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32-523: The magazine offers a pictorial record of both World War I and World War II. It includes numerous maps, photographs and illustrations, and the work of war artists, weekly reporting, and editorials on the conduct, events, and consequences of global conflict. Subtitled "A Pictorial Record of the Conflict of the Nations", The War Illustrated was initially sensationalistic and patriotic. Although it contained articles,

64-615: A Scottish silk merchant in London bought some 77 square miles of land in Kansas and proposed to set up an English colony there which he called Victoria . Wood's father sunk his money into the scheme and the family travelled to Kansas in 1873, when Wood was five or six years old. Grant had made him commissioner of streets in Victoria as an inducement. When the family arrived in Victoria they found, not

96-851: A Night . Presumably he was awarded this work because of his earlier work on Crellin's Romances of the Old Seraglio . His illustrations of the Anglo-Boer War appeared in Black & White and Black & White Budget . Most of these featured equestrian scenes. Some of these illustrations also appeared in L'Illustré Soleil du Dimanche and one appeared as a cover illustration for War Pictures . He worked for War Illustrated during World War I . Marie Connor and her husband Robert Leighton wrote Convict 99. A true story of penal servitude in 1898. Sutherland describes this as: "a powerful anti-prison tract which became their best-known work". The story

128-440: A ladies' tailoring concern. The first English-based couturier to open full-scale American branches in the U.S. and to enjoy a lengthy success there was Lucile in the 1910s and '20s. It was in 1871 that the house of Redfern first expanded its tailoring business to include the design and sale of silk dresses and mourning clothes . But it was tailored garments for women who rode , played tennis and went yachting that remained

160-603: The Boy's Own Paper . Cooper notes that Wood is especially noted for his fine action-packed drawings, which certainly helped to bring the printed page alive for boys and girls of the time. The book-dealer and founding member of the Potomac Corral, Jefferson Chenoweth Dykes better known as Jeff Dykes (-1989), wrote in Fifty Great Western Illustrators - "No better horse artist ever lived than Stanley L. Wood - there

192-543: The Redfern fashion house as a designer. Eventually she became the drama critic of the New York Journal at a salary of $ 250 a week, and illustrated her reviews with her own illustrations. The 1891 census found Wood at the same address, but this time all of his sisters had left. He now recorded his profession as artist, but it is not clear what formal training he had had. He was an accomplished artist, having work accepted by

224-522: The Royal Academy up to 1905, as follows: Wood exhibited at least two other works at the Academy as Greenwall states that Wood had seven works exhibited at the Royal Academy of which five had a military theme. Presumably two of these, one military and on non-military were shown after 1905. Kirkpatrick states that Wood's first illustration work was The Tales of The Spanish Boccaccio: Count Lucanor: Or

256-499: The Fifty Pleasant Stories of Patronio translated by James York from the original by Prince Don Juan Manuel published in 1888 by Pickering & Chatto . The illustration of this book, as on some others he did, was attributed to S. L. Wood, rather than Stanley L. Wood. His next book was The Arabian Nights Entertainments "Aldine" Edition, from the text Of Dr. Jonathan Scott. This consisted of four large 600 page volumes. It

288-541: The Illustrated London News of 19 January 1889. In 1890 he produced sixty pen and ink illustrations for Bret Harte A Waif of the Plains . His illustrations often appeared in early issues of Pearson's Magazine and covered a wide range of genres; notably, he illustrated George Griffith 's Stories of Other Worlds (January–July 1900), early science fiction. His many Africana illustrations included those for

320-556: The Redfern label was essentially the first high-end sportswear brand. By the early 1890s, due largely to the patronage of British and European royalty, Redfern's Paris house had developed into a full scale couture business. Ernest directed the London and New York branches, while Charles, and later, John Poynter Redfern, ran the Paris salon. From 1892, when Redfern's sons took control of the business,

352-451: The Redfern specialty. Although intended for specific sporting pursuits, these tailored dresses and suits were increasingly adopted as everyday wear by influential Redfern clients. For example, in 1879 the house created a simple jersey traveling dress for Lillie Langtry , the noted beauty and actress popularly known as the "Jersey Lily," a name deriving from her birthplace in Jersey . The dress

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384-462: The books of Bertram Mitford (1855–1914) - The Gun Runner (1893), The Luck of Gerald Ridgeley (1894), The Curse of Clement Wayneflete (1894), Renshaw Fanning's Quest (1894), The King's Assegai (1894), A Veldt Official (1895) and The Expiation of Wynne Palisser (1896). In 1900, he did 100 illustrations for an American edition of Richard Burton 's The Book of the Thousand Nights and

416-405: The bustling colony they had been promised, but a single two-storey stone building, the railway station, which also functioned as a hotel. Many of the other colonists were young men who were on allowance from their families, and were more intent on enjoying themselves than farming. The family found the carousing of the young men, and of the local cowboys, was intolerable and fled to Kansas City , with

448-471: The daughter of tailor George Simpson Jenkins at St Dionis Church , Parsons Green , Fulham , London on 21 February 1899. Wood died at his home at 23 Windsor Road, Palmers Green , North London, on 1 March 1928, having been ill for some time. His estate was valued at £114 15s, a pitiable small amount after so many years of work. He was survived by his wife and three adult sons. Samuels report that there were no auction records for Wood when their encyclopedia

480-494: The doctor's office. He died in the doctor's office at 4pm, just as they began to try and treat him. The family's troubles were not over though. They were living in a ranch-house outside the town where the former occupants were buried in the garden after being killed in an Indian raid . The new widow was horrified to find one night that a party of Indians had surrounded the house and she had the children put on boots and clump around and bang doors so that those outside would thing there

512-518: The end of World War I, The War Illustrated had a circulation of 750,000. Weekly Stanley Wood (illustrator) Stanley Llewellyn Wood (10 December 1866 – 1 March 1928) was a prolific Welsh illustrator who travelled widely. He was known for his portrayals of horses in action and also for his black-and-white illustrations for the Captain Kettle stories by C. J. Cutcliffe Hyne . Wood's Birth Certificate shows that he

544-427: The halftone process and he was noted for his vigorous, dramatic style and for the authenticity of his American 'frontier' backgrounds." Newbolt refers to Wood's illustrations for the works of G. A. Henty being "in his characteristic vigorous style". Thorpe says that Wood "anticipated the 'headlong dash' and wild west thrillers of the modern films". Turner characterises him as one of two famous artists associated with

576-477: The house became known as Redfern Ltd. The firm's American outlet, however, did not prove a success and was eventually partly sustained by a commercial sideline for ready-made corsets. The house in New York also did not function as a couture establishment but as an importer of other Parisian fashion brands which were sold alongside its own products. Like the Paris salon, the New York branch was originally advertised as

608-430: The main focus was on photographs and illustrations, most notably those of Stanley Wood dramatising (or in some cases fabricating) events involving German troops. The magazine became more diligent in properly verifying its reports from 1916 onwards. Both versions of The War Illustrated were edited by John Hammerton , who also contributed articles throughout the magazine's run. The magazine contained personal accounts of

640-433: The other for furs. The Redferns are credited with making tailored clothing chic for women. Previously resigned to utilitarian wear, finely tailored dresses and suits, as introduced by Redfern, quickly became a craze among sporting aristocrats on holiday at Cowes, spreading soon to Paris. In the 1870s the Redfern yachting suit or dress was swiftly becoming the most recognizably English mode of fashionable apparel. In this way,

672-605: The very last of their money. Wood's father got a job with the Union Pacific land department at Lawrence, Kansas , and the family moved and the children attended school there. However, their hardships were not over. Still seeking his fortune, Woods' father left his job in Lawrence and began to travel around Kansas demonstrating a patent well-digging auger. He was demonstrating the auger at a farm near Wichita, Kansas , on 27 May 1877, when he experience some symptoms that made him rush to

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704-454: The war by war correspondents such as Hamilton Fyfe and Luigi Barzini, Sr. , descriptions and illustrations of Victoria Cross actions (for example those of John Lynn and John George Smyth ) and articles by authors such as H. G. Wells ("Why Britain Went To War", "Will The War Change England?") and Winston Churchill ("The Right View of Verdun"). It was extremely popular: at its peak at

736-503: Was "employed almost continuously by Messrs Chatto's as an illustrator of boys' adventure stories". The Illustrated London News sent Wood to South Dakota in 1888 where he was able to build on his juvenile experience of the American Old West way of life and for many years produced work with a cowboy and Indian flavour. Harper's published a number of his illustrations, and his Sketches from an Indian Reservation appeared in

768-611: Was a follow-up to Crellin's first book Tales of the Caliph (1887, T Fisher Unwin, London) published under the pseudonym Al Arawiyah , and being nine additional stories set in the world of the Arabian Nights . The book must have been a success as Chatto and Windus issued a new edition of Tales of the Caliph in 1895. Illustrations by courtesy of the British Library . Wood married Mary Elizabeth Jenkins (c. 1876 – 1950),

800-429: Was a part of cowboys in the house. The family immediately returned to England, although Wood visited Lawrence several times in later life, and his mother visited at least once. The 1881 census found the family at 4 Mornington street, apart from the eldest Amy Phoebe (Oct 1860- – 1902). Wood's second eldest sister Jessie M. was an artist's apprentice at the time. She later travelled to New York to work for

832-415: Was also published by Pickering & Chatto and cost 24 shillings (one pound and four shillings). The Times said that "With one or two possible exceptions, the illustrations are fair in themselves and unimpeachable in treatment". Wood's first two books were for Pickering & Chatto which Andrew Chatto (1841–1913) owned, but Chatto moved the publishing work to Chatto & Windus . Houfe notes that Wood

864-480: Was born in Christchurch, Newport , Monmouthshire , Wales, on 10 December 1866. His parents were Stanley James Wood (c. 1839 – 27 May 1877), a cement manufacturer and entrepreneur, and Charlotte Atkins (c. 1839 – ). Wood's father was declared bankrupt in 1861, and was before the bankruptcy court again in 1869. Wood was the last of five children, and the only boy. In 1873, George Grant,

896-556: Was more action in a Stanley Wood illustration than in the story itself". Redfern (couture) Redfern & Sons (later Redfern Ltd ) was a British tailoring firm founded by John Redfern (1820–1895) in Cowes on the Isle of Wight that developed into a leading European couture house (active: 1855–1932; 1936–1940). By the early 1890s, the business had branches in London , Edinburgh , Paris and New York . The Paris extension

928-557: Was operated as a couture establishment while its other branches functioned primarily as tailors and importers. John Redfern (11 November 1820 – 22 November 1895) started out as a tailor in Cowes in 1855, following in the sartorial footsteps of his father, also John Redfern, who first opened a Cowes specialty clothing shop in 1811. With the support of sons Ernest Redfern and Charles Poynter Redfern (1853–1929), John Redfern opened tailoring houses in London and Paris in 1881, followed by two shops in New York in 1884–85, one for tailoring,

960-524: Was published first as a serial in Answers one of the publications produced by Alfred Harmsworth (1865–1922), for whom both Connor and Leighton worked. Kemp et al. say that Convict 99 was Connor's greatest success. Wood drew eight illustration of the publication. Those shown below are from the on-line copy at The British Library . Wood provided 28 illustrations for Romances of the Old Seraglio (1894, Chatto and Windus, London) by H. N. Crellin. Romances

992-636: Was widely copied and remained a favorite in the Redfern line for many years. In 1888, Redfern was formally named Dressmaker By Royal Appointment to Her Majesty the Queen and H.R.H. The Princess of Wales . Redfern Ltd. was credited with helping popularize the high-waisted, so-called Grecian style of 1908. In the early 1910s, the house's designs were often illustrated in Gazette du Bon Ton along with six other leading Paris couturiers – Cheruit , Doeuillet , Doucet , Paquin , Poiret , and Worth . In 1916 Redfern created

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1024-582: Was written, but that the estimated price for a 10x14 inch (25.4x35.6 cm) oil-on-board painting showing cowboys spooking a town was about US$ 1,200 to 1,500 in 1976. Invaluable give more recent estimates, with a 9.9x5 inch (25.1x12.7 cm) pencil drawing estimated at US$ 2,500 to 4,000 in 2017, and a 24.4x16.5 inch (61.9x41.9 c) oil-on-board painting of a Pony Express estimated at US$ 2,000 to 3,000 in 2014. Peppin and Micklethwait say of Wood that: "Most of Wood's illustrations are wash drawings; his emphatic tonal contrasts reproduced well in

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