Other editions of book Book of Pirates

Pirates, Buccaneers, Marooners, those cruel but picturesque sea wolves who once infested the Spanish Main, all live in present-day conceptions in great degree as drawn by the pen and pencil of Howard Pyle….It is improbable that anyone else will ever bring his combination of interest and talent to the depiction of these old-time Pirates, any more than there could be a second Remington to paint the now extinct Indians and gun-fighters of the Great West.

This work as a part of the knowledge base of civilization was reproduced from the original artifact, and remains as true to the original work as possible. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.JUST above the northwestern shore of the old island of Hispaniola—the Santo Domingo of our day—and separated from it only by a narrow channel of some five or six miles in width, lies a queer little hunch of an island, known, because of a distant resemblance to that animal, as the Tortuga de Mar, or sea turtle.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Howard Pyle (March 5, 1853 – November 9, 1911) was an American illustrator and author, primarily of books for young people. A native of Wilmington, Delaware, he spent the last year of his life in Florence, Italy. In 1894 he began teaching illustration at the Drexel Institute of Art, Science and Industry (now Drexel University). After 1900, he founded his own school of art and illustration, named the Howard Pyle School of Illustration Art. The scholar Henry C. Pitz later used the term Brandywine School for the illustration artists and Wyeth family artists of the Brandywine region, several of whom had studied with Pyle. Some of his more notable students were N. C. Wyeth, Frank Schoonover, Elenore Abbott, Ethel Franklin Betts, Anna Whelan Betts, Harvey Dunn, Clyde O. DeLand, Philip R. Goodwin, Thornton Oakley, Violet Oakley, Ellen Bernard Thompson Pyle, Olive Rush, Allen Tupper True, Elizabeth Shippen Green, Arthur E. Becher, William James Aylward, and Jessie Willcox Smith. Pyle's home and studio in Wilmington, where he taught his students, is still standing and is listed on the National Register of Historic Places. His 1883 classic publication The Merry Adventures of Robin Hood remains in print, and his other books, frequently with medieval European settings, include a four-volume set on King Arthur. He is also well known for his illustrations of pirates, and is credited with creating what has become the modern stereotype of pirate dress. He published his first novel, Otto of the Silver Hand, in 1888. He also illustrated historical and adventure stories for periodicals such as Harper's Weekly and St. Nicholas Magazine. His novel Men of Iron was adapted as the movie The Black Shield of Falworth (1954). Pyle travelled to Florence, Italy in 1910 to study mural painting. He died there in 1911 of a sudden kidney infection (Bright's Disease). Pyle was widely respected during his life and continues to be well regarded by illustrators and fine artists. Vincent van Gogh, a contemporary, wrote in a letter to his brother Theo that Pyle's work "... struck me dumb with admiration." Pyle's reputation stems from his innovation in form and illustration, creating an American school of illustration and art, and for the revival of children's books. Twentieth-Century Literary Criticism notes: "As time passed, Pyle's historical position as the founder of a distinctly American school of illustration and art, as the innovator who introduced the total-design approach, and as the great reinventor of children's books, would outshine any single work he did, so that he is remembered less for any one project than for his total stance." He had a lasting influence on a number of artists who became notable in their own right: N. C. Wyeth, Frank Schoonover, Stanley Arthur, and numerous others studied under him. According to Robert Vitz, the Howard Pyle School of Art developed a common set of themes in its work: attention to realism, and expression of optimism and a faith in the goodness of America.[4] His work also continued to inspire well after his death; for example, comic book artist Tony Harris (born 1969) has cited Pyle as a major influence on his work.

Howard Pyle (March 5, 1853 – November 9, 1911) was an American illustrator and author, primarily of books for young people. He was a native of Wilmington, Delaware, and he spent the last year of his life in Florence, Italy. In 1894, he began teaching illustration at the Drexel Institute of Art, Science, and Industry (now Drexel University). After 1900, he founded his own school of art and illustration named the Howard Pyle School of Illustration Art. Scholar Henry C. Pitz later used the term Brandywine School for the illustration artists and Wyeth family artists of the Brandywine region, several of whom had studied with Pyle. Some of his more notable students were N. C. Wyeth, Frank Schoonover, Elenore Abbott, Ethel Franklin Betts, Anna Whelan Betts, Harvey Dunn, Clyde O. DeLand, Philip R. Goodwin, Thornton Oakley, Violet Oakley, Ellen Bernard Thompson Pyle, Olive Rush, Allen Tupper True, Elizabeth Shippen Green, Arthur E. Becher, William James Aylward and Jessie Willcox Smith. Pyle taught his students at home and studio in Wilmington, which is still standing and is listed on the National Register of Historic Places.

HOWARD PYLE'S BOOK OF PIRATESFiction, Fact & Fancy concerning the Buccaneers & Marooners of the Spanish Main: From the writing & Pictures of Howard Pyle:Compiled by Merle JohnsonCONTENTSFOREWORD BY MERLE JOHNSONPREFACEI. BUCCANEERS AND MAROONERS OF THE SPANISH MAIN II. THE GHOST OF CAPTAIN BRAND III. WITH THE BUCCANEERS IV. TOM CHIST AND THE TREASURE BOX V. JACK BALLISTER'S FORTUNES VI. BLUESKIN THE PIRATE VII. CAPTAIN SCARFIELDFOREWORDPIRATES, Buccaneers, Marooners, those cruel but picturesque sea wolves who once infested the Spanish Main, all live in present day conceptions in great degree as drawn by the pen and pencil of Howard Pyle.Pyle, artist author, living in the latter half of the nineteenth century and the first decade of the twentieth, had the fine faculty of transposing himself into any chosen period of history and making its people flesh and blood again not just historical puppets. His characters were sketched with both words and picture; with both words and picture he ranks as a master, with a rich personality which makes his work individual and attractive in either medium.He was one of the founders of present day American illustration, and his pupils and grand pupils pervade that field to day. While he bore no such important part in the world of letters, his stories are modern in treatment, and yet widely read. His range included historical treatises concerning his favorite Pirates (Quaker though he was); fiction, with the same Pirates as principals; Americanized version of Old World fairy tales; boy stories of the Middle Ages, still best sellers to growing lads; stories of the occult, such as In Tenebras and To the Soil of the Earth, which, if newly published, would be hailed as contributions to our latest cult.In all these fields Pyle's work may be equaled, surpassed, save in one. It is improbable that anyone else will ever bring his combination of interest and talent to the depiction of these old time Pirates, any more than there could be a second Remington to paint the now extinct Indians and gun fighters of the Great West.Important and interesting to the student of history, the adventure lover, and the artist, as they are, these Pirate stories and pictures have been scattered through many magazines and books. Here, in this volume, they are gathered together for the first time, perhaps not just as Mr. Pyle would have done, but with a completeness and appreciation of the real value of the material which the author's modesty might not have permitted. MERLE JOHNSON.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Howard Pyle (March 5, 1853 – November 9, 1911) was an American illustrator and author, primarily of books for young people. A native of Wilmington, Delaware, he spent the last year of his life in Florence, Italy. In 1894 he began teaching illustration at the Drexel Institute of Art, Science and Industry (now Drexel University). After 1900, he founded his own school of art and illustration, named the Howard Pyle School of Illustration Art. The scholar Henry C. Pitz later used the term Brandywine School for the illustration artists and Wyeth family artists of the Brandywine region, several of whom had studied with Pyle.Some of his more notable students were N. C. Wyeth, Frank Schoonover, Elenore Abbott,

Pirates, Buccaneers, Marooners, those cruel but picturesque sea wolves who once infested the Spanish Main, all live in present-day conceptions in great degree as drawn by the pen and pencil of Howard Pyle….It is improbable that anyone else will ever bring his combination of interest and talent to the depiction of these old-time Pirates, any more than there could be a second Remington to paint the now extinct Indians and gun-fighters of the Great West.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.