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F.O.C. Darley related "internet" links

...Plus some confirmed facts & some anecdotal input. (Updated...+ / - as time permits):

You may simply "scan" down to see the links available, or you may select from the index below to go directly to an area. Use your browser's "back" key to return to index listing.


Poe was a key person in getting Felix "started" as an illustrator (1843). He first "recognized" the great potential that Felix had, when at age 21, Felix submitted work to Poe for his Philadelphia "Saturday Museum" magazine. (A Poe quote can be found elsewhere in the Darley Web Site.) Some net ref. are:


While 'most' of Dickens works were done by his "English" illustrators, Felix became known as his "American" illustrator. Some of our research indicates that Felix did "a few" English works, and MANY American MAGAZINES and editions of Dickens books done here in America. Henry Wadsworth Longfellow "introduced" Felix to Dickens in 1867, (per a letter at the Cambridge, MA Historical Society) after Felix had become known for his Dickens works; we believe that the Dickens visit to Darley's home in Delaware was in early 1868, a few months after that dinner meeting "introduction":




CLEMENT C. MOORE's "A vist from Saint Nicholas".

Moore did his famous poem in 1822.. Felix was one year old. Moore did the poem for his family (of 7 children) and was not interested in publishing it. Our research indicates that Moore got the "visual" Santa from Washington Irving's "A History of New York" published in 1809.

Moore's poem was first published in 1848 in a pamphlet form... with eight illustrations by T.C. Boyd. Only two of these are known to have survived.

The first BOOK by Moore was published in 1862 (Gregory, NY) ... it contained illustrations by Felix Darley.

So, Darley was at least partly responsible for how we "see" Santa Claus today. It was reported at the time that Darley's fame was responsible for selling the book as much as was the poem itself. Of course, since 1862, MANY editions of "A visit from Saint Nicholas" have been issued ... with illustrations by MANY different illustrators, including one by the more well known Thomas Nast in 1863. (Nast did do a Santa illustration in "Harper's Weekly" before Darley's illustrations appeard in 1862; Nast's St. Nick illustrations for C. Moore's book was published in 1863 ... a year after the Darley edition.)

It is interesting to note that the question of whether or not Moore was the original author of "A Visit From Saint Nicholas" is showing up more these days. A relative of (Revolutionary War Major) Henry Livingston, Jr., has many "interesting" points that she, and some scholors, say support the claim that Moore plagairized the poem. A few references to this can be found on the internet. ...Go to "a" web site with some info on this (The Darley Site webmaster has several emails from a relative of Maj. Livingston, with several 'arguments' FOR the Livingston 'case.')

The Darley Society does NOT take any position on this ... we are just advising that this claim is "out there."


Illustrated by Darley.
...GO TO Univ. of New Hamp.

Henry Wadsworth Longfellow

"GENERAL ITEMS" ... Henry Wadsworth Longfellow




A good 'illustration' source and place to buy art.

Mr. Frederic Taraba, Assistant Director of Illustration House is on the Advisory Board of the "Darley Society."


While deveoping a different style, in his youth, Howard Pyle was influenced by Darley. ...Go to a Pyle Net Site

This site details that Howard's mother made illustrations by Darley and other leading illustrators available to Howard in their Wilmington, DE home (Howard was 7 yrs old when Darley moved to Claymont, 7 miles to the north of his home.)




Linked here as examples of sales prices.



This next section is for the more serious "searcher" on Darley AND other Art subjects.

The area is 'under construction' ... and will be added to, AND refined in the next few weeks. Please be patient, as both of us working on this are doing it as volunteers, and 'as time permits.'// Editor

Our goal is to make this page an easy and complete internet guide to (1) F.O.C. Darley and writers for which he illustrated, (2) Illustrative Art in general, and (3) Art of all types and interest in Delaware.

It is a big, and continuing undertaking; your comments and upgrades are 'encouraged.'

Send email to Carol


ILLUSTRATED POEMS, by Mrs. L.H. Sigourney. Philadelphia, Carey & Hart, 1849. Steel engravings: 16 plates, 15 after Darley, engraved by Hinshelwood, Dougal, Cushman, and others. (Bolton) ================

Antiques prints of the American West page 2, "Goldwashing"

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cat0307.html see #138

University of Michigan Making of America Page 513 in this is "Italian Street Scene" - the cover. To print these put page set up at 50%. Do a print preview and then print.

York Institute - Pilgrim's Progress

Drovers Halt

...y,+Felix+Octavius+Carr,+1822+188 8,+artist.+))

Brandywine Illustrators, Maxfield Parrish, Arth "At the outset of his career Darley had no rival in the field of book illustration. His name, featured on the title page with that of the author during the first decade of his career, was later grouped on title pages with the names of other illustrators who began to meet the increasing demand for pictures in books. The last half of his career he shared his popularity with the great illustrators of the rising generation."

"Thus in "Mr. Bodley Abroad", 1881, Darley is listed as an illustrator with Winslow Homer. In the anthology "Lyrics of Home-Land", 1882, his name appears in the list of illustrators with Winslow Homer and Howard Pyle. In the large two-volume "Poetical Works of Longfellow", 1883, he was listed as an illustrator with Abbey and Frost."

"The reproduction of his work in association with that of Homer, Abbey, Pyle, Frost, and Remington in these volumes is sufficient not only to show his undiminished popularity, but also to reveal his relative importance as an illustrator. He ranks with these, among the greatest of American book illustrators."

"The Book Illustrations of Felix Octavius Carr Darley" by Theodore Bolton Proceedings of the American Antiquarian Society, April 18, 1951 Volume 61 Part I

The Gallery: After the Bear Hunt

Post-1800 Americana at The Philadelphia Print S

Felix O.C. Darley. Two sets of illustrations issued by the American Art Union. New York, 1848-49. Six etchings by Darley in each; prints ca. 8 x 11. With original printed paper covers. Some typical wear, but very good condition.



Ga lerie acadienne

Georgetown Special Collections Main Menu

Darley, Felix Octavius (1822 - 1888) After a Day's Sport in the Sierra's (1888) 209mm x 284mm . No picture This is a link to the Georgetown University Library Put in the where to see Darley's works part. They may only have one Darley but they have a lot of other stuff.

Dess ins de Gavarni

"Among the authors represented were Frank Forester, William T. Porter, J.J. Hooper, W.T. Thompson, J.B. Jones, and W. Gilmore Simms. Although the illustrations which Darley drew for their work are not always well reproduced, when the wood engravers took care with the plates his illustrations for these authors are comparable with the book designs which Gavarni produced at this time in France." (Bolton)

These pictures are great. The captions slightly risque but charming.

Felix Octavius Carr Darley Link to where to see Darley's works.

FAMSF-ImageBase-Search Results-71 Found
Where to find.

fodich.jpg Ichabod Crane in his schoolhouse.

...20page&searchSu mmary=20%20matching%20%20works
Making of America, Search for Darley & Dickens

APPLETONS JOURNAL LINK ...hSummary=2%20matching%20%20journal%20arti cles

SEARCH FOR DARLEY & TENNYSON ...20page&searchS ummary=11%20matching%20%20works

SEARCH FOR DARLEY & DICKENS ... Summary=19%20matching

SEARCH FOR DARLEY & COOPER ...20page&searchSum mary=71%20matching%20%20works

SEARCH FOR DARLEY & POE ...%20page&searchSummar y=5%20matching%20%20works

SEARCH FOR DARLEY & LONGFELLOW ...Summary=11%20matching%20%20journal%20articles

SEARCH FOR DARLEY & STOWE ...hSu mmary=6%20matching%20%20journal%20articles


About Antiques - Articles - Delaware Books and

American Book and Magazine Illustrators, DLB se


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Internet Jumpstation


Mus e acadien de l'Universit de Moncton - desc Interesting article.

ARLIS/NA : Guide to the World Wide Web : Art Pu

ARLIS/NA : Guide to the World Wide Web : Art Pu

N.C. Wyeth's Studio

Delaware Museum Online

The Alphabetical Listing

Winterthur Museum, Garden & Library

VICTORIA archives -- April 1999, week 3 (#44)


Canvas Creations - Frederic Remington Biography

Artcyclopedia: Monthly Spotlight

Jamestown Lounge Company

Galerie acadienne

muse.htm l

"If we turn to the area of Victorian studies, the grandparent of all nineteenth century resources on the Web must surely be George F. Landow's The Victorian Web Overview
based at Brown University. This WWW site traces its beginnings to 1985, when it was developed as a resource for teaching and scholarship in specific Brown University courses. Since then it has grown to include hundreds of lexias (documents) as well as links to other hypertext webs such as Dickens Web and In Memoriam Web. The site provides a wide range of textual material, all edited by Landow, but added to by numerous contributors, link providers, and technical support staff. This site has helped to provide a model for other emerging Web projects because of its accurate information, clear graphics, useful interface, and effective links.

Let me chart just one example of how information "moves" on a Web site like Landow's. I began one session at the site by reading Landow's own essay on "Rogue Gothic Architecture." From there I linked to "Victorian Railways Stations," a lexia that begins with modern photographs and ends with wider reflections on the relation between aesthetics and utility in Victorian culture. A subsequent link to William Morris designs still in production (outside The Victorian Web) then brought me back into Landow's Web at a Rossetti Home Page, where I had hot button links to "Literary Relations," "Themes," "Symbols," "Genre," "Religion and Philosophy," "Visual Arts," "Biography," "Science," and more. Each button jumps to a hyperdocument written by Landow, his students, or other scholars (sometimes excerpted from printed texts). I also easily linked to articles from Punch, images from Beardsley or Rossetti, and, outside the Victorian Web, to the much more extensive The Rossetti Archive
produced by Jerome McGann at the Institute for Advanced Technology in the Humanities (IATH) at the University of Virginia. The point of such a "surf" is that accurate and useful information is made available to me with an ease and a completeness that would be almost unimaginable in a traditional library setting. The drawbacks of such a site are few, but important to note: astonishing amounts of time and energy have had to be invested by Landow and his assistants on the production end, student work has had to be revised for accuracy and consistency, and problems of network access plague some links ("the server is down or was not responding," "access denied from this server"). Nevertheless, Victorianists and their students would benefit from this resource for ye ars to come even if its development was to halt today. The fact that The Victorian Web is, in fact, continually expanding and changing reminds us that new models of "knowing" (dynamic, flexible, collective) will accompany our future uses of technological tools."

Yes, this evidently happened, although I don't know how low-cut the dress was. I've also seen a description of it as merely "exposing her neck and arms." Smith came to the feminist movement from a "celebrity" position as a famous writer in NYC--the kind illustrated by the best, yes, but also the kind followed in the society pages in the late 40s. Coming from there, she was unencumbered by an "activist" past (she'd never been pelted with rocks, that is, at any anti-slavery functions like Lydia Maria Child and others), and thus she "infiltrated" branches of society that didn't see a feminist coming to lecture. In 1851 she wrote quite an arch book called "Hints on Dress and Beauty," and made that the subject of her first public lecture.

Anyway, thanks very much for the e-cite.

At 07:44 AM 4/24/99 EDT, you wrote: >Upstate New York >and the Women's Rights Movement > > >Letter from Paulina Wright Davis to Emma R. Coe, August 17, 1851. > >Davis writes that she does not intend to attend the upcoming Bloomer >Festival in New York. "Though the reform in dress is important it is but >a fragment of the great work." >She refers to women like Elizabeth Oaks Smith, whose beauty will "give >grace and elegance to our movement." Susan B. Anthony, unimpressed by >Smith's elegance, prevented her from presiding over the 1852 Syracuse >convention because Smith was wearing a fancy, low-cut, white dress.

David Hunter Strother

Victorian Events Calendar
Ray, I had the China Trade exhibit posted on this calendar.


Paul Gavarni on the Internet (Artcyclopedia)

American Victorian

Arts in Delaware Home Page


(Added 5/4/99):

On Tuesday, 11 May, the Book Arts Press (BAP) opens the next in its ongoing series of exhibitions with undergraduate curators:
"Two for a Nickel:
Ephemera Concerning Thomas Jefferson and Monticello"

The curator is Elliot Tally '99, a UVa history major who is interested in a career in public history. For the past two years, he has worked part-time in Alderman Library, where he supervises the Early American Fiction digitization project.

Tally's exhibition, mounted by the BAP in cooperation with the Thomas Jefferson Memorial Foundation (which owns and operates Monticello), will be on view in the Dome Room of the Rotunda throughout the summer.

As part of the festivities surrounding the opening of the show, the BAP announces a Jefferson paper airplane flying contest on the Lawn on Tuesday, 11 May, from 3 - 5 pm. The contest is open to all those with a UVa affiliation (and also to members of their immediate families). A total of $150 in cash prizes will be awarded.

For more about the contest, consult the Book Arts Press's Web site:

where downloadable instructions for making a particularly distance-worthy Jefferson paper airplane may be found.

"Two for a Nickel" features a wide variety of items that use the appeal of the name, or face, or residence of Thomas Jefferson for information, publicity, or consumer purposes. The practice of using celebrities to advertise products, services, and events has been used for hundreds of years by an endless number of entrepreneurs. "Two for a Nickel" documents this practice through the display of a collection of ephemeral objects.

*Ephemera* may be defined as objects that are meant to be thrown away after use. Items such as brochures, invitations to events, paper placemats, menus, wooden ice cream spoons, license plates, and whiskey bottles fit this description comfortably - but what about things that began their existence as throw-aways but have now turned into collectibles? The definition of ephemera must become far more complex. This exhibition includes a surprising variety of ephemeral objects which have evolved (or are in the process of evolving) into serious collectors' items: ashtrays, bank checks, coin banks, beer cans, beer bottles, bells, bobelles, bookmarks, booklets, bowls, busts, calendars, Christmas tree ornaments, cigar bands, cigarette souvenirs, club soda, coins, cologne bottles, coloring books, copies of the Declaration of Independence, dolls, encased pennies, erasers, food containers, fuse boxes, games, gift catalogs, "Jefferson" cups, jigger glasses, keychains, letter openers, magazines, magnets, matchbooks, medallions, milk bottles, milk caps, models, money clips, mugs, nail clippers, needle threaders, newsletters, oversize nickels, paper dolls, paperweights, patches, pencils, pendants, pens, Pepsi bottles, phonograph albums, pins, pitchers, plates, playing cards, postcards, posters, pressed pennies, prints, rulers, shopping bags, shoe mitts, shower caps, snow globes, spoons, stamps, sticker books, switchplates, tea towels, thimbles, tickets, trade cards, model trains, T-shirts, $2 bills, wine bottles, writing tablets - the list goes on and on. Examples of all of these items (and a good many others) are represented in "Two for a Nickel."

There are many counties and towns named after Jefferson or Monticello. The majority of the 50 states have a Jefferson County, and there at least nine U.S. cities, towns, or villages named Jeffersons - plus five Jeffersonvilles, two Jefferson Cities, a Jefferson Township, a Jefferson Valley, a Jefferson Village, and at least twelve Monticellos. In preparation for this exhibition, curator Elliot Tally wrote to administrators in about three dozen of these counties and towns, begging for examples of local Jeffersonian ephemera.

Elliot Tally is looking for additional examples of such Monticello/Jefferson material; if you know of local establishments with these words in their names and have access to their stationery, business cards, brochures, newsletters, or other printed matter, we would be very glad to have copies, which should be sent to Elliot Tally, Book Arts Press, 114 Alderman Library, University of Virginia, Charlottesville, VA 22903.

Notable objects in "Two for a Nickel" include:

The exhibition will be up during Rare Book School's 1999 summer session; it closes on October 25th. An illustrated catalog of the show will be published later this month.

Terry Belanger : University Professor : University of Virginia
Book Arts Press : 114 Alderman Library : Charlottesville, VA 22903
Tel: 804/924-8851 FAX: 804/924-8824 email:
Forwarded to you by Carol Digel,


The Quaker City

When W. T. Lhamon, Jr. of Florida State University wrote to inquire about a catalog for the current FOC Darley exhibit I asked him about his interest in Darley. "My interest in Darley comes from the references to his greatness in George Lippard's The Quaker City, which he also illustrated."

Some gripping passages from The Quaker City.


"A dark and ill-omened smile rests upon the lip of the man, as he surveys the beauty of the insensible woman, while a gentle flush, tinting her cheeks, and warming over her bosom, betrays her return to consciousness. The minor details of the scene, tell the story of the picture. In her extended hand, she grasps a letter, with a convulsive grasp like that of death. His hat and cane and gloves, flung carelessly on the carpet, his cloak thrown over a chair, and the door of the chamber, hanging wide open, all tell the story of his sudden entrance and his surprise. The back ground of the scene is supplied by the furniture and the crimson-hangings of the chamber, varied by pictures in massive frames, and mellowed into gentle twilight by the dim beams of the chandelier. Altogether, the picture is an effective one, worthy the genius of an artist who has a soul to feel, and a hand to execute; like Darley, for instance, whose pencil is a mine of unwrought gold."


"Certainly they were a pair of beauties. As squatting in low stools on either side of the fire, they looked up in their master's face, their hideous visages assumed an expression of infernal glee. Give us a picture of the scene, Darley. Sharpen your pencil, and select your best piece of Bristol board. This is a study worthy of your genius. We are looking at the scene from the dark corner of the room. The light flares from yonder table, in the background, Devil-Bug stands in front of the fire; his negroes squat on either side. Musquito with his back toward us, extends his left hand and holds the iron between the bars of the grate, and looks up in his master's face, presenting to our view the profile of his hideous visage, the receding forehead, the flat nose, the opened mouth with the lips, meeting in a point near the nose and diverging toward the sharp and prominent chin. Opposite him, Glow-worm, with the light from the table falling on his broad shoulders, and the beams of the fire illumining his face, rolls his large eyes towards his master, while his rude mouth, with the teeth projecting like fangs, is distorted with a loathsome grimace, and his muscular right hand also holds the iron between the bars of the grate. And the master, Darley, paint him for us; picture old Devil-Bug. He stands between the twain, his massive face receiving on one cheek the gleam of the lamp; on its whole extent the glare of the fire. Picture his broad brow, hanging over his wide face, like the edge of a beetling cliff over a receding precipice. The eyeless socket, the glaring eye, the heavy eyebrows, the flat nose with wide nostrils, the mouth convulsed by a grotesque grimace that discloses the clenched teeth, the pointed chin, bristling with a stiff beard, the matted hair hanging aside from the face and brow in uneven locks; picture it all, Darley. If your wonderful pencil, which traverses the sheet of drawing paper with such gracefulness and such vigor linked together by taste, if this pencil, Darley, can depict a nightmare standing erect, with a hideous Dream squatting on either side, then you will have delineated Devil-Bug and his attendant negroes as they were grouped in that cozy little chamber of Monk-Hall."

The Quaker City; Or, the Monks of Monk Hall: A Romance of Philadelphia Life, Mystery, and Crime George Lippard: University of Massachusetts Press ISBN: 0870239716

Paperback available from a large online bookseller.

Darley did an illustration for the 1845 edition which is reproduced in this edition. We will soon have it on the Web page.


National Arts Organization


Elizabeth Oaks Smith

T.H. Scherman at Northeastern Illinois University "Discovered Elizabeth Oaks Smith in the manuscript section of the Boston Public Library." His interest led to a dissertation and soon a book concerning the ways in which publishers and agents turn writers into "authors" and the effects of that process on writing, meaning, and literary history. It's called "Going Public: Authorship and its Production in the Antebellum US", soon to come out from Duke UP.

" T.H. Scherman See years 1846-1849 in Elizabeth Oaks Smith page: Chronology

"Further research into Elizabeth Oaks Smith revealed the following:
THE SALAMANDER: A LEGEND FOR CHRISTMAS, FOUND AMONG THE PAPERS OF THE LATE ERNEST HELFENSTEIN, edited by E. Oakes Smith. New York, George P. Putnam, 1848. Wood engravings: 4 plates engraved by Bobbett & Edmonds, unsigned but "by Darley" according to color lithograph extra-title by P.S. Duval. Also 2nd edition, New York, John S. Taylor, 1851, entitled: HUGO: A LEGEND OF ROCKLAND LAKE FOUND AMONGST THE PAPERS OF THE LATE ERNEST HELFENSTEIN; without color lithograph with 4 wood engravings. (Bolton, p 154 American Antiquarian Society Proceedings April 18, 1951 Volume 61 Part I)


.. Notice of publication of Salamander

From Making of America Series. Go there now and open up the actual notice of publication of Salamander in The Southern Literary Messenger, December 1848. Click on p.764. Open image and scan down and to the right.

NEW...ADDED 5/7/99...Carol Digel arley/

...Announcement of Salamander as a Gift Book

Southern Literary Messenger Meridith McGill wrote: "both Poe's and Hawthorne's careers crucially depended on the success of printed formats that owed their success to engravings, fashion plates, and other illustrations."

"I am interested both in recovering the general graphic enrivonrment in which antebellum fiction circulated and was read, and in exploring the peculiar relation between word and image that was established by the use of steel engravings in gift books and illustrated magazines."

Meridith: I have been researching FOC Darley and have found 17 references to books illustrated by him as 'gift books', including Salamander referenced above. Is the paper you presented to the Antiquarian Society about gift books going to be published? Have you included any references to Darley?

I would love to put a 'gift book' link on our Darley Web page - still under major construction but growing apace.

...Gift Book and Darley - Making of America Search results.

Carol Digel, Wilmington, Delaware


Shooting Turkey

AMICO: Search Results


The American Flag


1978 Exhibit Catalog, Delaware Art Museum Illustrated by Darley; an exhibition of original drawings by the American book illustrator Felix Octavious Carr Darley 1822-1888. Wilmington, DE, USA Delaware Art Museum. 4 May-18 June 1978. exhibition catalogue.





...We welcome input!


----------------------------- darley_net ------------------------------------