.W. Denslow (author, illustrator), 36 pg. book, (1910), Utica Herald Dispatch, Thursday Evening, May 25, 1910, Utica NY Herald Dispatch 1910 - 1481.
PDF; gutenburg.org, info on “Denslow’s Picture Books for Children”,
series, 12 books shown; unm.edu,”Part A: Authors and Their Works, An
Annotated Listing of Criticism.)
|These Notes from AskART represent the beginning of a possible future biography for this artist. Please click here if you wish to help in its development:|
|Did illustration for G.W. Dillingham & Co. in the early 1900s.|
|Biography from Crocker Art Museum Store:|
|Painter. Born in Philadelphia, PA on May 5, 1856. |
Denslow studied at the Cooper Union and NAD in NYC. He was a resident of San Francisco in 1893 and by 1913 had returned to NYC.
He specialized in children's books and stage extravaganzas. He died in New York in 1915.
In: Orange Co. (CA) Museum. CD; AAA 1913.
|Nearly 20,000 biographies can be found in Artists in California 1786-1940 by Edan Hughes and is available for sale ($150). For a full book description and order information please click here.|
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