The biography of Charles Bradford 
Hudson that follows this preface had 
its seeds about 1965 when I (VGS) was 
casually examining the extensive ?les 
of original illustrations of ?shes stored 
in the Division of Fishes, National 
Museum of Natural History, Smithson-
ian Institution. I happened upon the un-
published illustration of a rainbow trout 
by Hudson and was greatly impressed 
with its quality. The thought occurred 
to me then that the artist must have 
gone on to do more than just illustrate 
?shes. During the next 20 years I oc-
casionally pawed through those ?les, 
which contained the work of numerous 
artists, who had worked from 1838 to 
the present. In 1985, I happened to dis-
Drawn to the Sea: 
Charles Bradford Hudson (1865-1939),
Artist, Author, Army Of?cer, with Special
Notice of His Work for the
United States Fish Commission
and Bureau of Fisheries
A Special Issue of the
Marine Fisheries Review
Preface
cuss the ?les with my supervisor, who 
urged me to produce a museum exhibit 
of original ?sh illustrations. This I did, 
selecting 200 of the illustrations repre-
senting 21 artists, including, of course, 
Hudson. As part of the text for the 
exhibit, Drawn from the Sea, Art in the 
Service of Ichthyology, I prepared short 
biographies of each of the artists. The 
exhibit, with an available poster, was 
shown in the Museum for six months, 
and a reduced version was exhibited in 
U.S. and Canadian museums during the 
next 3 years.
In the process of obtaining informa-
tion on Hudson for the exhibit, I came 
into contact with members of his fami-
lies, and particularly the daughter of his 
second marriage, Claire Hudson Brett. 
Thus began a period of years during 
which we exchanged information 
about her father. She encouraged me 
to prepare a detailed biography of him, 
but to her disappointment, I was too 
busy with my ichthyological research 
to do that, and we ceased contact in the 
mid 1990?s. When I retired in 2005, I 
returned to the subject and contacted 
Claire?s son, Hudson Brett, and we 
began to exchange information about 
Hudson (Claire was not well at that 
time). Gradually, I decided to prepare 
the Hudson biography with the help of 
my assistant Kristin A. Murphy, and 
we worked intensively on it beginning 
about 2007.
It is with sadness that we report that 
Claire Hudson Brett , who died in 2007 
in her late 90?s, did not live to see our 
biography. We, nevertheless, dedicate it 
to her memory.
Victor G. Springer
December 2009
Figure 1.?Illustration initialed CBH and dated ?91, accompanying poem by Juan Lewis (1892), ?The Forging of the Sword, and 
other poems,? (2nd edition). The illustration and ?rst two stanzas of the poem are on page 17 in the book, to which the third stanza 
from page 18 has been added. Stanzas have been retyped and numbers 2 and 3 added to clarify their positions. The ?sh in the 
illustration  is  not identi?able. The black spot on the pectoral ?n appears to be a printing error.
71(4) 3
Introduction
A life involved with the sea was 
clearly unplanned in 1882, when Charles 
Bradford Hudson (Fig. 2), 17, was a 
student at Columbian College Prepa-
ratory School in Washington, D.C. It 
was during that year Hudson?s main 
instructor, Otis Tufton Mason1(Fig. 3), 
an ethnologist who had a close working 
relationship with the Smithsonian Insti-
tution?s U.S. National Museum, became 
aware of his student?s artistic abilities. 
Mason had Hudson prepare a few il-
lustrations for ethnological studies, for 
which the Smithsonian paid Hudson.2 
Smithsonian daily account books3 in-
dicate this arrangement continued after 
Hudson graduated from the preparatory 
school, in 1883, until at least 1885, when 
he was in his second year at Colum-
bian College (now George Washington 
Drawn to the Sea: Charles Bradford Hudson (1865?1939), Artist,  
Author, Army Of?cer, with Special Notice of His Work for the 
United States Fish Commission and Bureau of Fisheries
VICTOR G. SPRINGER and KRISTIN A. MURPHY
The authors are with the Division of Fishes, 
MRC-159, Department of Vertebrate Zoology, 
National Museum of Natural History, Smithso-
nian Institution, P.O. Box 37012, Washington, 
D.C., 20013-7012 (springer@si.edu; murphyk@ 
si.edu).
the few salaried curator positions in the 
Museum. The Museum had a growing 
need for artists, although they were not 
always so designated. A. Z. Shindler5, 
on the staff since 1876, had worked 
on many different types of projects. 
W. H. Chandlee was hired on 7 June 
1886 to prepare illustrations for ethno-
logical projects, and Mason was able to 
employ Hudson in June 1887 to prepare 
illustrations for ethnological and geo-
logical studies. The biennially published 
?Of?cial Register of the United States6? 
110 Apr. 1838?5 Nov. 1908. Beginning in 1884, 
Mason became Curator of Ethnology, United 
States National Museum, and from 1902 he was 
head curator, Department of Anthropology (Reg-
ister to the Papers of Otis Tufton Mason by L. 
H. Coen, revised by K. T. Baxter, 1983, National 
Anthropological Archives, Smithsonian Institu-
tion Archives, unpagin.; reference includes a 
detailed chronology of Mason?s life: http://www.
nmnh.si.edu/naa/fa/mason.htm).
2Based on the number of square inches (letter 
from Hudson to his mother, Emma, dated 8 July 
1882, quoted in letter, 13 Feb. 1985, from Hud-
son?s daughter from his second marriage, Claire 
Hudson Brett, to VGS). We learned from Smith-
sonian account books, that he was paid $0.50 a 
square inch for illustrations. The account books 
show payments only for the period 1882?85, but 
details of drawings were provided only for the 
years 1882?84.
3Smithsonian Institution Archives, Record Unit 
100, Box 88. The ledgers are detailed for 1882?
84, but only Hudson?s name and a reference to 
another ledger, which was not found, is present 
in the 1885 ledger.
4In litt., 22 May 1985, Claire Hudson Brett to 
VGS. We were unable to verify this assertion. 
Christine H. Kempton (age 96), Hudson?s daugh-
ter by his ?rst marriage, interviewed by VGS on 
3 May, also mentioned that CBH was offered a 
chair, but was uncertain as to its subject.
University). We have no information 
on Hudson?s activities in 1886, other 
than that he was still attending college.
In 1887, Hudson graduated from 
Columbian College, from which he 
received awards in mathematics, Greek, 
and Latin, and he was offered a chair 
?in the classics?4 by the college. His 
interest in illustrating, however, was 
greater than his scholarly interests and, 
opportunely, Otis Mason was in a posi-
tion to help. 
Mason had left the preparatory school 
in 1884 and joined the U.S. National 
Museum as curator of ethnology, one of 
5?Antonio Zeno Shindler (~1899) began his asso-
ciation with the Smithsonian Institution in 1876 
when he was hired by Spencer Fullerton Baird, 
then Smithsonian Assistant Secretary, to paint 
casts of natural history specimens. He contin-
ued in various artistic positions with the United 
States National Museum until his death: SIA 
RU 7371, historical note. The Division of Fishes 
illustration ?les have a number of his original 
watercolor paintings of ?shes, recognizable by 
inclusion of his distinctive monogram, compris-
ing the letters AZS overlaid on each other. 
6The following general description of the Of?-
cial Register of the United States is from the 
web (10 Feb. 2009), http://www3.wooster.edu/ 
library/gov/serialset/agency/I/officialregister.
htm: ?The Register of Of?cers and Agents, 
Civil, Military, and Naval, otherwise known as 
the Of?cial Register, began publication in 1816 
and was made a biennial publication in 1817, 
reverting to annual publication after 1921. (The 
dates refer to the latest date covered by the Reg-
ister, not the imprint date.) The Of?cial Regis-
ter became known as the ?Blue Book? due to its 
binding in blue roan from 1817 onward. It was 
originally published by the State Department, 
but the publication was transferred respectively 
to the Interior Department, the Census Bureau, 
and ?nally the Civil Service Commission; not 
all issues, however, were published as part of 
the Congressional Serial Set.? The full title of 
the volume we cite here: Of?cial register of the 
United States, containing a list of the of?cers 
and employ?s [sic] in the civil, military, and 
naval service on the ?rst of July, 1887; together 
with a list of vessels belonging to the United 
States. Volume 1, legislative, executive, judicial. 
Compiled under the direction of the Secretary 
of the Interior, by J. G. Ames, Superintendent 
contined on next page
Figure 2.?Charles Bradford Hudson 
(courtesy of Hudson Brett).
4 Marine Fisheries Review
Figure 4.?Joseph William Collins, 
?rst USFC Assistant in charge of the 
Division of Fisheries and early super-
visor of CBH; designed schooner 
Grampus (SIA image # 2009-0004).
lists all Federal employees as of 1 July 
of the ?scal year covered by the register. 
In the 1887 edition, Shindler is listed as 
an ?artist,? with a salary of $110.00 per 
month. Chandlee and Hudson are listed 
as ?draftsmen,? Chandlee, with a salary 
of $75.00 per month, and Hudson at 
$40.00 per month. 
As soon as Mason was employed by 
the National Museum in 1884, he began 
keeping a diary7 of the dates worked by 
the artists he was supervising (Shindler 
was not among them). On Friday, 10 
June 1887, a few days before Hudson?s 
college graduation ceremony, Mason 
made his ?rst entry relating to Hudson, 
?Mr. C. B. Hudson came to draw,? and 
Hudson did so regularly for 3 months, 
through 15 Sept. 1887, but that was the 
end?something more attractive had 
presented itself. The diary indicates 
that Hudson was on leave from 17 to 
24 Sept., and from 26 Sept. to 12 Oct. 
it indicates he was ?drawing for Capt. 
Collins,? who worked for the U.S. Fish 
Commission. Finally, from 14 Oct. 1887 
to 10 Apr. 1888, it indicates ?CBH?Fish 
Commission.? Mason?s diary contains 
no further entries relating to CBH, and it 
appears that they never interacted again.
Stepping back a few years, in 1883, 
George Brown Goode (13 Feb. 1851?6 
Sept. 1896), director of U.S. National 
Museum, appointed Captain Joseph Wil-
liam Collins8 (Fig. 4) as an unsalaried 
honorary curator in the Section of Naval 
Architecture, Department of Arts and 
Industries, Division of Anthropology.9 
The appointment, in the same general 
division as Mason?s, explains how Col-
lins came to know both Mason and 
Hudson. Collins held the honorary posi-
tion jointly with his Fish Commission 
position, but the demands of the latter 
prevented him from devoting much, if 
any, time to the former, particularly in 
1888, when he had just been assigned 
demanding new duties.
In 1888 the Fish Commission was 
preparing an exhibit for the Cincinnati 
Centennial Exposition and had an open-
ing for an artist. Collins was in charge 
8Collins (1839?1904) was a former captain of 
the Gloucester ?shing schooner Marion. We ?rst 
encountered mention of him in Earll (1880:703) 
and Verrill (1882:226, 334, 397), mainly as 
someone providing information on or specimens 
of, sea life. By 1879, Collins was either work-
ing for, or collaborating closely with, the U.S. 
Fish Commission. By 1883, he was de?nitely 
employed, as an ?assistant,? with the Commis-
sion. In the Of?cial Registers of 1883 and 1885, 
he is listed as an ?assistant? with, for 1883, a 
monthly salary of $125.00, and for 1885, with an 
[unchanged] annual salary of $1,500.00. In the 
Register for 1887, he is listed as the captain of 
the schooner Grampus, at a monthly salary of 
$150.00, but in 1888, he was placed in charge 
of the newly created Division of Fisheries, and 
the Register for 1889 has him as an ?Assistant 
in charge of [a] Division? at a monthly salary 
of $200.00. At that time, aside from the Com-
missioner, he was one of the Commission?s two 
most highly paid employees. He was clearly well 
schooled, an able writer, illustrator, and drafts-
man, and if not trained as a naval architect or 
engineer, he was able to perform outstandingly 
well in those capacities. He was, additionally, 
extremely ambitious, and in 1892, failed in his 
attempts to oust his superior, U.S. Fish Com-
missioner Marshall McDonald, and become 
his replacement. Despite attempts by President 
continued
Figure 3.?Otis Tufton Mason, Cur- 
ator of Ethnology, U.S. National 
Museum. CBH?s instructor at Co- 
lumbian Preparatory School and 
supervisor of his ?rst salaried posi-
tion (SIA image #2009-0006).
6(continued) of Documents. Washington, Gov-
ernment Printing Of?ce, 1887. It is also listed 
as House of Representatives, 50th Congress, 1st 
Session, Miscellaneous document, 87, Part 1. 
N.B. Few, if any libraries, have a complete set. 
In mentioning other volumes in the series, we 
use the abbreviated title Of?cial Register of the 
United States + year; all such references are to 
volume 1 for that year.
7National Anthropological Archives, Smithso-
nian Institution, Anthropol. Hist. Off., 49033: 
Diary of Otis T. Mason from 1 July 1884 to 23 
May 1891.
8 (continued) Benjamin Harrison, Senator Fran-
cis B. Stockbridge (Michigan, chairman of the 
Senate Committee on Fisheries, and a close friend 
of Collins), and even McDonald, himself, to keep 
Collins in his Commission job, Collins resigned 
his position on 28 Dec. 1892 and took the posi-
tion of Chief of the Department of Fisheries for 
the World?s Columbian Exposition (a detailed 
account of what we have abbreviated here can be 
found in the New York Times, 29 Dec. 1892: 5). 
Collins published on many ?shery topics, often 
historically related, and especially on commer-
cial ?sheries and the types and construction of 
?shing vessels. Based only on his work for the 
Fish Commission, Collins merits a biography. 
9R. V. Szary?s historical note on SIA, RU 239, 
National Museum of History and Technology, 
Division of Transportation. 
10 See next page.
of preparations, and after witnessing 
Hudson?s abilities, he decided to hire 
him. On 15 Sept. 1888, Hudson began 
working for Collins in the newly created 
Division of Fisheries of the Fish Com-
mission (Collins, 1891c:337, 343).10 
According to Collins (1892c:CXIII), 
Hudson?s salary was $75 per month, 
and the position apparently only lasted 
to the end of the ?scal year, i.e. 30 June 
1889. We do not know if Hudson?s 
original position with Otis Mason was 
intended to be permanent or tempo-
rary, or if Hudson disliked his assign-
ments, but we believe it most likely 
that it was Collins? magnetic 87.5% 
increase in salary that caused Charles 
71(4) 5
10Hudson may have been employed by Collins 
to ?ll a vacancy created when Albertus Hutchin-
son Baldwin (12 Dec. 1865?17 Mar. 1944), an 
artist employed by the U.S. Fish Commission, 
left the Commission in 1887 to study art in Paris 
and Venice, from 1887 to 1889 (Washington 
Post, 7 June 1925:1; Hill, 1909:164). Baldwin 
was employed by the Fish Commission from 
1884 at least until 30 June 1887, at some point 
in Woods Hole, Mass., but lastly in Washington, 
D.C. The Of?cial Registers of the United States 
for 1885 and 1887 list him as an assistant work-
ing in D.C., at a salary of $60.00 per month in 
1885 and $75.00 per month in 1887 (as of 1 July 
in each year). Baldwin and Hudson probably 
became acquainted during the 1885?87 period 
and became reassociated later. Both would illus-
trate ?shes for Evermann and Marsh?s (1900) 
?Fishes of Porto Rico? and Jordan and Ever-
mann?s (1905) ?Shore ?shes of the Hawaiian 
Islands.? Only Baldwin would accompany the 
USFC expedition to Puerto Rico, but both were 
together on the 1901 USFC Hawaiian expedition. 
Baldwin probably intended to pursue a career in 
the ?ne arts (four of his paintings are in the per-
manent collection of the Metropolitan Museum 
of Art and were viewable on the Internet in 
2008), but he found earning a living as an artist 
to be dif?cult. Ultimately, he became a bureau-
crat, variously working for the departments of 
Agriculture (1897?1900), Interior (1902?05), 
Commerce and Labor (1905?06), Post Of?ce 
(1906?09), Commerce and Labor, again: Census 
Bureau (1909?10); Bureau of Manufactures 
(1910?12); Bureau of Foreign and Domestic 
Commerce (1912?14). He was commercial atta-
ch? in London, England (1914?16) (Washington 
Post, ibid.), and ?later served in a similar capac-
ity at the embassies in Brussels and Paris (New 
York Times, 22 Mar. 1944:19). He left the U.S. 
Government and represented the British?Ameri-
can Tobacco Company in New York City and 
later was a vice president of the Guaranty Trust 
Company in New York (New York Times, ibid.).
Bradford Hudson to be drawn to the 
sea, and, if license permits inclusion of 
some lakes and rivers, the sea, directly 
and indirectly, would have a major 
in?uence on him for the rest of his life.
In our text, we frequently use the fol-
lowing abbreviations for the names of 
people, organizations, or manuscripts:
CAS?California Academy of Sciences 
CASA?California Academy of Sci-
ences Archives 
CAS GSMAEL? GSMyers/AELe-
viton Biographical, Historical and 
Portrait File in the Natural Sciences 
(located at CAS) 
CBH?Charles Bradford Hudson
CHB?Claire Hudson Brett, CBH?s 
daughter from his second marriage
CHBMS?CHB?s unpublished manu-
script chronology outline ?Charles 
Bradford Hudson,? a copy of which 
she sent VGS in 1985
DVA?Department of Veteran?s Af-
fairs, Regional Office, Federal 
Building, 31 Hopkins Plaza, Bal-
timore, MD 21201. Charles Brad-
ford Hudson ?les under No. XC 
or C-2-301-454, which contains 
a large number of pages referring 
to his pension, health, military 
service, and numerous support-
ing documents. We note that we 
received these records over a year 
after requesting them and after our 
manuscript was in press.
DULS?Duke University Libraries, 
Special Collections 
NAASI?National Anthropology Ar-
chives, Smithsonian Institution 
NARA?United States National 
Archives and Records Adminis-
tration 
SIA?Smithsonian Institution Ar-
chives
SQBMS?Sarah Quayle Brett?s 
(CHB?s granddaughter) unpub-
lished manuscript ?Captain Charles 
Bradford Hudson Index of Cor-
respondence? sent to VGS on 27 
Oct. 1998, and again by CHB?s son 
Hudson Brett, on 24 Oct. 200511
SULS?Stanford University Libraries, 
Special Collections
USBF? United States Bureau of 
Fisheries (successor as of 14 Feb. 
1903 of the United States Fish 
Commission)
USFC?United States Fish Commis-
sion
USNM?Division of Fishes, U.S. Na-
tional Museum of Natural History 
VGS?Victor G. Springer.
In describing the length of a ?sh, we use 
the ichthyological abbreviations:
SL  (standard length)?distance from 
the tip of the snout to the base of 
the caudal ?n
TL  (total length)?distance from the 
tip of the snout to the end of the 
longest caudal-?n ray
The text is organized as follows: ?rst, 
we present a more-or-less generalized 
11Copies of CHBMS and SQBMS are in the ?les 
of VGS held at USNM.
narrative of Charles Bradford Hudson?s 
life as we have been able to learn or 
infer it. Following the narrative, we 
present more detailed sections on his 
contributions that we covered in the 
narrative, including more description 
and documentation than we do in the 
narrative. The sections are in the form 
of annotated listings of CBH?s own 
publications, the non-ichthyological 
publications of others that contain his 
illustrations, a detailed discussion and 
atlas of his ichthyological illustrations, 
and a brief but necessary treatment of his 
??ne art,? mostly in support of our thesis 
that he was drawn to the sea. 
Beginnings
Charles Bradford Hudson was born 
27 Jan. 1865 in Oil Springs, Ontario, 
Canada, where his parents were visiting 
while his father, a newspaperman, was 
gathering information on the petroleum 
industry. CBH was the son of Thomson 
Jay Hudson12 (22 Feb. 1834?26 May 
1903), born in Windham, Ohio, and 
Emma Little Hudson (Apr. 1844?about 
Jan. 190813), born in Canada. Thomson 
and Emma were married in Port Huron, 
Michigan on 28 May 1861, when Thom-
son was 27 and Emma was 17. In the 
1900 Census, Emma is reported to have 
given birth to two children, but only one 
[CBH] is indicated as living. 
CBH was descended on his father?s 
side from Edward Hudson, who emi-
grated from England and settled at 
Jamestown, Va., in 1607 with Captain 
John Smith, and on his mother?s side 
from Massachusetts governor William 
Bradford, who arrived at Plymouth on 
the May?ower in 1620. Thomson was 
admitted to the Ohio bar in 1857, but 
moved his practice to Michigan in 1860, 
and abandoned it in 1865 for a career in 
journalism. From 1865 to1875 he was 
an editor of a Detroit newspaper, during 
12Most of the following history concerning 
Thomson Jay Hudson, is derived from his 
biographies in: C. B. Hudson (1904:iv?vii); 
Anonymous (1917:520?521); Malone (1932: 
341?342); U.S. censuses for 1870, 1880, 1900 
(records for 1890 were destroyed and copies are 
not available).
13Inferred from SQBMS and correspondence 
during mid-to-late 1980?s between VGS and 
CHB.
6 Marine Fisheries Review
which time he became politically promi-
nent. He ran for the U.S. Senate in 1866 
but was defeated. 
In 1877, when CBH was 12, the 
Hudsons moved to Washington, D.C. 
There, Thomson Hudson became corre-
spondent for the Scripps Syndicate, sup-
plying news to its ?ve daily newspapers 
(Detroit, Buffalo, Cleveland, Cincinnati, 
and St. Louis). He left that position in 
1880, and for the next 13 years he was 
a U.S. patent examiner, being promoted 
to the position of a Chief Examiner in 
1886. In 1893 he published his first 
book, ?The Law of Psychic Phenom-
ena,? which sold nearly 100,000 copies 
during the next 10 years. It has been 
reprinted many times, most recently 
in 2007, and it is currently in print.14 
Royalties from the book, and others 
Thomson would publish, must have 
been large enough to assure Thomson 
and his wife a very comfortable living. 
He, therefore, left his position as patent 
examiner and devoted his life to publish-
ing and lecturing, very successfully, on 
subjects similar to those he wrote about 
in his ?rst book. Thomson and Emma 
remained in Washington at least until 
1900, but by 1902 they had moved to 
Detroit, Mich. Thompson died in Detroit 
in 1903 with Emma and CBH attending 
him. Emma died about 5 years later.
CBH was exposed to a highly charged 
intellectual atmosphere in his youth. 
He was surrounded with books in his 
father?s extensive library15 and he would 
probably have been present when per-
sons of learning and accomplishment 
visited his parent?s home and discussed 
ideas and issues of the day with his 
father. Both his father?s intellectuality 
and ability to earn a living from writ-
ing (as reporter and editor) must have 
impressed CBH, whose apparently 
native writing ability was comparable 
to his ability as an artist. But CBH only 
authored his ?rst two articles, one about 
deep-sea ?shes and the other about the 
USFC?s intended exhibit for the Chicago 
world?s fair, when he was 28 (in 1893, 
the same year his father published his 
?rst book).16
Work for the Fish Commission
In his initial full-time employment 
with the USFC, it is unclear exactly 
what CBH?s contribution was to the 
Fish Commission?s exhibit for the 1888 
Cincinnati Centennial Exposition. Col-
lins (1892d:872) merely includes CBH?s 
name among those of many others, in a 
list of ?collaborators? who worked on 
the exhibition. During 1888, however, 
CBH spent considerable time illustrat-
ing ?shing boats, which were a special 
interest of J. W. Collins, his supervisor 
and person in charge of preparing the 
USFC exhibit. Collins had designed 
and overseen construction of the USFC 
schooner, Grampus in 1886, and Col-
lins (1891b) published a detailed report 
on the ship?s design, construction, and 
equipment. CBH provided several il-
lustrations for that article, including 
a line drawing of the ship at sea and 
illustrations of the Grampus? interior 
(illustrations variously dated 1888 and 
1889).
Furthermore, CBH painted a picture, 
probably in color, of the Grampus, 
which was also dated 1888, and which 
was either the basis for, or based on, his 
1888 illustration in Collins (1891b). The 
painting was framed and under glass 
and, quite possibly, was exhibited at the 
Cincinnati exposition. A reproduction 
of the painting did not appear in print 
until 1987 (Backus and Bourne, 1987), 
almost 100 years after CBH painted it, 
and then the published illustration was 
based on a print made from an old photo-
graphic negative, which is present in the 
?les of the Smithsonian?s Photographic 
Services. If the original painting exists, 
its current location is unknown.
CBH would illustrate other ?shing 
craft and boats during his salaried year 
with the USFC, which probably ended 
with the close of the ?scal year in the 
fall of 1889. Many of these illustrations 
would be published by Collins (1891a), 
and one, of the USFC steamer Albatross, 
would be published by Richard Rathbun 
(1892)17, a high ranking of?cial in the 
Fish Commission. Another such illustra-
tion appeared in Watkins18 (1891) and, 
although not published for the USFC, 
Watkins? article was published in the 
Annual Report of the Board of Regents 
of the Smithsonian. It was an inkwash 
painting of the ?Savannah,? which, 
purportedly, was the ?rst steamship to 
cross the Atlantic under its own power. 
The painting, dated 1889, is indicated 
to have been done by CBH under the 
supervision of J. W. Collins, and both 
men signed the painting.
Finally, Collins (1901) would publish 
a ?ne 1888 CBH pen-and-ink drawing 
of a British sailing trawler that was in-
cluded in the 1898 International Fishery 
Exposition* in Bergen Norway, at which 
CBH was awarded a silver medal for his 
?drawings of ?shing vessels and boats.? 
He also would receive a bronze medal 
14One web site (http://www.psitek.net/index2.
html) describes it: ?This book explores all areas 
of the metaphysical world from early philoso-
phies to hypnotism and mesmerism, clairvoy-
ance, visions, right through an overview of the 
psycho-therapeutic practices. The phenomena 
of spiritism is [sic] covered in all its [sic] forms 
including contact with the spirit world as well 
as case histories of witchcraft, hauntings and 
possession.?
15His father?s house in Washington was ??lled 
with thousands of books on the subject of psy-
chic phenomena.? CHB, unpubl. manuscr. (not 
CHBMS), 28 Nov. 1996 (courtesy of her son, 
Hudson Brett). We suspect the subjects were 
more varied than just on psychic phenomena.
16Based on a letter CBH sent his mother, he may 
have published illustrations in the ?Penny Paper? 
around the time he was 17 (CHB to VGS, in litt., 
10 Feb. 1985). Penny paper was a general term 
of the period that applied to newspapers or other 
publications that were sold for a penny or pen-
nies. We were unable to learn which penny paper 
or what CBH?s contribution might have been, 
and consider the attribution problematic. 
17Rathbun (1852?1918) was trained as a paleon-
tologist. His association with the USFC began as 
a volunteer in 1874, but by 1875, and until 1878, 
he was a geologist with the Geological Commis-
sion of Brazil. In 1878 he rejoined the USFC as a 
scienti?c assistant, and remained on the staff until 
1896. In 1897 he joined the Smithsonian Institu-
tion, in which he rose, in 1898, to the position 
of Assistant Secretary, in charge of the National 
Museum, a position he occupied until his death 
(SIA, RU 7078, historical note (Anonymous)).
18John Elfreth Watkins (1852?1903), variously 
a railroad employee and museum curator. His 
Smithsonian employment, as honorary curator of 
the Section of Steam Transportation, Department 
of Arts and Industries, U.S. National Museum, 
began in 1885, while he was still a railroad 
employee. He was promoted to Curator of Trans-
portation in 1887. In 1893, he joined the staff of 
the Field Columbian Museum, but in 1895 he 
returned to the Smithsonian where he served in 
various positions until 1903. (Distilled from W. 
R. Massa, Jr., undated, Historical Note, SIA RU 
7268, q.v., for more detail).
* United States report (Collins, 1901) used the 
word Exhibition.
71(4) 7
for a painting about mackerel ?shing 
that was included in the Exhibition. 
The painting was not reproduced in a 
publication and the current location of 
the original is unknown. 
A Short Interruption
On 1 Oct. 188919, immediately 
after completing his work with the 
USFC, CBH, age 24, married Christine 
Schmidt, age 19, daughter of German 
immigrants living in Washington, D.C. 
We know almost nothing about her, 
or when and how they met, although 
she would have a disquieting affect on 
CBH?s life. On 3 Aug. (according to 
Social Security Death Index) or 21 Aug. 
1890 (according to CBH, DVA, Declara-
tion for Pension, 18 March 1927), their 
?rst child, a daughter, Christine20, was 
born. Shortly thereafter, on 4 Nov. 1889, 
CBH was in New York City beginning 
2 months of evening sketch classes at 
the Art Students League with George 
deForest Brush21 (1855?1941), a promi-
Figure 5.?William Temple Hor-
naday, ?rst director of the National 
Zoological Park and of the New York 
Zoological Society, author (National 
Zoological Park ?les).
221 Dec. 1854?6 Mar. 1937. In 1889 Hornaday 
became the ?rst director of the Smithsonian?s 
National Zoo, a position he held until 1896. In 
1896 he left to become the founding director of 
the New York Zoological Society (Smithsonian 
News Service article, Feb. 1989).
23There is a ?ne, if any, line of distinction 
between what is illustration and what we term 
?ne art. In general, illustrations, especially the 
type that CBH produced, were intended to pro-
vide information, and were permitted less free-
dom of artistic expression than ?ne art, which 
is usually intended to appeal to our aesthetic 
sensibilities. 
19In CBH?s posthumous biography (Anonymous, 
1941:498-499 + photograph) indicated that the 
wedding took place on Nov. 3, which is undoubt-
edly erroneous. The Washington Post for 1 Oct. 
1889 indicated that their marriage license had 
been issued, which means it was issued no later 
than 30 Sept. 1889. According to a sworn state-
ment to DVA by the minister who ?solemnized? 
the marriage, it took place on 1 Oct. 1889, and 
this is the wedding date often referred to in DVA 
papers by both CBH and Christine.
20She would attain the age of 103. VGS, on 3 
May 1985, interviewed her in her Annapolis, 
Md., apartment looking out onto Chesapeake 
Bay. She claimed her greatest pleasure was 
watching the sailing ships with binoculars. Chris-
tine had three daughters (no sons). Aside from 
Christine, among the sea?s indirect draw on the 
life of CBH, were her brother, Lester Jay Hudson 
(21 Apr. 1894?4 July 1974), CBH?s other child 
of his ?rst marriage. Lester was a graduate of 
the U.S. Naval Academy in Annapolis, Md., 
and retired with the rank of rear admiral. Lester 
had four sons. His oldest, Allan, also was an 
Annapolis graduate, still living at this writing 
(12/2008). Allan had four sons (and four daugh-
ters): Patrick, his eldest, is an Annapolis graduate 
and naval engineer, with a Ph.D. and the rank of 
commander; Alexander, deceased, was a naval 
of?cer (did not attend Annapolis) on a destroyer, 
and Michael, who was a Navy radioman. Alex-
ander and Michael both served during the Viet 
Nam war. (Telephone interviews with Patrick J. 
Hudson, most recent, 17 Dec. 2008).
21Emails 7?8 Jan. 2008, from Stephanie Cassidy, 
Archivist, Art Students League of New York, to 
VGS. CBH also is reported to have studied with 
William Merritt Chase at the Art Students League, 
but there is no record of this. Probably, he stud-
ied with Chase in 1914 (see narrative for 1914).
nent, successful artist, who painted in a 
romantically realistic style. We do not 
know if CBH?s wife was with him in 
New York. 
During CBH?s year with the USFC he 
probably met William Temple Horna-
day22 (Fig. 5), who was Chief Taxider-
mist for the Smithsonian from 1882 to 
1889. During 1889 and 1890, Hornaday 
apparently contracted with CBH to 
provide illustrations for a book on taxi-
dermy (Hornaday, 1891), which became 
a bestseller. These illustrations appear to 
be the ?rst CBH made for pay after leav-
ing salaried employment with the USFC. 
The contact with Hornaday was to prove 
quite pro?table as Hornaday would go 
on to have CBH provide illustrations 
for several of his articles and books, 
published intermittently until 1906. 
Hornaday (1899b) published a highly 
complimentary article about CBH.
Reassociation With the Fish 
Commission and On His Own
From 1890 to 1892, CBH was again 
illustrating ships for J. W. Collins, but 
these were probably done on contract. 
In 1891, under Collins? direction, CBH 
published a highly detailed illustration 
of a merchant sailing ship for ?The 
Century Dictionary?; it was to appear 
in all editions of the dictionary through 
the last in 1914.
The year 1891 was an important one 
in CBH?s life. He exhibited his fine 
art23, for what may have been the ?rst 
time, in a show at Washington?s exclu-
sive Cosmos Club, followed by another 
inclusion in an exhibit held in Decem-
ber of the same year by the Society of 
Washington Artists. Hornaday (1899b) 
remarked that CBH was an illustrator 
because he enjoyed the work. That may 
be, but we assume that illustrating at 
this early period of his life was probably 
more pro?table and secure a profession 
for a family man than painting pretty 
pictures. Ultimately, however, CBH 
would give up illustrating and restrict 
his artistic efforts to painting seascapes 
and landscapes, which we believe was 
his preferred occupation.
It was also in 1891 that CBH began 
preparing illustrations of ?shing vessels 
for the USFC exhibit at the World?s Co-
lumbian Exposition (also known as the 
Chicago World?s Fair) to be held in 1893 
(McDonald, 1894:lxxi), and it was the 
year he illustrated Juan Lewis?24 (1892) 
self-published little book of poems, 
from which we took our frontispiece 
(Fig. 1).
It appears that 1892 was the first 
year that CBH both illustrated and 
authored an article. It was published in 
1893 (Hudson, 1893a) and concerned 
24Pen name of John Woodruff Lewis, 27 May 
1835?18 Aug. 1919, poet and novelist, and 
sometime patent examiner in Washington (source 
01/2009: http://www.ulib.niu.edu/badndp/lewis_
juan.html) during the same period as CBH?s 
father, one-time patent examiner, who probably 
introduced CBH to Lewis. 
8 Marine Fisheries Review
the USFC exhibit for the Columbian 
Exposition. The article contained a few 
illustrations of ?shes, and, except for 
our Figure 1, are the ?rst such by CBH 
that we know of, either for himself or 
for others. During 1892 and 1893, he 
illustrated and wrote an article about 
deep-sea ?shes (Hudson, 1893b), and 
it may have been about this time that 
CBH came to the attention of Barton 
Warren Evermann25 (Fig. 6), who had 
been employed by the USFC in 1891 as 
an Assistant in the Division of Scienti?c 
Enquiry. Evermann would avail himself 
of CBH?s services frequently over the 
years, involving him as illustrator and 
participant on two major expeditions, 
recommending him as illustrator to 
David Starr Jordan26 (Fig. 7), employ-
ing him for many years as a background 
painter of dioramas at the California 
Academy of Sciences, where Ever-
mann became director (in 1914), and 
recommending him as a ?ne-art artist 
to Gump?s Department Store in San 
Francisco, which was to be the sole sales 
representative for CBH?s landscape and 
seascape paintings.
Late in 1893, CBH would again leave 
his wife and young daughter, this time to 
study art under W. A. Bougereau at the 
Academie Julian in Paris. They would, 
however, join him there, but it could not 
have been for long, as Christine would 
give birth to a son, Lester Jay, in the City 
of Washington, on 21 Apr. 1894, and 
we presume CBH was with her at the 
time. During 1893, while in Paris, CBH 
began preparing illustrations of Parisian 
scenes, which he used to illustrate his 
lively article about the Latin Quarter 
(Hudson, 1894). CBH would illustrate 
three articles for Hornaday in 1894, and 
in 1895, he would illustrate and author 
three of his own articles: one about the 
work of the USFC (Hudson, 1895a), 
one about a particular kind of ?sh for a 
Figure 6.?Barton Warren Ever-
mann, 1899; USFC scientist, 1891?
1914; Director, California Academy 
of Sciences, from 1914 until his 
death, 1932 (CAS  GSMAEL).
Figure 7.?David Starr Jordan, 1891; 
noted ichthyologist, ?rst president of 
Stanford University (CAS GSMAEL).
25Evermann (24 Oct. 1853?27 Sept. 1932). A 
detailed biography of Evermann was published 
by Jennings (1997).
2619 Jan. 1851?19 Sept. 1931; early president of 
the University of Indiana, ?rst president of Stan-
ford University, world renowned ichthyologist; 
for a brief biography and a bibliography of his 
publications see Hays (1952); for his ichthyo-
logical importance at Stanford University, see 
Brittan (1997).
children?s magazine (1895b), and one 
about the life history and behavior of 
several kinds of ?shes (1895c). He also 
provided illustrations for a novel written 
by Hornaday (1896).
In 1896, CBH was again working 
contractually for the USFC. During 
3?14 Sept. he was at Cape Charles, Va., 
illustrating ?shes in color, and from 24 
Sept. to 8 Dec. he was at Woods Hole, 
Mass., doing the same. With a short 
break after Woods Hole, from 2 Jan. 
to 27 Mar., or perhaps 2 Apr. 1897, he 
was illustrating ?shes again, this time in 
Key West, Fla. Not surprisingly, during 
these absences, it appears that his wife 
remained at home to take care of their 
children. On the other hand, it is sur-
prising that none of these illustrations 
were included in the USFC exhibit at 
the International Fishery Exposition in 
Bergen, Norway. During 1897, CBH 
prepared illustrations for another novel 
(Inman, 1898).
Military Service
From 20 Dec. 1888 through 1898, 
CBH?s service with the District of 
Columbia National Guard (henceforth, 
DCNG), also referred to in records and 
reports as the District National Guard 
and the District Militia, paralleled 
his other activities. During the Span-
ish?American War, 1899, the DCNG 
troops were called to duty and served as 
the First District Volunteers in the U.S. 
Army. The records of the DCNG (in-
cluding those of the District Volunteers) 
are complex and dispersed among sev-
eral different archives. There are gaps in 
the records that probably represent lost 
or mis?led records, or records in some 
repository of which we are unaware. 
DVA contains many of CBH?s post-
military records relating to his pension 
applications and amounts, and those 
devolving onto his wife after his death. 
His pension was merited only because 
he served during the Spanish?American 
War. Also included in DVA are some 
complete physical exams (more below) 
and other personal information in sup-
porting documents.
CBH?s earliest DCNG military re-
cords are deposited at the National 
Personnel Records Center (henceforth 
NPRC), in St. Louis, Mo.27 His initial 
27According to the website of the NPRC, it has no 
records prior to those of World War I (ca. 1917), 
and that records prior to WWI are at NARA in 
Washington, D.C. We tried unsuccessfully to 
locate CBH?s early records at NARA, as well as 
at several other non Federal institutional archives 
in Washington, D.C. Finally, we called the DCNG 
of?ce and by chance the lady who answered the 
phone said, ?those records used to be here, but I 
continued on next page
71(4) 9
enlistment ?as a soldier,? no rank given, 
but presumably as a private, was on 
20 Dec. 1888 for a period of 3 years 
(expiration 19 Dec. 1891).28 Indicating 
his occupation as ?artist? and place of 
business as ?U.S. Fish Commission 
Exhibit29,? CBH re-enlisted on 2 Jan. 
1892 for another 3 years, ?unless sooner 
discharged.? The enlistment period must 
have ended ?sooner,? as there is a record 
that he was ?honorably discharged per 
S[pecial]. O[rder]. 1, par 1 Series 1893.? 
CBH next signed an enlistment paper 
on 20 Dec. 189330 for another 3 years 
(?unless sooner discharged?), which 
would have terminated 19 Dec. 1896. 
On that paper he gave his occupation 
as ?illustrator? (there was no space 
provided to indicate place of business on 
that application). Possibly, as a result of 
a change in his military status, CBH was 
again discharged, ?S. O. No. 7, par 2, 
series 1895, and on 9 May 1895 he again 
enlisted for 3 years, this time as a ?Ser-
geant Major,? giving his [civilian] oc-
cupation as ?Illustrator and Journalist.? 
The termination date of this enlistment 
was given as 9 May 1898 on a separate 
piece of paper dated 10 May 1895, 
which indicates he is Sergeant Major, 
1st Regiment. This last paper has a 
handwritten note ?Discharge when com-
missioned to date July 22/95? followed 
by ?honorably discharged per S. O. No. 
44, par 1 Series 1895.? On another sheet, 
dated 26 Jul 1895, CBH is also listed 
as Sergeant Major, 1st Regiment, with 
a note, ?Transferred to Gen[eral] Non-
com[issioned]. staff, by S. O. 34 c.s.?
27(continued) sent them to NPRC a couple of 
years ago.? She gave us the name and telephone 
number of the person, William Seibert, she had 
sent the records to. Seibert informed us that the 
only pre WWI records at NPRC were those of the 
DCNG. We obtained copies of those that were 
available, but the most recent was 19 Dec. 1896.
28We made several unsuccessful attempts to 
determine what time and training requirements 
were required of National Guard enlistees in the 
late 19th Century. Most training was probably 
done on weekends and evenings, and at some 
time during the year there was a short period 
of bivouacking. Undoubtedly training at least 
included learning to take orders, marching, han-
dling arms, and target practice. 
29Probably an indication of his working on the 
Cincinnati Centennial Exposition.
30Soon after this date, CBH must have departed 
for Paris, where he remained for a few months.
The only information we have of 
CBH?s military service between 26 July 
1895 and 16 May 1898 is indicated in 
papers in possession of CBH?s family.31 
They list two records, the ?rst is dated 
26 Aug. 1895: ?War Department, Ad-
jutant General?s Of?ce, Washington: 
Commission of Adjutant of the First 
Regiment of Infantry of the Militia of 
the District of Columbia; endorsements 
. . . . . . (2 pages);? and the second, dated 
6/03/1897: ?Headquarters of D.C. 
Militia letter regarding commission as 
Captain & A.DC [aide-de-camp] . . . . . . 
(1 page).? An article in the Washing-
ton Post (1 Dec. 1900:9) included an 
announcement of CBH?s resignation 
from the ?District Guard,? stating that 
he was ?on the general staff since July 
3, 1895.?
Records of CBH?s service during the 
Spanish?American War were available 
to us and date from 16 May 189832, 
when that organization was mustered 
into the U.S. Army, as the 1st Regi-
ment, District of Columbia Infantry 
[U.S. Army Volunteers], commanded by 
Colonel George Herbert Harries, during 
the war. On that date, CBH was listed as 
?rst lieutenant, Company K; however, a 
chronological sheet accompanying his 
records indicates, ?May 30 commission 
as 1st Lt, 1st D.C. Vols.? He served in 
that position during the time (beginning 
14 July) his unit participated in the Siege 
of Santiago, Cuba. A fortnight later, 29 
July, he was entered on the list of sick 
and wounded as having ?Intermittent 
Fever? associated with ?Jaundice.? We 
assume that he had been infected with 
yellow fever, which was epidemic, and 
often fatal, during the War. CBH would 
31The information presented here is all that was 
available to us. It is contained in SQBMS.
32Information concerning CBH?s military 
records during and after the Spanish?American 
War were obtained from NARA (Washington, 
D.C.), Archives Records Center, Old Military 
and Civilian Records, Spanish?American War, 
Carded Records, Volunteer Organizations, 1 
D.C. Infantry, Charles B. Hudson; identify-
ing numbers: 41091797, 41091874, 41092021, 
41092168, 41088244, 41088282, 41088283; 
41093565, 41093573, 41093586, 41093013, 
41093032, 41093052; also, NARA, Archives 
Records Center, General correspondence of the 
Adjutant General?s of?ce, 1890?1917, Hudson ? 
Hughen: 351005, 353858, 363439.
suffer from its effects for several years. 
On 1 Aug. 1898, 3 days after being di-
agnosed, and undoubtedly as a result of 
the fever, he was ?Transferred . . . from 
Company K to be Adjutant 2nd Bat-
talion? (the Regiment comprised three 
battalions), a staff position probably 
requiring less physical stress than that of 
an of?cer with direct command respon-
sibility. He remained in that capacity 
until he was mustered out of the Army 
on 20 Nov. 1898. After mustering out, 
he returned to his status in the District 
National Guard, reverting to his pre-war 
rank of captain and as aide-de-camp to 
Harries, who also returned to his pre-war 
rank as brigadier general.
The Washington Post (9 Sept. 1898:4) 
has a full page of drawn portraits, prob-
ably based on photographs, of the ?Of-
?cers who led the District heroes.? They 
are predominantly full faced and hatless, 
and include one of CBH (Fig. 8, right) 
with a handlebar mustache. Hornaday 
(1899b:449) provided a photograph of 
CBH in uniform, which we reproduce 
as Figure 8, left.
On 20 Nov. 1900, CBH resigned his 
commission in the D.C. Guard, and 
on Nov. 26 his resignation took effect. 
Between Dec. 1900, and early Feb. 
1901, CBH applied for appointment as 
a second lieutenant in the regular U. S. 
Army. Several letters of recommenda-
tion, including that of General Harries33, 
on his behalf, were received by the War 
Department, Adjutant General?s Of?ce. 
On 9 Oct. 1902, CBH was noti?ed that 
he was ineligible for appointment be-
cause these appointments were limited 
to men from 21 to 27 years of age; CBH 
was 37. 
33Harries recommended ?ve men for commis-
sioning, which he listed in order based on his 
opinion of their merits. CBH was third. Harries 
general recommendation for all ?ve read, ?All 
of the gentlemen named served in the District 
of Columbia quota during the war with Spain, 
and each one of them is of that type of soldierly 
manhood which should be essential to the pos-
session of a commission in the regular establish-
ment. Each of them is fully capable of attending 
to any military duty, either in the line or staff.? 
His particular recommendation of CBH read, 
?Mr. Hudson was one of the most industrious and 
painstaking of those who rendered such excellent 
service in this country, and through the siege of 
Santiago, and during the prolonged struggle with 
disease until the day of muster out.?
10 Marine Fisheries Review
Figure 8.?CBH, ?rst lieutenant, First District Volunteers, during Spanish?Ameri-
can War, 1898: left, from Hornaday (1899b:449); right, from Washington Post, 9 
Sept. 1898, p. 4 (Proquest Historic Newspapers).
We ?nd CBH?s persistence to have a 
military career of particular interest, and 
hazard the opinion that he was driven to 
af?rm his masculinity. In conversations 
with VGS, both his daughters stressed 
his small size and slight build. His mili-
tary records during the Spanish?Ameri-
can War describe him as being 5 ft. 51/2 
inches [1.66 m] tall, of light complexion, 
with blue eyes and brown hair. A DVA 
medical exam record dated 5 Jan. 1938 
(roughly 40 years later and 18 months 
before his death) describes him as being 
5 ft 41/4 inches [1.63 m], weight 117 lbs, 
stripped [53.2 kg], highest weight in past 
year, 135 lbs [61.4 kg]; cardiovascular 
system abnormal: ?all arteries are hard, 
beaded and tortuous,? appendectomy 
scar, all upper jaw teeth absent, lower 
jaw lacking 12 teeth, but ?dentures sat-
isfactory.? And concluded, ?Claimant is 
100% disabled to perform manual labor 
due to his arteriosclerosis . . .? Various 
other records indicate his height as 5?6? 
[1.68 m] and 5?8? [1.7 m], but these were 
not associated with medical exams and 
are probably inaccurate. An age related 
decrease in height from 5 ft. 51/2 inches 
to 5 ft 41/4 inches over a period of 40 
years, seems reasonable, especially if 
there was associated osteoporosis. 
Henceforth, as a result of his military 
service, CBH was frequently addressed 
or referred to as Captain Hudson by his 
friends and colleagues. 
Return to Washington, D.C.
On return to the United States, CBH?s 
unit was stationed at Camp Wikoff, N.Y., 
a demobilization and quarantine camp 
established Aug.?Sept. 1898 for troops 
returning from the Spanish?American 
War.34 By 12 Sept., CBH was back in 
Washington, D.C. He appears to have 
returned to his family then, but by No-
vember he left them and moved into his 
father?s home on Capitol Hill, in which 
he would reside until he left for Cali-
fornia in the spring of 1901. Although, 
he would have close relations with his 
children, it appears that he never saw 
his wife again.
CBH now entered what was probably 
a dif?cult period of his life. Suffering 
from the ill effects of yellow fever and 
the emotional stress of separating himself 
from his children, if not from his wife, he 
produced only a few magazine illustra-
tions in 1899 and published no articles 
of his own (nor would he until 1903). 
He produced few, if any, illustrations of 
?shes during the year, as we imply in 
the section on ?CBH?s Ichthyological 
Illustrations? (see date illustrated for 
illustrations P03239, P03416, P06885, 
P09663, P10343, P15116).
By 1900, CBH was busily at work 
again. He prepared several illustrations, 
published in 1902, for the reports of 
several of the scientists who participated 
in the Harriman Alaska Expedition of 
1899.35 The original of one of these 
illustrations, a small oil painting of sea 
lions, hung in the E. H. Harriman home 
for many years, but its whereabouts have 
been unknown since about 1993. CBH 
completed a few magazine illustrations 
during 1900 and a series of pictorial 
identi?cation labels for the bird exhibit 
of the New York Zoological Society, 
of which his friend Hornaday was the 
director and probably the source of 
his employment (CBH apparently did 
this work in New York36). In late 1900, 
CBH was awarded a bronze medal for 
his paintings of ?shes, which had been 
included in the Paris Exposition Univer-
selle (World?s Fair). 
On 29 Dec. 1900, the ?rst publica-
tion of CBH?s ichthyological illustra-
tions would appear (Evermann and 
Marsh, 1900). These included colored 
lithographs of the paintings he had made 
mostly in Key West, Fla., in 1896, and 
pen-and-ink illustrations made in either 
1899 or 1900.
In early Jan. 1901, Christine Hudson 
brought her ?rst suit for divorce, claim-
ing CBH deserted her in 1898.37
34New York State Military Museum, http://dmna.
state.ny.us/forts/fortsT_Z/wikoffCamp.htm (15 
Dec. 2008).
35The Harriman Alaska Expedition was orga-
nized by E. H. Harriman, a railway magnate and 
?nancier, to explore the coastal waters and ter-
ritory of Alaska. The expedition extended from 
31 May to 30 July 1899, during which thousands 
of documentary photographs were taken. The 
scienti?c ?ndings were published in 14 volumes, 
issued between 1901 and 1914. Harriman pub-
lished the ?rst two volumes, but then turned the 
copyright over to the Smithsonian Institution, 
which published the remaining volumes and reis-
sued the ?rst two volumes under its own imprint. 
Several prominent scientists participated in the 
expedition: John Burroughs, Edward S. Curtis, 
William E. Ritter, G. K. Gilbert, George Bird. 
Grinnell, William H. Dall, Clinton H. Merriam, 
and John Muir. 
36CHBMS
37The Washington Post, 9 Jan. 1898, p. 10 (Pro-
Quest Historical Newspapers).
71(4) 11
West to California and Beyond
Hawaii became a territory of the 
United States on 22 Feb. 1900. By Act 
of Congress, 20 Apr. 1900, the Commis-
sioner of the USFC was ?empowered 
and required to examine into the entire 
subject of ?sheries . . . in the Territory 
of Hawaii . . .? (Smith, 1902:123). The 
Commissioner placed the investigations 
under the direction of D. S. Jordan, then 
President of Stanford University, and B. 
W. Evermann, ichthyologist, with the 
Commission (Smith, 1902:124). The 
artists selected to go on the expedition 
to Hawaii were CBH and A. H. Baldwin, 
both of whom had previously prepared 
illustrations of ?shes for Evermann
The expedition was scheduled to 
begin in June 1901. Apparently, in 
early March 1901, Jordan had written 
Evermann requesting that CBH illustrate 
certain species of ?shes and offering 
CBH an ?appointment [without pay] as 
associate artist in the Hopkins Labora-
tory,?38 located in Paci?c Grove, Calif., 
when CBH came out to California. 
Hudson accepted with alacrity, but his 
response puzzles us. In it (dated 15 Mar. 
1901) he indicated that he will leave for 
California as soon as he could arrange 
his affairs, ?I have an order from the 
U.S. Fish Commission for three draw-
ings in color which will probably require 
between two and three weeks to com-
plete . . .? We do not know of any CBH 
USFC paintings in color done in 1901 
other than those prepared during his 
participation in Jordan and Evermann?s 
expedition to Hawaii.
CBH departed Washington, D.C., for 
California, probably arriving sometime 
in mid Apr. or May, 1901. By the ?rst 
of June, he was on the boat for Hawaii 
together with the rest of the expedition?s 
participants, and some other folks 
(Fig. 9). Among them was Claire Grace 
Barnhisel (in the future usually known as 
Grace), a Stanford University graduate, 
on her way to Hawaii to teach school. 
Two and one-half years later (9 Dec. 
1903), CBH (38) and Grace (32), born 
29 Oct. 1871, would marry.39
CBH painted Hawaiian ?shes from 
life from early June to late July 1901, 
at which time he and the other members 
of the expedition returned to California. 
An article in the Honolulu Evening 
Bulletin, 8 July 1901, described him at 
work: ?Hudson?s studio is an interest-
ing den. It is not in at [sic] attic nor 
under a eucalyptus tree. He is perched 
on a bench at the outer end of the pier 
seaward from the Moana hotel. He has 
before him a glass aquarium, full of sea 
water. Here he poses his models.? The 
article also mentions that it took CBH 
a week to complete each illustration 
(Fig. 10).
The ?shes he illustrated were pub-
lished in Jordan and Evermann?s (1905) 
study of the shore ?shes of the Hawai-
ian Islands. They would be reproduced 
in postcard format, though suffering in 
quality, in several editions over the years 
by the Waikiki Aquarium40, and four 
would also be reproduced as postcards 
by the Steinhart Aquarium, San Fran-
cisco, about 1923.
On his return to California from 
Hawaii in Aug. 1901, CBH resumed 
preparing illustrations, probably for D. 
S. Jordan?s studies of Japanese ?shes. 
In August, the ?rst ?ling of Christine 
Hudson for divorce was dismissed 
?without prejudice,? but a second ?ling 
was made about 20 Aug. It alleged that 
CBH had left his home in November 
1898, and had been absent for more 
than 2 years.41 The divorce was granted 
21 Nov. 1902 (DVA copy of divorce 
decree), in which it was speci?ed that 
CBH?s wife would have custody of their 
daughter, Christine, during her minority, 
but allowing CBH to have her visit him 
for 2 months each year. Similarly, CBH 
was granted custody of their son, Lester, 
but allowing Christine to have him visit 
her for 2 months each year. 
At some period during 1900?01, 
CBH?s parents would move from Wash-
ington, D.C., to Detroit, Mich.
On 4 Feb. 1902, CBH, in Pacific 
Grove, wrote J. O. Snyder42 at Stanford 
that he was working ?seven days in the 
week? and that ?. . . my health, which 
I have never fully recovered since the 
war, has been better here than in any 
other place.43? He wasn?t only drawing 
?shes, however, as in March he began 
working on his first novel.44 On 22 
Apr. 1902, A. H. Baldwin, who was at 
Stanford University illustrating ?shes, 
wrote Dr. Hugh M. Smith, soon to be 
the ?rst Deputy Commissioner of Fish-
eries, ?Hudson is here now and looks 
very well. He enjoys California more 
than I do I think, and expects to stay 
here some time I believe.45? Baldwin?s 
thinking was spot on! From that time 
until his death in 1939, CBH would 
make California, mostly in Pacific 
Grove, his permanent home. Probably, 
contributing to his initial desire to stay, 
we presume, was a blooming romance 
between him and Grace Barnhisel, en-
hanced when his wife?s divorce decree 
was granted.
About 12 Feb. 1903, however, 
CBH had been called to Detroit to 
help his mother attend to his father, 
who had serious health problems.46 
38SULS 058, Series IA, D. S. Jordan, Box 28, 
Folder 280, 18 Mar. 1901, CBH to D. S. Jordan; 
SULS 058, Series IAA, D. S. Jordan, Box 2, 
Folder v.3, 21 Mar. 1901, D. S. Jordan to CBH. 
Jordan mentioned that he still had 175 new spe-
cies of Japanese ?shes to be illustrated and ?So 
far as I can see there is likely to be all the work 
you can do for a long period, perhaps several 
years.? 
39DVA contains a copy of their marriage license, 
which, based on handwriting, appears to have 
been ?lled out by CBH. On it, he gives his age as 
38 and hers, erroneously, as 30. We obtained her 
birth date, which she included in a letter, 7 May 
1944, she wrote to DVA.]
40These reproductions also included the color 
paintings of ?shes that A. H. Baldwin produced 
on the expedition. Baldwin worked in watercolor, 
CBH in oil on academy board. (See also footnote 
92 for more information on the postcards.)
41New York Times, 20 Aug. 1901, p. 10. The arti-
cle also indicated that she was the sole support of 
her daughter, but that CBH?s parents had contrib-
uted partly to the support of her son.
42J. O. Snyder, 1867?1943, spent most of his pro- 
fessional life as a professor teaching ichthyol-
ogy and ?sheries biology at Stanford University. 
Hubbs (1943:265) and Brittan (1997) include 
information about him.
43SULS SC058 IA, D. S. Jordan, Box 28, Folder 
305.
44CHBMS.
45NARA RG 106, Smithsonian Institution, Hugh 
M. Smith, Box 5.
46Information for the period 12 Feb.?11 Oct. 
1903 is contained in letters between Jordan and 
CBH in SULS SC058 IA, D. S. Jordan, Box 36, 
Folders 352, 353, 355, 357 and Box 37, Folder 
368, and SULS SCO58 IAA, D. S. Jordan, Box 
6, Folders 11 and 12, Box 7, Folders 13 and 14, 
and Box 9, Folder 17. 
12 Marine Fisheries Review
Figure 9.?Members, in part, of Evermann and Jordan?s expedition to the Hawaiian Islands, Nuuanu Pali, 12 June 1901. Back row 
from left: Charles Bradford Hudson, Edmund Lee Goldsborough (USFC, Evermann?s assistant), Michitaro Sindo (Jordan?s assis-
tant). Front row from left: Albertus Hutchinson Baldwin (artist), Barton Warren Evermann (USFC), Grace Barnhisel (CBH?s future 
wife, recent Stanford University graduate, not an expedition member), Knight Jordan (age 13, Jordan?s son), David Starr Jordan, 
Alvin Seale (curator of ?shes, Bishop Museum), John Treadwell Nichols (age 18, volunteer, future curator of ?shes, American 
Museum of Natural History). Photograph by John N. Cobb (USFC statistician, in charge of expedition arrangements) (DULS, E. 
L. Goldsborough ?le).
CBH had taken specimens with him, 
which he was illustrating as time 
permitted, and Jordan repeatedly 
importuned him to finish them so 
that he could submit his papers for 
publication. CBH remained in De-
troit, and on 26 May 1903, his father 
died. CBH would stay on in Detroit 
until at least November to help settle 
his father?s estate and also to write a 
biography of his father and preface 
for his father?s posthumous book, 
?The Evolution of the Soul and Other 
Essays,? 1904. 
By early Dec. 1903, CBH was back in 
California, and on 9 Dec. 1903, he and 
Claire Grace Barnhisel were married 
in San Jose.47 They would make their 
permanent home in Paci?c Grove, build-
ing a house in 1910 at 317 Alder Street 
and, with occasional extended absences 
would live there until CBH died in 1939 
and his wife moved away in 1941 (in 
litt., 6 Jan. 1941, Grace B. Hudson to 
DVA). It was in the Alder Street home 
that they would raise their two children, 
Bradford Benedict and Claire Barnhisel, 
and Lester, son of CBH?s ?rst marriage. 
By 1926, CBH would build or acquire a 
separate studio at 440 Asilomar Avenue 
(from the Spanish, asilo, a refuge + mar, 
sea, hence, refuge by the sea), less than 
a mile (1.61 km) from their home, near 
to, and with an unimpeded view of, the 
47His ?rst wife, Christine, was granted a divorce 
in 1902 and she would remarry in 1903 (Wash-
ington Post, 4 Aug. 1903, p. 3), to Guy N. 
Collins (1872?1938), prominent chief botanist 
for the U.S. Department of Agriculture, Bureau 
of Plant Industry (New York Times, 16 Aug. 
1938, p. 19). They would remain married until 
he died. Information from ProQuest Historical 
Newspapers.
71(4) 13
Figure 10.? Charles Bradford Hudson at work in his ?studio? on a dock in Oahu, 
during 1901 Evermann?Jordan expedition to the Hawaiian Islands (note Diamond 
Head in background). Photograph by John N. Cobb (DULS, E. L. Goldsborough 
?le).
Paci?c (Fig. 11).48 After Grace, 93, died 
(1964), or perhaps some years earlier, 
the Alder Street home was sold, but 
today the entranceway bears a Paci?c 
Grove historic marker, ?Grace Hudson 
1910.? The studio remains in the family 
and the ashes of Claire Hudson Brett, are 
spread on the grounds around a tree.49 
CBH was also cremated, and his ashes, 
presumably, were similarly dispersed. 
The ashes of his son, Rear Admiral 
Lester J. Hudson, were dispersed at sea 
off Point Lobos, Calif., a favorite subject 
for CBH?s paintings (Fig. 12, 13).
From Lake Tahoe 
to the Golden Trout  
of the High Sierras
In the spring of 1904, Stewart Edward 
White50, a prominent author who had 
visited California?s Sierra Nevada 
Mountains in 1903, wrote President 
Theodore Roosevelt of his concern for 
the preservation of the golden trout, 
Oncorhynchus mykiss aguabonita, of 
the High Sierras. It was considered to 
be the most beautiful of all trout species. 
It had a limited distribution and it was 
easily caught by trout ?shermen, who 
could ?sh it to extinction. Roosevelt 
contacted George Meade Bowers51, ?fth 
48Although the geographic position of the studio 
remains the same, the original short driveway to 
the studio from Asilomar was allowed to become 
overgrown and blocked, and a long, two-track 
dirt road leading off Sunset Drive on the oppo-
site side of the studio is now the entryway to 
the property. Sunset Drive is the closest road 
between the studio and the Paci?c Ocean. Today, 
there is no street number posted for the studio 
on either Asilomar Avenue or Sunset Drive. The 
driveway entrance on Sunset Drive, however, is 
between addresses 1642, to the south, and 1600, 
to the north. One can still just discern the remains 
of the short, original Asilomar driveway of the 
studio in an aerial photograph that was available 
on the web during 2009.
49Telephone interview, by VGS, 21 July 2008, 
with Cmdr. Patrick J. Hudson, great grandson of 
CBH?s ?rst marriage.
5012 Mar. 1873?18 Sept. 1946, novelist, adven-
turer, and conservationist, one of a select few 
made an Honorary Scout by the Boy Scouts of 
America. Barton Warren Evermann (1906:20) 
named Salmo whitei [= Oncorhynchus mykiss 
whitei] in recognition of White?s effective con-
cern about the preservation of the golden trout.
5113 Sept. 1863?7 Dec. 1925, Commissioner 
1898?1913, U.S. Representative from 2nd Dis-
trict, West Virginia, 1916?1923. For an interest-
ing statement about his initial appointment see 
the New York Times, 2 Feb. 1898, p. 3.
U.S. Commissioner of Fisheries, who 
wrote White on 22 Apr. 1904:
Dear Sir:
I have received a letter from the 
President in which he calls atten-
tion to the golden trout of Mount 
Whitney, concerning which he 
states that he has received a letter 
from you. It affords me pleasure 
to inform you that this Bureau is 
alive to the interest attaching to 
this beautiful trout and has already 
taken steps toward its preservation. 
During the summer an investiga-
tion will be made for the purpose 
of determining in just what streams 
it is now found and what steps may 
be taken for its preservation and 
wider distribution.
Bowers appointed Barton Warren 
Evermann to head the investigation 
of the golden trout, which was known 
from Volcano Creek52 in the Kern River 
region of the High Sierras, an area 
of rugged terrain, deep canyons with 
vertical walls, streams, waterfalls, and 
meadows, among mountains reaching 
heights well over 10,000 ft (3,048 m), 
with Mt. Whitney having the highest 
peak (15,505 ft, 4,421 m) in the con-
tiguous United States. Evermann knew 
that an expedition into such wilds to 
make a biological study of a ?sh would 
52The Volcano Creek of Evermann (and as used 
by us in the above discussion) is today called 
Golden Trout Creek, and a southern tributary, 
which ?ows through a boulder ?eld before join-
ing Golden Trout Creek, is now designated Vol-
cano Creek. The golden trout in Golden Trout 
Creek is still an isolated pure population (Robert 
J. Behnke, email to VGS 23 Jan. 2009).
14 Marine Fisheries Review
Figure 11.? CBH?s studio at 440 Asilomar Avenue, Paci?c Grove, Calif., and view of Paci?c Ocean from driveway leading to 
studio from Sunset Boulevard (Oct. 2008). Photographs courtesy of Monica Hudson.
71(4) 15
Figure 12.??October afternoon, Paci?c Ocean near Carmel, Calif.? Oil 
on canvas, signed lower left, no date, dimensions not provided. Claire 
H. Brett family collection. (Photograph courtesy of late Claire H. Brett). 
Could this scene have been from CBH?s studio (see Figure 11)?
require several weeks, much equipment, 
and pack animals to carry the supplies, 
personnel, and equipment.
Among the personnel he wanted 
were scientists with differing special-
ties, assistants, packers, a cook, and 
a competent artist to capture the life 
colors of what was considered to be the 
most beautiful trout in the United States. 
Trout ?shermen in the early 1900?s were 
just as avid about their sport and prey as 
they are today, and the Bureau sought to 
make every effort possible to learn about 
and to protect such an attractive ?sh, 
no less than how to satisfy Theodore 
Roosevelt.
Evermann put together a team of 10 
people, which included, beside himself: 
Oliver Peebles Jenkins, (1850?1935), 
professor of physiology and histology, 
and Rufus L. Green (3 Mar. 1862?19 
Nov. 1932), professor of mathematics, 
both of Stanford University; Chancey 
Juday (5 May 1871?29 Mar. 1944), then 
professor of zoology (limnologist, fresh-
water planktonologist) of the University 
of Colorado; and three assistants, two 
packers, a cook, and, last but not least, 
the artist, Charles Bradford Hudson.
But ?rst, there were the moderately 
complex problems involving the gen-
teel art of ?nancial negotiations and 
overcoming what appears to have been 
a budgetary obstacle to the Bureau of 
Fisheries? paying CBH?s transporta-
tion expenses from Michigan to the 
expedition?s origination point in Visalia, 
Calif., and probably those of Chancey 
Juday, who was in Colorado. 
Sometime before May 1904, CBH, 
with his wife, had returned to his 
mother?s home in Detroit and Evermann 
had written him there requesting him to 
participate in the expedition to the Sier-
ras. On 1 May 1904, CBH replied53: 
53The remaining narrative includes extensive 
quotes from letters exchanged between CBH 
and Barton Warren Evermann. In general, we 
thought it best to let these men speak for them-
selves. What is omitted from the incompletely 
quoted letters, even when the body of the cor-
respondence might be quite businesslike, are the 
men?s friendly closing comments concerning 
their respective families, or invitations to visit 
and reside in their homes. Formality of the day, 
however, always reigned: it was always Dear 
Captain or Mr. Hudson, and Dear Professor or 
Dr. Evermann.
Dear Professor Evermann, 
Your very kind favor of offering 
me the opportunity of a trip into 
the Sierras next summer is at hand, 
and makes me regret more than 
ever that I am not in California. It 
appeals to me a lot. There is little 
possibility, however, that I shall 
go west before next winter?if, 
indeed, I go then. But if I were 
there I should certainly accept your 
proposition, not only for the sake 
of the chance to paint the trout, but 
for the outing with you and Dr. Jen-
kins. I thank you for the invitation. 
I infer that the Fish Commission 
would not pay my expenses from 
a point as remote as this. If that 
could be arranged I should be very 
much tempted.
On 25 May 1904, Evermann included 
the following comment in a letter to Jen-
kins, ?Our party, so far as provisionally 
determined, will include [a list of par-
ticipants follows]. To these I would add 
Hudson, if he were on the coast, for the 
Golden Trout of Mount Whitney surely 
ought to be done in colors and Hudson 
can do it beautifully. He may be willing 
to go anyway.? 
Also, on 25 May, Evermann wrote 
CBH in response to CBH?s May 1 
letter:
My dear Mr. Hudson:
I am awfully sorry you are not on 
the coast; for I would like mightily 
to have you go with me to beard the 
Golden Trout in its native waters. 
And I would be pleased if some 
way [emphasis ours] could be 
arranged by which you might be 
induced to go. I regret that there 
is so little money available for this 
investigation; but as there are so 
few ?shes in that region available 
for painting, the Bureau could not 
offer the compensation which you 
should have as an artist. The best 
that I can offer is a most delightful 
trip into America?s wonderland, 
which I was sure would appeal to 
you. I can assume all our expenses 
while in the ?eld. Now how much 
toward your other expenses (get-
ting to Palo Alto, etc.) would 
induce you to go? If it is not too 
much, I?ll try hard to raise it. There 
are special California rates which 
we might strike. My idea is to start 
as early in July as possible and 
16 Marine Fisheries Review
?nish up sometime in August, I 
hope not later than the 10th.
It appears that CBH had not received 
Evermann?s 25 May letter before 2 June, 
when CBH wrote him the following:
My dear Professor Evermann:
I have been thinking very hard 
about your proposed trip, and 
confess it is a great temptation; 
but I really do not feel that I can 
afford my part of the expense. I 
wish very much that I could do so, 
for I appreciate the value of the 
opportunity, to say nothing of the 
pleasure of bashing my shins on 
the Sierras with you and Doctor 
Jenkins. I would be glad to give 
you my time and would be will-
ing to travel tourist or any other 
old way, but my expenses have 
been rather heavy this winter and 
I am pretty nearly as hard up as 
our Uncle Sam. I am sorry that I 
can not give you a more favorable 
reply. If I were in Palo Alto I would 
not hesitate a moment. Is it quite 
impossible for the of?ce to furnish 
transportation?
Two letters were sent to CBH, both 
dated June 7, that allows us to under-
stand how Evermann solved CBH?s 
transportation problem and, perhaps, 
permits us to hazard a guess as to why 
CBH?s three paintings of the Lake Tahoe 
cutthroat trout, made before the Sierra 
expedition, were never published by 
either Evermann or D. S. Jordan, both 
of whom published extensively on 
California salmonids. The ?rst 7 June 
letter reads:
Captain Charles B. Hudson
Sir:
You are hereby appointed a tem-
porary assistant in this Bureau and 
assigned to duty in connection 
with the study of the statistics 
and methods of ?sheries of the 
interior waters of California. Your 
compensation, until otherwise  
Figure 13.?Two Charles Bradford Hudson paintings of Point Lobos, Calif., both 
signed lower left, no date. Upper, 15 ? 13 in (38 ? 32 cm), oil on canvas board, pri-
vate collection.  Photograph courtesy A. Bales. Lower, 28 ? 26 in (71 ? 66 cm), oil on 
canvas. Photograph courtesy Neville?Strass Collection.
71(4) 17
ordered, will be at the rate of sixty 
dollars per month. Your actual and 
necessary expenses while engaged 
upon this work will be refunded 
to you upon the presentation 
of properly executed vouchers. 
At your earliest convenience, 
you will proceed to Lake Tahoe, 
where you will report to Professor 
Chancey Juday.
Respectfully,
Geo. M. Bowers
Commissioner
The other letter was written by 
Evermann. We did not ?nd a copy of 
Evermann?s response to CBH?s letter, 
which Evermann stamped ?Answered 
June 7 1904,? among the CASA Ever-
mann ?les. A copy of that letter, how-
ever, is mentioned in SQBMS, with a 
brief descriptive note of its contents. 
The note reads (bracketed inclusion 
is ours), ?Barton Evermann letter to 
CBH informing him to proceed to 
Lake Tahoe and report to Professor 
Chancey Juday to render assistance 
and paint four species [specimens 
?: male and female of each of two 
species?] of trout: the Pogy or Snipe 
(Salmo henshawi) and the Silver Trout 
(S. tahoensis)?be sure to save and 
tag specimens . . . .? Salmo henshawi 
is now considered to be a valid, but 
extinct, subspecies of the cutthroat 
trout, Oncorhynchus clarkii. Salmo 
tahoensis is now considered to be 
a junior synonym of Oncorhynchus 
clarkii henshawi. 
It appears that there were funds to 
hire an assistant for a study of statistics 
and methods of ?sheries, but not for 
an artist to illustrate ?shes. Whether 
Bowers was aware of the content of 
Evermann?s letter is unknown, but it 
might have been embarrassing for a 
copy of Evermann?s letter to be avail-
able in the ?les. In any event, under the 
guise of working on a research project 
as an assistant to Juday, CBH would 
receive pay that would be adequate to 
cover his transportation to Lake Tahoe 
and to the expedition starting point in 
California. As for the Tahoe paintings, 
neither Evermann nor Bowers would 
have wanted to call attention to their 
provenance, so they sat in the USFC 
?les unutilized until well after the death 
of everyone concerned.
CBH replied to Evermann?s June 7 
letter on 9 June 1904:
My dear Doctor Evermann,
Your letter of instructions and my 
marching orders came this morn-
ing. I will leave for California on 
the 11th?the day after tomorrow 
via So. Pac. to Tahoe. The com-
pensation mentioned in the orders 
comes as a very agreeable surprise 
for it was quite unexpected. I thank 
you very sincerely.
 I am taking a good supply of 
materials and will work in water-
color, as I find it much more 
speedy than the oil, and consider 
it quite as effective for fresh-water 
species, whose markings are not 
usually elaborate. I would be very 
glad, if you can do so, if you will 
send the large proportional divid-
ers54 which I used before. Mine 
are too small for convenience. 
However, I will take them along. 
Could you not send the F. C.[Fish 
Commission?s] proportionals to 
Prof. Juday?
 Mrs. Hudson sends her greet-
ings, but tells me to say that she 
does not consider it a bit nice that 
she has not been invited. She would 
like to go, but declines to cook.  
I suggested it as a possible open-
ing, but she refuses to make herself 
useful otherwise than in her former 
capacity as cousin to the party.
 I hope to see you very soon.
    Yours sincerely,
CBH arrived in Tahoe on 14 June, and 
immediately began work on painting the 
trout. Apparently, Evermann was not 
concerned about CBH?s letter becoming 
noticed. We suspect that a similar sub-
terfuge was used to cover the transpor-
tation of Juday who, unlike CBH, was 
professionally competent to ?study the 
statistics and methods of the ?sheries of 
the interior waters of California.? Juday 
did not require any help from CBH, as 
his letters concerning CBH alluded only 
to the latter?s painting and equipment for 
the High Sierras trip. 
We found it most interesting that the 
Commissioner?s reports from 1904 to 
1906 contain comprehensive reports 
of the ?shery studies the Bureau was 
involved in, but make no mention of 
Juday, Hudson, or the Bureau?s order 
for an investigation of the ?sheries of 
Lake Tahoe. Juday (1907), then work-
ing for the Wisconsin Geological and 
Natural History Survey, did publish a 
short report on his Lake Tahoe investiga-
tions in the Bureau of Fisheries Bulletin 
26, but he included no illustrations and 
made no mention of CBH. Nevertheless, 
the three illustrations of the Lake Tahoe 
cutthroat trout that CBH made are the 
only ones known that record the life 
color of that subspecies. Two (Plate 16 
A, C) were ?rst published by Ono et al. 
in 1983, 79 years after their preparation, 
and we publish the third (Plate 16 B) 
for the ?rst time, over 100 years after it 
was prepared. 
To ?nally get CBH to Visalia, Com-
missioner Bowers wrote CBH at Lake 
Tahoe on 28 June 1904:
Sir:
Having completed the statistical 
inquiry upon which you have 
been engaged at lake Tahoe, under 
orders dated June 7, you will, on 
or about July 8, report at Visalia, 
California to Dr. Barton W. Ever-
54An instrument consisting of two equal-length 
halves with each half pointed at both ends, and 
with a sliding lock screw holding the two halves 
together. It is used to accurately enlarge or 
reduce an original measurement taken between 
the points of one end and transferring the dis-
tance represented by the points at the other 
end to an illustrating surface. For example, the 
dividers are expanded at one end to the actual 
length of a specimen and the sliding lock screw 
is adjusted so that the opposite ends indicate 
half the original measurement. In this way 
numerous measurements of different parts of 
a specimen (e.g. length of head, length of tail) 
can be made and marked on a drawing sur-
face in order to create an illustration in which 
all parts are equally proportionate (half in this 
example) to those of the original. CBH?s letters 
to Evermann and others at the USFC frequently 
requested the use of proportional dividers to aid 
in his illustrating.
18 Marine Fisheries Review
mann whom you will assist during 
the investigation of the trout and 
trout streams and lakes of middle 
and southern California.
 Your compensation will be at 
the rate of sixty dollars per month. 
Your actual and necessary expenses 
will be refunded to you on presen-
tation of proper vouchers.
The expedition departed 13 July 
1904 (Evermann, 1906:3) and reached 
Volcano Creek, in which the golden 
trout was originally endemic, no later 
than 30 July (O. P. Jenkins in Evermann, 
1906:40?41) (Fig. 14). The trout, which 
Evermann would name for Roosevelt, 
occurred throughout the entire creek 
from near its mouth at an altitude of 
about 6,300 ft (1,920 m) to its highest 
reach, about 10,000 ft (3,048 m). The 
expedition would go on to explore ter-
rain and streams around and well beyond 
Volcano Creek (Evermann, 1906: foldout 
map), reaching or nearly so, the peak of 
Mt. Whitney, and continuing west about 
6 miles (9.6 km) along Lone Pine Creek 
to a position ca. long. 118?10?W, lat. 
36?35?N. We were unable to locate an 
ending date for the expedition. Jennings 
(1997:200) mentioned the expedition 
lasted 2 months, but his source for this is 
not given. In Evermann?s CASA ?les is 
a printed invitation of the Massachusetts 
Fish and Game Protective Association, 
dated 6 Mar. 1909. It announces a lec-
ture to be given by Evermann, 18 Mar. 
1909, in Boston, with the title, ?With 
pack train to the tip-top of the United 
States in search of the Golden Trout,? 
and includes the following statement 
in its brief description of the talk, ?The 
party was composed of ?fteen men and 
they were gone a month or six weeks, 
going in by donkey pack train.? 
If we accept the month estimate, 
CBH, would have been away from his 
new bride for at least 2 months since 
leaving Detroit for Lake Tahoe. During 
that time, he would have made three il-
lustrations of the endemic Lake Tahoe 
cutthroat trout subspecies and two illus-
trations, one each, of two endemic sub-
species of golden trout from the Sierras, 
both of which Evermann thought repre-
sented undescribed species. Evermann?s 
Salmo whitei would persist as a valid 
subspecies, Oncorhynchus mykiss whitei 
(Evermann), but his Salmo roosevelti 
would ultimately be found to be a junior 
synonym of O. m. aguabonita (Jordan). 
Roosevelt (27 Oct. 1858?06 Jan. 1919), 
however, would not live to learn of his 
patronymic loss.
CBH did not restrict his artistic efforts 
only to ?shes during the expedition; he 
was also sketching the scenery. He made 
an etching from one of his sketches, 
prints of which he intended to give to 
the expedition participants as a souvenir, 
and Evermann (1905) published it.
CBH returned to Michigan after the 
High Sierra trip. Evermann must have 
been as pleased with CBH?s trout paint-
ings as he had anticipated. Within a few 
weeks (29 Sept. 1904) after his return, 
CBH was telegraphed orders to travel 
east to Maine to prepare paintings of 
the local freshwater trout species. He 
arrived in Mountain View, Maine, on 6 
Oct., accompanied by his wife. Between 
6 Oct. and mid Dec. 1904, CBH would 
complete ten color illustrations of sal-
monids. The work on these would take 
place in Maine, New Hampshire, and 
Vermont. We are uncertain that Claire 
was with him during the entire trip, but 
Figure 14.? Charles Bradford Hudson, 1904, dining out at South Fork 
Meadow 9 (on south fork of  Kaweah River, High Sierras) (CASA Ever-
mann ?les, Box 76).
presumably, CBH was with her and back 
at his mother?s home in Detroit in time 
for Christmas.
Fish Illustrations  
for Ernest Thompson Seton55
In the following discussion, all 
references to numerous letters (dated 
between 07/15/1901 and 11/05/1906) 
from Ernest Thompson Seton (Fig. 
15) to Barton Warren Evermann, and 
relevant other papers (two letters from 
other sources to Evermann and undated 
handwritten notes made by Evermann 
55Ernest Thompson Seton (also Ernest Seton 
Thompson) was born Ernest Evan Thompson, 
14 July 1860, in England. In 1866 he moved to 
Canada with his family. At least between 15 July 
1901 and 10 Feb. 04, he was living in New York 
City (80 West 40th St), but by 16 May 04 he was 
living at his estate, Wyndygoul, Cos Cob, Green-
wich, Conn. He studied art and illustrated many 
articles and books, both those he authored and 
those of other authors. His subjects were varied 
but included color plates of ?sh in at least one 
publication (Commissioner, 1907:15). In 1881 
he became Naturalist for the provincial govern-
ment of Manitoba, Canada. He was an early 
and important organizer of the Boy Scouts of 
America. He died 23 Oct. 1946. (Information 
from various sources, including Beach and Rines 
(1912), websites of Boy Scouts of America and 
Wikipedia, and the Seton letters in the Barton 
W. Evermann letter ?le, Box 19, Archives of the 
California Academy of Sciences.
71(4) 19
Figure 15.?Ernest Thompson Seton, 
author, naturalist, early organizer of 
Boy Scouts of America; contracted 
with CBH to prepare illustrations of 
?shes, which he never used. Photo-
graph from Wikipedia, 23 Mar. 2009.
and an unknown employee) are based 
on the contents of CASA, Barton 
Warren Evermann, letter box 19. For 
the sake of brevity, we indicate only a 
few of the actual letter dates in support 
of statements we make. No copies of 
Evermann?s letters to Seton were avail-
able and may not exist.56
Seton (189857) had published a list 
of the ?shes of Manitoba and continued 
his interest in the subject by planning 
an update to the list. At least as early as 
July 1901 and as late as May 1904, Seton 
was corresponding with Barton Warren 
Evermann, then with the USFC in 
Washington, D.C. Seton had been send-
ing Evermann specimens of Manitoba 
?shes, and occasionally amphibians, 
for identi?cation and, in some cases, for 
deposit in the U.S. National Museum.
Seton was planning a book on Mani-
toba that was to include an appendix 
listing and illustrating all the species of 
?shes found in the province. Although 
only Seton?s letters relating to obtaining 
the illustrations of ?shes are available, 
it was possible to infer much about the 
content of Evermann?s letters. In ad-
dition to available line cuts of species 
of ?shes that occur in Manitoba that 
appeared in Jordan and Evermann?s 
(1900), Bulletin 47, volume 4 of the 
United States National Museum, Seton 
needed 13 more illustrations. Evermann, 
who was based in Washington, D.C., 
arranged for CBH, who had returned 
to California, to prepare the illustra-
tions, which CBH did during 1905. 
Apparently, there were 12 inkwash 
(gray-scale) drawings and one in color. 
Evermann sent the completed illustra-
tions to Seton at Seton?s Connecticut 
home before receiving Hudson?s invoice 
for payment. Seton inscribed his initials, 
E. T. S., in small letters, on the reverse 
of each illustration.
It appears that Seton had been led to 
believe that he was to be charged $5.00 
for each illustration, and his publisher 
had limited him to spending a total of 
$85 (he originally thought he was going 
to need 17 species illustrated). The total 
cost for these was later increased to $90 
and then to $100. CBH, however, sent 
Evermann a bill for $32558 for the 13 
drawings, and Evermann, forwarded the 
bill to Seton. Seton was clearly surprised 
by the size of the charge and stated that 
he was put ?in a most distressing pre-
dicament.? He requested Evermann to 
intervene on his behalf with CBH, and 
have CBH reconsider the charges.
Seton suggested three solutions to 
the problem: ?First, CBH would ?keep 
all the drawings? and use them as he 
wanted, and Seton would pay CBH a 
?bonus? of $40. Second, Seton and his 
intended publisher would share in the 
cost of the drawings, but would pay 
only $10 each for the drawings [i.e. a 
total of $130, which is what CBH would 
have charged the USFC for similar il-
lustrations]. Third, the Fish Commission 
would take ownership of the drawings 
and Seton would pay the Commission 
$65 and promise not to use the drawings 
for a year, in order that the Commis-
sion would have the ?rst opportunity to 
publish them. 
It is uncertain what CBH?s decision 
was, but because the illustrations were 
among the large group that the Depart-
ment of the Interior, Fish and Wildlife 
Service (under which the Bureau of 
Fisheries was placed in the early 1940?s) 
transferred to USNM in 196259, it ap-
pears that some aspect of the second 
option, proffered in Oct. 1905, was 
agreed on. Between October and 5 Nov. 
1906, there is no correspondence in the 
?le. On 5 Nov. 1906, before which date 
Seton had returned the illustrations to 
Evermann to be processed for publica-
tion, Seton asked to countermand his 
order that half-tone plates be made from 
them because he found he could only use 
line cuts (black and white drawings as 
opposed to gray-scale or colored ones) 
for his purposes. Not only did Seton not 
use the illustrations, he never published 
another paper on ?shes?from Manitoba 
or elsewhere.
In 1909, at the annual meeting in Win-
nipeg of the British Association for the 
Advancement of Science, the Associa-
tion issued ?A Handbook to Winnipeg 
and the Province of Manitoba.? In it, 
Seton authored a paper on the mammals 
and birds, of which groups he was an 
authority; the article on the ?shes and 
fisheries was authored by E[dward]. 
E[rnest]. Prince (1858?1936; Brit-
ish?Canadian scientist). Neither article 
contained illustrations.
Return to General Illustrating  
and Authorship
By the end of 1905 CBH was either 
close to ?nishing, or had ?nished, writ-
ing his ?rst novel and submitted it for 
publication. Also about this time he 
completed three book illustrations that 
appeared as half-tone plates in Hornaday 
56Jennings (1997:end note 78 includes the fol-
lowing statement, ?Many of the [U.S.] Bureau 
[of Fisheries] records now in the Evermann ?les 
(Archives, California Academy of Sciences) 
contain of?cial Bureau information . . . that can 
be found nowhere else . . . Ren?e M. Jaussaud 
(formerly with the National Archives) once 
informed me that Congress authorized a number 
of the old Bureau ?les in Washington, D.C. to be 
destroyed . . .?
57Authored as Thompson, E[rnest] S[eton], 
1898:214, reference not seen, cited in Evermann 
and Goldsborough (1907:118) and alluded to by 
Seton in a 16 May 1904 letter to Evermann.
58Each of the ?gures is about 8 inches long and 
2.5 inches deep, or about 20 square inches in 
area. CBH was receiving $0.50 a square inch for 
his ?sh illustrations from the U.S. Fish Commis-
sion. Thus, CBH would have charged the Com-
mission about $10 per illustration, or $130 for 
all thirteen, indicating that CBH billed Seton for 
2.5 times the amount he would have charged the 
Commission for similar illustrations.
59Letter from C. F. Pautzke, Commissioner, Fish 
and Wildlife Service, Department of the Interior, 
to L. P. Schultz, Curator of Fishes, USNM, 23 
Jan.1962 (Registrar?s Accession No. 239954).
20 Marine Fisheries Review
(1906). They are the last illustrations 
he did for Hornaday. At least one of the 
plates was rendered in color as an oil 
painting, but it was redrawn in gray scale 
for the published version.
During 1906, CBH was illustrating 
?shes again for the USBF (successor of 
the USFC). He produced one inkwash 
painting of a new species of a fresh-
water ?sh from Argentina for a paper 
by Evermann and Kendall (1906) and 
spent the summer and fall in Michigan 
preparing seven colored illustrations of 
Great Lakes white?shes for the USBF, 
but his presence in Michigan began in 
the spring60, probably a response to 
concern for his mother?s health. The 
illustrations were ?rst published by 
Koelz (1929)61 23 years later. Given 
the delay in publication, we presume 
that the order for the ?sh paintings was 
partly Evermann?s desire to support 
CBH while in Michigan, and prob-
ably for a study Evermann intended 
to undertake, given his interest in sal-
monids (at that time white?shes were 
considered to belong in the family 
Coregonidae, separate from, but related 
to the Salmonidae).
On 8 Dec. 1906, Grace Hudson gave 
birth in California to their ?rst child, 
Bradford Benedict Hudson, who would 
later become a professor at Rice Uni-
versity, specializing in the culture of the 
Near and Middle East. We assume that 
CBH had returned to California from 
Michigan in time to be present for his 
son?s birth.
The year 1907 was a busy one for 
CBH. He again spent time with his 
mother in Detroit. He would have re-
ceived proofs on his ?rst novel, ?The 
Crimson Conquest,? a romance based 
on Pizarro?s conquest of Peru which 
would be published in October, and he 
published a nonillustrated article in the 
Popular Science Monthly on the back-
ground of emerging militarism in China. 
Evermann requested more illustrations 
of salmonids, but we only have evidence 
that CBH illustrated two (Plates 15 E 
and 16 F).
By the end of 1907 or the beginning 
of 1908, CBH?s mother died, and CBH 
returned to Detroit to settle her estate 
(CHBMS, entry: ~8 Jan.?8 Mar.).
The End of Fishes
There is no ?rm evidence that CBH 
illustrated ?shes in 1908 or 1909. Al-
though doubtful, it is possible, however, 
that three species of Oregon freshwater 
?shes that Evermann collected in 1904 
and CBH illustrated in gray tones 
(Plate 2 B, C, D), and which appeared 
in Snyder (1908; issued 28 Sept.), were 
prepared in 1908.
In the summer of 1908, CBH began 
painting pictures of fruits and ?owers for 
the seed catalogs of Luther Burbank62, 
an internationally famous and im-
mensely successful horticulturist, whose 
farms were in Santa Rosa, Calif. CBH 
sketched at the farms in 1908, and in the 
summer of 1909, and appears to have 
?nished some of the paintings at home. 
By 20 Nov. 1909, CBH completed 20 
illustrations for Burbank, for which he 
received a total of $1,015.00 in at least 
two payments.63
Among the illustrations for Burbank 
are a series of seven colorful paintings 
of some of Burbank?s fruit and berry 
cultivars. In 1982, the Luther Burbank 
Home and Gardens in Santa Rosa, 
issued ?Artistry With Plants? (Anony-
mous, 1982), a group of high-quality 
reproductions (each 8 ? 10? [20.3 ? 25.4 
mm]) of these paintings printed on ?rm 
paper and suitable for framing, together 
with a card, describing each cultivar 
and brief biographies of Burbank and 
CBH. These seven prints appear to be 
the only CBH paintings that have been 
reproduced individually and intended 
for sale and display.64 As of March 
2009, the individual prints were still 
available. See also Anonymous (1982) 
in section ?CBH?s Non-Ichthyological 
Illustrations in Publications by Other 
Authors.?
Claire Hudson (later, CHB), CBH?s 
daughter of his second marriage, was 
born in early 191065, about the time of 
the building of the Hudson?s permanent 
home at 317 Alder St, Paci?c Grove, 
Calif. The 1910 Census report, entered 
12 May, indicates that CBH, his wife 
Claire, Lester (age 15, son of CBH?s 
?rst marriage), and both children of his 
present marriage were residents at the 
Alder St home.
In early 191066, CBH illustrated three 
species of California salmonid ?shes in 
color for the California Fish and Game 
Commission at the request of Charles 
A. Vogelsang, Chief Deputy of the com-
mission. These illustrations are signed, 
dated, and presently framed and hanging 
in the commission of?ces in Sacramento. 
A fourth painting, of a Chinook salmon, 
clearly done by CBH, but unsigned and 
undated, is also present and framed in 
the commission of?ces. We suspect it 
was painted about the same time as the 
other three, as all the correspondence 
listed between Vogelsang and CBH in 
SQBMS is dated 1910.
60In CASA Evermann, letter Box 18, is a copy 
of a CBH letter, dated 30 Apr. 1906, from his 
mother?s home in Detroit, to Evermann, hoping 
Evermann will visit on his way to Grand Rapids.
61Walter [Norman] Koelz, 11 [Sept. or Nov. 
depending on source] 1895?24 Sept. 1989, did 
not use his middle name or initial as an author. 
He received a Ph.D. from the University of 
Michigan in 1920. Under his name on the title 
page of this study, he indicated, ?Formerly Asso-
ciate Aquatic Biologist, U.S. Bureau of Fisher-
ies.? After this study, he only published one other 
paper on ?shes, in 1931. He published exten-
sively on Asian birds for awhile, and became 
interested in Asian textiles and plants. He led a 
very interesting life.
627 Mar. 1849?11 Apr. 1926. Burbank was sur-
vived by his wife, who willed his historic home 
in Santa Rosa, Calif., to the city. It is now a non-
pro?t organization listed as the Luther Burbank 
Home & Gardens. 
63Library of Congress, Manuscript Division, 
Papers of Luther Burbank (General Correspon-
dence), Box 6, Folder H, miscellaneous, 1907?
16.
64We exclude CBH?s 1901 paintings of Hawaiian 
?shes and his 1904 paintings of salmonid ?shes, 
which were issued as postcards, variously, by the 
Bishop Museum (beginning in the early 1900?s) 
and the Steinhart Aquarium beginning about 
1923, as well as the poster for the 1985 Smith-
sonian ?Drawn from the Sea? exhibition, which 
included 11 illustrations of ?shes, two by CBH, 
and the Cosmopolitan magazine advertisement 
poster of Sept. 1895, reprinted in recent years 
and currently available for purchase by the New 
York City Public Library.
65The Social Security Death Index (SSDI) has 
her birth date as 30 Dec. 1912, but the 1910 
Census, indicates she was 3 months old at the 
time of enumeration, 12 May 1910, therefore 
born in Feb. 1910). According to the SSDI, she 
died on 26 Mar. 2007, based on information from 
her death certi?cate.
66CHBMS entry, ?1/14/1910: Chas. A. Vogelsang 
letter to CBH enclosing a check for three colored 
drawings of Rainbow, Steelhead and Eastern 
Brook Trout . . .?
71(4) 21
During 1911, CBH painted one illus- 
tration of a ?sh (Plate 15 B), a rainbow 
trout from a hatchery on the McCloud 
River. It was done for the USBF, but, 
until our present study, was only pub-
lished on a postcard issued by the Stein-
hart Aquarium, San Francisco, possibly 
at its opening in 1923.
Similarly, during 1912, CBH painted 
his last illustration of a ?sh, again for 
the USFC, again it was a rainbow trout 
(Plate 15 C), and again it was only ?rst 
published (Bond, 1985) well after its 
preparation, and then only as part of an 
announcement of, and poster for, the 
Smithsonian exhibition ?Drawn from 
the Sea, Art in the Service of Ichthyol-
ogy? (curated by VGS). 
CHBMS for May, 1912, wrote, 
?Grace in Palo Alto hospital-hopes CBH 
will ?never paint another ?sh,?? and for 
~23 May: ?CBH complains of eye strain. 
CBH ?nishes Steelhead? [trout; actually, 
the rainbow form, Plate 15 C]. 
In 1913, probably right after com-
pleting the ?steelhead,? and similar to 
it, CBH painted a rainbow trout in oil, 
which painting we saw hanging on the 
wall of Claire Hudson Brett?s home in 
1987.
California Academy  
of Sciences Days67
Associated with the cessation of his 
illustrating fishes, CBH was turning 
more toward his interests in ?ne art and 
writing. In 1914, he attended William 
Merritt Chase?s68 Summer School of 
Art in Carmel-by-the-Sea, very close 
67Unless noted otherwise, information in this 
section is largely taken from CASA B. W. Ever-
mann, correspondence Box 1918, A?H.
68A compiled biography of Chase (1 Nov. 1849?
25 Oct. 1916) is available at http://www.answers.
com/topic/chase-william-merritt. CBH is vari-
ously reported to have studied with Chase at the 
Art Student?s League in New York, but there is 
no record of this in the ASL?s archives (S. Cas-
sidy, ASL archivist, email to VGS, 2 Feb. 2009). 
SQBMS for summer 1914, lists an unspeci?ed 
CBH-Chase Summer School relationship, and 
CHB (10 Feb. 1985, letter to VGS), in response 
to VGS?s request for date of CBH?s study with 
Chase, wrote ?Studies with Chase, I believe, 
were while he was at home in Paci?c Grove con-
currently sketching the Monterey coast, etching 
it and writing his book [?The Royal Outlaw?]-
mainly during the years 1912?1916, before 
1917-Academy of Sciences years which led to 
serious landscape painting.?
to CBH?s home. Chase was one of 
America?s foremost impressionist art-
ists. CBH was also about to ?nish writ-
ing his second novel, which would be 
published in 1917. 
In 1914, Barton Warren Evermann 
resigned his position with the USBF 
in Washington, D.C., and on 16 Mar. 
1914 became director of the California 
Academy of Sciences69 in San Fran-
cisco. The Academy was then in the 
process of ?nishing construction of a 
new building and planning for exhibits. 
Its ?rst building had been destroyed 
in the 1906 San Francisco earthquake. 
The move brought Evermann within 
easy commuting distance of his most 
important colleague, David Starr Jordan, 
and the active group of Stanford Univer-
sity ichthyologists at Palo Alto, and, no 
less importantly, Evermann?s favorite 
illustrator of ?shes, Charles Bradford 
Hudson, at Pacific Grove. Although 
proximity to CBH would bene?t Ever-
mann, proximity to Evermann would 
bene?t CBH even more.
On learning of Evermann?s move to 
San Francisco, CBH wrote him from 
Paci?c Grove on 30 Sept. 1914: 
?I have recently ?nished another 
novel. It has taken me consider-
ably longer than a year to write and 
reduced my capital materially. I?m 
looking for a job. Can I do anything 
for you, for the Academy, or for 
anyone you know about?? 
Well, not quite ?anything.? In a letter 
with the same date as CBH?s (the short 
distance between Pacific Grove and 
San Francisco, may have made this 
possible), Evermann responded that he 
had submitted a proposal to the Carnegie 
Foundation to do a study of the salmonid 
?shes of the world, which he had men-
tioned to CBH in the past, and wanted 
CBH to be the illustrator?it would 
provide CBH work for years to come. 
CBH responded on 18 Oct 1914:
?I am glad you still have the 
Salmonidae project in mind. It 
will be a great work, and under 
the auspices of the Geographical 
Society [sic] will get a desirable 
sort of publicity. I surmised they 
might be interested in the matter 
and sincerely hope they will put 
it through.70 But really, I am very 
doubtful about painting any more 
?sh. The last work I did put me into 
eye-glasses, and I?ve wondered that 
the business did not put me into 
an insane asylum, though it was 
always interesting, and such a great 
work as you propose would be a[n] 
inspiration.?
Possibly, even before arriving at 
CAS, Evermann and John Rowley71, an 
exhibits specialist at CAS since 1907, 
were preparing plans for a new way, the 
diorama, to exhibit mounted wildlife. 
A diorama shows groups of animals 
naturally posed in their native habitat. 
The models are placed in the foreground, 
which, depending on the species, 
includes sand, rocks, logs, or lifelike 
reproductions of the vegetation. To give 
a sense of depth to the diorama, the 
background is painted to blend in with 
the foreground, and variously shows, for 
example, the ocean, shore, trees, distant 
mountains, or a desert scene. The size 
of the CAS dioramas was variable, but 
the largest painted backgrounds were 
18 ? 25 ft (5.5 ? 7.0 m)72, mural size.
69Jennings (1997:302).
70It never was.
71John Rowley (1866?1928), a taxidermist and 
early exhibits specialist, began work in 1889 at 
the American Museum of Natural History. In 
1903, he moved to California and assisted David 
Starr Jordan in building the university?s bio-
logical museum. In 1907 he joined the staff of 
the California Academy of Sciences as chief of 
exhibits. In 1917 he was appointed director of the 
Oakland Museum, and in 1920 he became chief 
of exhibits at the Los Angeles County Museum. 
He participated in and supervised many of the 
early dioramas at the California Academy of Sci-
ences, including those for which CBH painted 
the backgrounds (distilled from Wonders, 1993: 
140?141).
72Information about the dioramas, including 
invoices for payments to CBH for his back-
ground paintings are found in manuscripts in 
CASA ?les: North American Hall, Boxes 1 and 
2, and Simson African Hall, Boxes 1 and 2. Also 
included for each hall, is a CAS published pam-
phlet illustrating in gray scale a photograph of 
each included diorama in that hall, identi?cations 
of the species and sundry comments on behavior, 
distribution, and conservation, of the elements in 
continued on next page
22 Marine Fisheries Review
72 (continued) the diorama, acknowledgement of 
the supervisor, artist, and exhibits responsible for 
the preparation. The North American Hall (Anon-
ymous, 1939a) was dedicated on 22 Sept. 1916, 
with only a few dioramas completed, the others 
to be opened soon. The Simson African Hall 
pamphlet (Anonymous, 1937b) is similar to the 
other pamphlet, but it includes a more extensive 
introductory history of CAS, staf?ng list, infor-
mation about the donor, Leslie Simson, a 2-page 
article by him, ?Collecting Animals in Africa,? an 
illustrated 2-page article on taxidermy and mod-
eling plants. The halls were redesigned and refur-
bished during 1986?88, and the North American 
Hall was recast and renamed as the Wild Califor-
nia Hall. In the process, several of the dioramas 
with CBH backgrounds were destroyed. Finally, 
beginning in 2004, CAS closed its facilities to the 
public, destroyed the building, and erected a new 
one, completing it in 2008. None of the original 
dioramas were saved.
The next letter between Evermann 
and CBH, came from Evermann some 
months later. On 28 Apr. 1915 (a 
Wednesday), he wrote that he was going 
to visit Paci?c Grove ?next Saturday? 
and ?I want to talk Salmonidae with 
you, also background painting for the 
Academy.? 
If salmonids were broached during 
Evermann?s visit, CBH was not inter-
ested, but the possibility of painting the 
diorama backgrounds did interest him. 
After all, CBH had been sketching, 
drawing, etching, and painting outdoor 
scenes for himself and for others for 
many years.
Having ?nished his second novel, and 
lacking any contracts for illustration, 
CBH had time in 1915 to pursue his 
interest in art and writing. In August, 
CBH (1915) published a magazine ar-
ticle, ?Monterey on the Etching Plate,? 
about the historic Monterey area and its 
physical and cultural deterioration. It 
included reproductions of several of his 
etchings, also done in 1915, and it would 
be the last article, either his own or for 
another author, for which he speci?cally 
prepared illustrations. In an appreciative, 
if effusive, review of CBH?s article (see 
a more complete discussion in the CBH 
Authored Publications section), the 
writer mentioned that CBH?s canvases, 
which were mostly of scenes along the 
Monterey coast, had ?received attention 
and recognition? for their ?artistic han-
dling? and ?splendid technique.?
On 27 July 1915, Grace Hudson 
wrote Evermann that CBH was away 
sketching and ?studying marines ?down 
the coast.?? Because CBH had prom-
ised Evermann to be in San Francisco 
in the fall, she wanted to know if the 
new CAS building would be ?nished 
by September. If so, she could make 
plans about renting the Hudson?s Pa-
ci?c Grove home and moving closer 
to the Academy so CBH might begin 
work. Evermann responded a few days 
later that the staff would be ?nished 
moving into the new building by 1 
Sept., but that there would be no need 
for artists before the middle or last of 
September.
Things moved slowly. Evermann 
was not ready for CBH to begin work 
at CAS in September, but Rowley had 
assigned CBH a subject, leopard seals, 
for his ?rst background painting. Eager 
to get moving, CBH wrote Evermann 
on 10 Sept. that he would soon send 
him ?a small preliminary study of the 
subject selected by Mr. Rowley for the 
background assigned to me. If the study 
meets your approval I will [prepare] 
a larger one at once. Can you tell me 
about when I may begin work . . . I am 
?guring, in a general way, on the middle 
of October.? Evermann responded on 
13 Sept. that it would be the middle of 
October or ?at worst, a little later? before 
the museum would be ready to begin 
on the backgrounds, and that it was not 
decided whether the leopard seals would 
be among the ?rst. Evermann was ever 
optimistic.
Throughout the correspondence 
among Rowley, Evermann, and CBH, 
and including payment invoices and 
the labeling of the seal diorama, the 
participants were actually referring to 
the harbor seal, Phoca vitulina Lin-
naeus, of the northern hemisphere, 
not the leopard seal, Hydruga lep-
tonyx (Blainville), which is native to 
the Antarctic and sub Antarctic. At 
one point the ?nished diorama was 
labeled ?Leopard Seal; Harbor Seal? 
(Anonymous, 1939a), and indicated 
as Phoca richardii (Gray), currently 
considered to be a valid subspecies of 
P. vitulina.
CBH sent the small preliminary study 
to Evermann for approval on 6 Oct. 
1915. On 13 Oct., Evermann replied, 
?. . . the leopard seal background . . . is 
now on exhibition in my of?ce, where 
it is much admired by all who have seen 
it. I take special delight in calling it to 
the attention of visitors.? Rowley, who 
must have been away, had not seen it, 
but CBH, wrote Evermann on 16 Oct. 
that he had heard from Rowley, who was 
grati?ed by the preliminary study and 
suggested some ?features, which can be 
readily introduced.? Furthermore:
?[Rowley] tells me the size of the 
painting is to be 18? ? 48?instead of 
18? ? 25??about double the area. 
I assume that the price will be 
increased in proportion. I should 
be glad to know before making 
the additional studies.? [CBH?s 
underlining]
To which Evermann responded some-
what tersely on 31 Oct. 1915:
Dear Captain Hudson:
The size of the backgrounds given 
by Mr. Rowley, 18 x 48 feet, is only 
approximate. The total length of 
the case is 25 feet. The fact that the 
background is curved will increase 
that but slightly. Our contract with 
Mr. Corwin [another artist CAS 
employed] is for $500.00 for back-
grounds, regardless of size. We 
can?t possibly increase the price. 
Our funds for this year are very 
limited at this time.
 I hope you may come up soon 
and visit the Museum and see just 
what the cases are to be like.
 With kindest regards,
  Sincerely,
  [Barton Warren Evermann]
  Director
To which CBH blinked, and replied 
the next day:
Dear Doctor Evermann:
I can be ready to begin on the 
leopard seal background about 
the middle of the month. Would 
prefer not to leave Paci?c Grove 
71(4) 23
until the canvas73 is entirely ready 
for me to commence, and shall be 
glad if [you] post me about a week 
in advance. Should be glad, too, if 
you will return the study, that I may 
have it on hand while making the 
supplementary ones.
 I wish I could follow your sug-
gestion to go up and look over the 
scene of trouble, but my hands will 
be full until the last day.
This spurt of correspondence did not 
get things moving, however, and two 
and a half months later, 19 Jan. 1916, a 
concerned CBH wrote Evermann:
?I presume from the fact that I have 
not heard from you that you had 
unexpected troubles and delays 
in the completion of the [CAS] 
building. I am not especially in 
a hurry to begin, but am anxious 
to know whether it is likely that 
I can ?nish the work before April 
1. What is the average length of 
time required on the backgrounds 
- about? And is there any possibil-
ity that I may have two to make? 
. . . I wish you could arrange it that 
I may have two of the orders, for, 
as I said to you before, the single 
painting will hardly make it worth 
my while to go to the expense 
and inconvenience of [me and my 
family moving to be near CAS] 
. . .?The [Royal] Outlaw? [CBH?s 
second novel] has been taken by E. 
P. Dutton & Co.- one reason why 
I?m anxious about the dates, etc., 
for I am rushing another to get it in 
shape for their consideration at the 
earliest convenience.?74
Evermann responded a week later that 
Rowley could be ready for CBH ?any 
time after a week or two that may be 
convenient to you . . . Besides the leopard 
seal group perhaps you would be will-
ing to undertake the desert bird group.? 
CBH would and did, but the delays did 
not end in 2 weeks.
Finally, on 6 Mar. 1916, Evermann 
wrote, ?Mr Rowley . . . is now ready for 
you to begin on the leopard seal group, 
so you can come on any time convenient 
. . .? To which, CBH?s response on Mar. 
9, begins ?Hooray!?
Thus, began a lengthy, if periodically 
interrupted, association of CBH as a di-
orama background painter for CAS. He 
is variously reported to have completed 
12 background paintings (e.g. Wonders, 
1993:232), but we have only been able to 
establish that he painted 11.75 Among the 
?rst seven, all were scenes for California 
or other western American biota, of 
which three (leopard seal, fur seal, white 
pelican) include the Paci?c Ocean in the 
background painting. Our source for the 
dates and payments for numbers 1, 2, 
and 7, below, is ?CASA North American 
Hall, contracts, payments etc.? (Fig. 16). 
(Among the following, we have entered 
a few of CBH?s other activities among 
the chronologically arranged listings 
of the background paintings to indicate 
that he was involved in more than just 
painting backgrounds during the period 
he worked at CAS.)
1) For the leopard seal background, 
CBH was paid $500, in two $250 install-
ments, 4 Apr. 1916 and 31 July 1916. 
Figure 16.?California Academy of Sciences harbor seal diorama (now destroyed); background painted 
by Charles Bradford Hudson in 1916. Photograph courtesy of the late Claire Hudson Brett.
73Rather than painting the backgrounds directly 
on the wall, they were painted on canvases, 
which were af?xed to the walls.
74We think this suggestion of another, impend-
ing, novel was disingenuous.
75CHB (in litt, 18 Nov. 1985) sent VGS photo-
graphs of the dioramas for which she thought 
CBH had painted the backgrounds. She included 
one of the Steller sea lion, which all three print-
ings (1939, 1945, 1947) of the CAS pamphlet, 
?North American Hall? shows and credits to 
Charles Abel Corwin (1857?1938), as do pay-
ment vouchers (Karen Elsbern, CASA, emails 23 
and 25 Feb. 2009); we earlier checked the North 
American Hall Box 1914 and found a notation that 
two payment vouchers for the ?Elephant Seal? 
Group, were made to Corwin, one for 11 May 
1923 for $400 and one for 31 May 1923 for $600. 
24 Marine Fisheries Review
2) CBH received two $250 payments 
for the desert bird background, 30 June 
1916 and 31 Aug. 1916. To prepare for 
this background painting, CBH made 
a trip to the California desert near the 
Salton Sea, where he made sketches 
that he used not only for the diorama, 
but later, probably, for some of his ?ne-
art paintings of the California desert. 
On 7 June 1916 he sent a letter about 
his experiences in the desert to G. O. 
Shields, friend, publisher, author, and 
staunch conservationist, who forwarded 
the letter to the New York Times. The 
Times published it in its entirety on 18 
June 1916 (which we repeat; see section 
?Publications by CBH?).
3?5) CBH was ?nishing the back-
ground for the white pelican group in 
May 1918, and would soon start on a 
background for the fur seal group and 
one for the Roosevelt elk group (5).76 
The fur seal diorama was completed 
sometime after 19 Feb. 1919 and before 
4 Aug. 1920 (based on Evermann, 
1920:368, and publication date of the 
Proceedings of the CAS). The entire elk 
diorama was completed on 20 Dec. 1919 
(Evermann, 1920: 369), which means 
the background would have been com-
pleted before the mounted specimens 
were in place.
On 6 Apr. 1917, the United States 
entered World War I. On 17 Mar. 1918, 
CBH (1918) published a letter to the 
editor of the New York Times, under 
the title ?Persistence of Teuton?s Traits 
from Caesar?s Time.? In it he developed 
his belief that Germanic bellicosity 
was a culturally ?xed character trait. 
It would be the last publication he 
authored. 
6) CBH completed the background 
for the waterfowl group after numbers 
3?5, but before Apr. 1921 (based on 
a halftone photograph of the group in 
Evermann (1921:212).
7) CBH ?nished the background for 
the grizzly bear group on about 20 Feb. 
1926, for which he was paid $1,200. 
The last four backgrounds CBH 
painted were of African mammal groups 
(information from CASA Simson Afri-
can Hall, agreement between CAS and 
Simson, box 2).
 8) Oryx group background, 31 May 
1932, $500.
 9) Zebra group background, two 
payments, both dated 30 July 1932, 
progress, $300; ?nal, $200.
10) Dik-dik group background, two 
payments, both dated 31 Oct. 1932, on 
account, $100; ?nal, $100.
11) Bushbuck group, background, 
two payments, both indicated progress 
and dated 30 Nov. 1932, $150, 250.
There is a payment dated 28 Feb. 1933 
?Final payment painting four groups in 
African Mammal Hall, $50.? This was, 
perhaps, a bonus for having completed 
the paintings so promptly.
Finishing the last two of the African 
Hall backgrounds must have evoked 
mixed feelings of relief and sadness in 
CBH. They would be his last work for 
CAS, and Evermann would die before 
CBH finished them. CBH had just 
started working on the second of the four 
African backgrounds when Evermann, 
who had not been well for some time, 
entered Stanford University Hospital 
on 23 June 1932 (Jennings, 1997:305). 
Evermann died on 27 Sept. 1932, having 
never left the hospital. CBH and Ever-
mann had worked and traveled together 
since 1901, and since 1916, there had 
been many social interactions between 
them and their families.
Few things last forever, and CBH?s 
diorama backgrounds were not excep-
tions. Some of the dioramas, including 
the backgrounds, were eliminated in 
1988, when the North American Hall 
was recast as the Wild California Hall. 
For the 9 Oct. 1988 opening of the Wild 
California Hall, a small spiral-bound 
booklet, ?Wild California? (Anony-
mous, 1988), was issued containing 
comments and half-tone illustrations 
of the incorporated dioramas, of which 
two of the backgrounds were by CBH, 
Desert Floor (formerly, Desert Bird 
Group), and Montane Slope (formerly, 
Grizzly Bear Group) (Fig. 17). 
The remarks in the booklet concern-
ing the Montane Slope diorama stated, 
?Though in a Rocky Mountain setting, 
the plants, birds and small mammals 
here are the same species or closely 
related to those found in the subalpine 
zone of California?s Sierra Nevada. One 
reason the Academy chose to retain this 
diorama in California is that the stunning 
background mural is one of the ?nest 
works by the well-known artist Charles 
Bradford Hudson. Its removal would 
mean its loss.? The entire building was 
closed in 2004 and destroyed, and a new 
building opened in 2008. None of the 
backgrounds were saved from the old 
building (T. Iwamoto, CAS, emails to 
VGS 03, 23 July 2008).
There remains a grace note for 
CBH?s diorama backgrounds. He pre-
pared small studies to work from in 
painting some or all the backgrounds. 
We are unaware of the disposition of 
those studies, except for the one he 
made for the grizzly bear background. 
CBH had traveled to Jackson Lake, 
Wyoming, in the summer of 1925 to 
paint the Grand Teton scene used in the 
background. The study, oil on canvas, 
18 ? 24 in. (46 ? 61 cm), was neither 
signed nor dated. CBH gave it to Ev-
ermann77 and it hung in his of?ce and 
that of subsequent directors for many 
years. Evermann?s son and daughter 
donated it to CAS, along with many of 
Evermann?s personal items that were in 
his of?ce when he died.78 The painting 
is no longer on view, but stored in the 
CASA holdings. We think it should be 
in a museum on display. In the mean-
time, we photographed it and reproduce 
it in color (Fig. 18).79 This ?gure shows 
another, but less common theme than 
the Paci?c Ocean, in CBH?s paintings: 
mountains (Fig. 18).
76Letter from Evermann to E. L. Goldsborough, 
9 May 1918 (CASA Evermann Correspondence 
Box 1918, A?H.
77As acknowledged by Evermann in letter to 
CBH dated 17 Apr. 1929 (CASA, Evermann 
letter ?les, 1914).
78Letter from Toxaway Bronte Evermann and 
Edith Evermann Humphrey to Trustees and 
Council CAS, Oct. 1932 (CASA correspon-
dence, Box 1932 D?G).
79Photographs of all seven of the North Ameri-
can Hall dioramas and three of the four Simson 
African Hall dioramas for which CBH painted 
the backgrounds were given to VGS in late Nov. 
1985, by CHB, who had had them photographed. 
About 1935, CAS prepared postcards showing 
the dioramas. The photograph of the grizzly bear 
diorama used on the postcard was taken by the 
famous photographer Ansel Adams. 
71(4) 25
Figure 17.?California Academy of Sciences grizzly bear diorama (now destroyed); background (about 
18 ? 25 ft; 5.5 ? 7.6 m) painted by Charles Bradford Hudson in 1926; compare with Figure 18 below.  
Photograph courtesy of the late Claire Hudson Brett.
Figure 18.?Wyoming Grand Teton scene (24 ? 18 in; 61 ? 46 cm), oil on canvas, not signed, painted by 
Charles Braford Hudson, summer, 1925, as study for background painting used in California Academy 
of Sciences grizzly bear diorama (see Figure 17 above). Painting in ?les of CASA.
26 Marine Fisheries Review
?Scapeing? Sea and Land
Early in CBH?s association with CAS, 
Evermann introduced him to Abraham 
L. Gump, whose family owned the 
well-known Gump?s department store 
in San Francisco. Among ?ne articles of 
furniture and oriental art, the store also 
specialized in exhibiting and selling the 
artwork of California artists. Gump?s 
would become the sole purveyor of 
CBH?s landscapes and seascapes. In 
Wilson?s (1949:147?148) book about 
Gump?s, she mentioned how A. L. 
Gump became impressed with CBH 
and his paintings, noting that ?Gump 
had felt a strong personal liking for 
Hudson from the beginning of their 
acquaintance. He particularly admired 
[Hudson?s] scienti?c approach . . . When 
Hudson undertook a long camping trip 
on a barren island in the middle of 
Pyramid Lake, Nevada [in 1917 ] to 
study the native habitat of white pelicans 
[for a CAS diorama background paint-
ing], Gump was fascinated. As he sold 
Hudson paintings, A. L. interjected his 
own enthusiasm for the personality of 
the man who could reproduce so faith-
fully the peculiar atmosphere of a desert 
sunrise or the exquisite blend of pink 
lavender in the dusk of sunset.?
Wilson describes how in 1926, 
Crown Prince (later King) Gustaf 
Adolf of Sweden, on a visit to Gump?s, 
admired a Hudson painting, ?October, 
Point Lobos.? Shortly after the Crown 
Prince departed, members of the Swed-
ish?American Society of San Francisco 
purchased the painting and sent it as a 
gift to him. The painting (Fig. 19) still 
hangs in an of?ce of the Royal Palace.80 
It is one of but a few CBH paintings or 
etchings we found that are still present 
in the collections speci?cally noted in 
his previous biographical statements. 
Others are at: Boston Museum of Fine 
Arts, the Crocker Museum (Sacramento, 
Calif.), Luther Burbank Museum (Santa 
Rosa, Calif.), and probably the Oakland 
Museum, Calif. 
Figure 19.??October, Point Lobos,? by Charles Bradford Hudson, oil on can- 
vas, signed lower right, no date, dimensions not provided. Royal Collections, 
Sweden. Purchased 1926 from Gump?s department store, San Francisco. (Photo-
graph ?Kerstin Hagsg?rd, 2008).
80Kerstin Hagsg?rd, associate curator, The Royal 
Collections, Stockholm, Sweden, email, 20 June 
2007. Hagsg?rd photographed the painting and 
granted us permission to reproduce it. We note 
that the painting is in need of cleaning.
Among the CBH paintings noted 
in his biographies that we have not 
been able to locate are: the painting 
of the 11th Cavalry that hung in the 
officers club of the Presidio of Mon-
terey, Calif. (Presidio and military 
archivists believe it may have been 
taken by an officer when the Cavalry 
vacated the Presidio during or just 
before World War II); small painting 
of sea lions in the E. H. Harriman 
collection, which vanished after 
1993; the disposition of paintings 
(one or more not indicated) stated 
to be in the collection of California 
Senator James D(uval). Phelan (also 
a former mayor of San Francisco)81; 
a painting indicated as being in the 
Dominion Gallery, New Zealand (now 
the Museum of New Zealand, or Te 
Papa Tongarewa, which informed us 
they have no record of ever having 
owned a CBH painting).
Final Years
After ?nishing his work on the CAS 
dioramas in late 1932, and continuing 
until his death on 27 June 1939, CBH 
would restrict his artistic efforts to sea-
scapes and landscapes. His daughter, 
CHB, wrote VGS (in litt., 31 May 1985) 
that CBH;
?. . . painted right up to 5 days 
before he died. (His heart was 
damaged by peritonitis 12 years 
earlier . . .). The 3 little paintings 
he left on his easel were small 
masterpieces . . . He was affected 
by the ?Modern? art he saw around 
him in Paris and was amazed at its 
spread by the ?lunatic fringe,? but 
he admired what was being done 
by the ?masters??some of them, 
although he didn?t know any of 
them . . . He wrote a book (never 
published) entitled, ?Fine art and 
the average man.? I have only been 
able to ?nd a few chapters. I think 
he vented his feelings and attitudes 
in that manuscript; a side occupa-
tion while he was painting.?
81According to email (4 Mar. 2009) from Babette 
McKay, Phelan left only his villa and grounds in 
Saratoga, Calif. (now the Montalvo Arts Center), 
to the trusteeship of the San Francisco Art Asso-
ciation. ?Most of his personal possessions were 
left to his nieces and nephews.? 
71(4) 27
Honors, Awards, Laudatory  
Assessments
Medals
Upon his graduation from Columbian 
Preparatory School82 in Washington, 
D.C., in 1883, CBH, age 18, was award-
ed the Janus gold medal in French.83 At 
his graduation from Columbian College 
(now George Washington University) 4 
years later, CBH received a B.A. degree, 
and, additionally, a certi?cate of pro?-
ciency in collegiate mathematics and a 
diploma in Greek and Latin.84 CBH was 
offered a chair in the Classics Depart-
ment at Columbian College, which he 
did not accept.85
We have already mentioned the silver 
and bronze medals awarded CBH for 
his illustrations at the International 
Fisheries Exposition in Bergen, Norway 
(16 May?30 Sept. 1898). Hornaday 
(1899b) included an illustration of the 
silver medal. CBH was also awarded a 
bronze medal for drawings exhibited at 
the 1900 Exposition Universelle in Paris 
[world?s fair]. 
There is confusion in the literature as 
to the nature of the medal that CBH was 
awarded for his drawings and paintings 
shown at the Paris Exposition. The con-
fusion possibly originated from a New 
York Times article, 2 Sept. 1900, page 
21, in which it is indicated that CBH 
(listed as a Collaborator [of the U.S. 
Fish Commission], New York) received 
a silver medal. The story is indicated as 
coming from the Paris Exposition Edi-
tion of The New York Times, 18 Aug. 
1900. The confusion was compounded 
82A former department, which no longer exists, 
of Columbian College (now George Washington 
University). 
83Washington Post, 16 June 1883, p. 1.
84Washington Post, 9 June 1887, p. 2, and Wash-
ington Evening Star, for same date, unnumbered 
supplement p. 4; also, additional informa-
tion from CBH?s great granddaughter from his 
second marriage, Sarah Quayle Brett, attachment 
to email to VGS 17 Oct. 1998.
85Christine Hudson Kempton (interviewed by 
VGS 3 May 1985), CBH?s daughter by his ?rst 
marriage, mentioned the offer of a chair. Claire 
Hudson Brett (in litt., to VGS, 22 May 1985), 
daughter by second marriage, wrote that it was in 
the Classics [Department], as he had majored in 
Greek and Latin,? and ? . . . he always had a selec-
tion from one or the other [of these languages] 
?for breakfast? on either side of his plate.? 
by an article by C. Ravenel (1902:18) 
who wrote that, ?Silver medals were 
awarded to Mr. A. H. Baldwin and Mr. 
C. B. Hudson for ?water-color drawings 
of ?shes made to illustrate publications 
of the Commission.?? A letter86 from the 
Ex. Assistant Commissioner General 
of the United States Commission to the 
Paris Exposition of 1900 to CBH, states, 
?I have the honor to send you herewith 
a medal in bronze, commemorative of 
the award made to you on your exhibit 
in Class 53 at the Paris Exposition of 
1900.? 
New species
Biologists who describe new species 
consider that they have honored some-
one by naming a new species for them. 
There are four new species of ?shes and 
one new species of opisthobranch mol-
lusk that have been named for CBH. His 
friend, Barton Warren Evermann, partic-
ipated in three of the four descriptions of 
new species of ?shes, indicating overall 
his high regard for CBH?s work.87 
1) Dendrochirus hudsoni Jordan 
& Evermann (Family Scorpaenidae). 
Jordan and Evermann (1903:203) wrote, 
?Named for Capt. C. B. Hudson, in 
recognition of the excellence of his 
paintings of Hawaiian ?shes.? No illus-
trations accompanied the publication; 
however, CBH?s illustration of the spe-
cies appeared as Plate 73 in Jordan and 
Evermann (1905), and we reproduce it 
in our Plate 25 F. Jordan and Evermann?s 
species is no longer valid, and is now 
considered a junior synonym of Dendro-
chirus barberi (Steindachner).
2) Emblemaria hudsoni Evermann 
and Radcliffe (Family Chaenopsidae). 
Evermann and Radcliffe (1917:147) 
wrote, ?We take pleasure in naming this 
new species for our friend, Capt. Charles 
Bradford Hudson, artist and author, who 
has succeeded better than any other in 
86B. D. Woodward, in litt., 8 May 1902 to CBH 
(copy in ?les of VGS).
87Only one of the four new species of ?shes (the 
second mentioned) is currently considered valid; 
the other three are junior synonyms of species 
described earlier by other authors, who used dif-
ferent scienti?c names. This situation does not 
detract from the honors being accorded CBH by 
the authors of these three species.
depicting on canvas the life colors of 
American ?shes.? None of the illustra-
tions of ?shes in this study, including 
that of Emblemaria hudsoni, were drawn 
by CBH. Species is valid.
3) Lutianus hudsoni Evermann and 
Shaw, 1927 (Family Lutjanidae). Ev-
ermann and Shaw (1927:116) wrote, 
?This species is named for Captain 
Charles Bradford Hudson, most able 
American artist in depicting the life 
colors of ?shes.? The species was not 
illustrated. The name is no longer valid 
and is considered a junior synonym of 
Acanthopagrus schlegelii (Bleeker).
4) Callionymus hudsoni Fowler 
(Family Callionymidae). Fowler 
(1941:10) wrote, ?Named for Capt. 
Charles B. Hudson, whose valuable 
figures of Japanese dragonets were 
published in 1903.? All the species de-
scribed in this study were illustrated by 
Fowler. The name is no longer valid and 
is considered to be a junior synonym of 
Callionymus enneactis Bleeker.
5) Acanthodoris hudsoni MacFarland 
(Family Onchidorididae). McFarland 
(1905: 51?52) wrote, ?Species [of 
mollusk] named in recognition of the 
able work of my friend Capt. Chas. 
B. Hudson, Artist of the U.S. Bureau 
of Fisheries.? The species was not il-
lustrated. Frank Mace MacFarland 
(1869?1951) was a member of the Stan-
ford University faculty for many years. 
He probably became acquainted with 
CBH through David Starr Jordan and or 
Barton Warren Evermann. The species 
name is still considered to be valid.
Appraisals of CBH as an Illustrator
Hornaday (1891:viii) wrote, ?I am 
also under obligations to Mr. Charles 
Bradford Hudson, the accomplished 
artist, whose skill has done so much to 
explain and embellish the text. The spirit 
and interest with which he entered into 
his share of the work very materially 
lightened and encouraged my own tardy 
labors.?88
Hornaday (1899b:449, 451) wrote, 
?The most remarkable thing about him 
[CBH] is his versatility, and in that re-
88This quotation and the CBH illustration used as 
a preface to Hornaday?s book, were reproduced 
in ?The Literary News,? July 1891, 12(7):195.
28 Marine Fisheries Review
spect I have never seen his superior. He 
produces portraits, ?gures, landscapes, 
seascapes, interiors and exteriors, in pen 
and ink, oil, or wash drawing; all with 
a degree of artistic excellence which to 
me is astonishing.? 
On 12 Mar. 1903, CBH, who was 
in Detroit taking care of his ill father 
but also working on drawings for D. S. 
Jordan, wrote a letter to Jordan, at Stan-
ford University, with a request, ?I wish 
to ask a very great favor. You have, on 
one or two occasions, said that some of 
my drawings of ?shes are the best that 
have been made in their time. A letter 
from you containing such an expression 
would be of the greatest value to me and 
I should appreciate it very highly.89? 
Jordan responded to this request, 20 
Mar. 190390:
?Dear Sir:-Referring to your draw-
ings of ?shes, permit me to say that 
of the many artists in that work who 
have arisen in this country and who 
have been employed at the United 
States National Museum and else-
where, there are two whose work 
has been very distinctly better than 
that of any of the others, and who 
may be fairly said to have done the 
best work of the kind on record in 
any country. These two are Mrs. 
Chloe Leslie Starks91 and yourself. 
The excellencies [sic] of your work 
and those of hers are somewhat 
different, but we cannot speak too 
high praise of either.? 
In Jordan?s 1922 two-volume memoir, 
?Days of a Man,? there is no mention 
of Chloe Starks, but Jordan continues 
to praise CBH, whose illustrations he 
compares, more favorably, only to those 
of Albertus Hutchinson Baldwin, a good 
friend of CBH?s, and co-illustrator with 
CBH on Jordan?s 1901 expedition to 
Hawaii. In volume 2, page 87, Jordan 
wrote:
?Hudson?s ?sh paintings in oil are 
the ?nest yet made by any one. 
His custom was to draw ?rst an 
outline sketch of a dead specimen, 
then paint from a living example 
in our aquarium at Waikiki . . . The 
obvious drawback to this system 
was that it could be applied only 
to relatively common forms, those 
we were certain soon to capture 
and keep alive. For several of the 
most interesting, only one or two 
specimens have ever been taken, 
and for these we had to be content 
with Albertus Baldwin?s more 
conventional method, good of its 
kind but necessarily in a different 
class.?
In volume 2, pages 277?278, Jordan 
wrote, ?In it [Jordan and Evermann, 
1905] we gave full accounts of the nu-
merous species, with drawings of most 
of them and especially ?ne colored plates 
of several, these last the work of Charles 
B. Hudson, that most skillful of ?sh 
painters.? In a footnote to these remarks, 
Jordan mentioned that the paintings by 
Hudson and Albertus Baldwin, which 
were published in Jordan and Evermann 
(1905), were reduced to postcards and 
?have ever since found great favor with 
tourists.?92 In a second footnote, Jordan 
mentions, in referring to Hudson, that 
?This artist?s natural history efforts have 
been by no means con?ned to ?shes. 
Several of the ?nest panoramic scenes 
in the San Francisco Academy of Sci-
ences are by him.? Jordan (volume 1, 
page 238), probably intended to edit a 
comment he made, but unfortunately 
never completed his changes. We quote 
Jordan?s remarks on that page and, in 
italics, add what we believe is the sense 
of what Jordan intended:
?Upon leaving the Bureau of 
Fisheries, he [Barton Warren Ev-
ermann] became curator of the 
California Academy of Sciences, 
an of?ce he has successfully ?lled 
[here replace comma with period.] 
Evermann employed Charles Brad-
ford Hudson, who painted a superb 
series of landscape groups in their 
natural environment, being the 
most striking features of the Acad-
emy Museum.?
Charier (1924:15) reported on the 
1924 exhibition of the Society of In-
dependent Artists of New York93 for a 
89Department of Special Collections, Stanford 
University Libraries, SC058 D. S. Jordan, Box 
36, Folder 352.
90Ibid., SC058, D. S. Jordan, Series Iaa, Box 7, 
v. 13
91Chloe Leslie Starks (1866?1952), attended 
Stanford University but apparently did not grad-
uate; ultimately she became Associate Professor 
of Education (graphic arts) at Stanford; she was 
the wife of Edwin Chapin Starks, ichthyologist 
and Stanford professor of zoology. All of Chloe 
Starks published illustrations are in black and 
white; many of the original illustrations are pres-
ent among the illustration ?les of the Smithson-
ian Institution?s Division of Fishes.
92Jordan?s remarks, published in 1922, refer 
only to postcards sold to tourists who visited the 
Waikiki Aquarium in Hawaii. The rare ?rst pub-
lication (?Hawaiian Fishes,? Honolulu, Hawaii: 
Island Curio Co.) of the printings, which were 
to be issued later as postcards, was sold by the 
aquarium and published in Germany about 1910. 
It is hardbound and in leporello (accordion fold) 
format. We know of only two copies listed as 
present in U.S. libraries: Harvard University 
and the Smithsonian Institution (the latter gifted 
to the institution by Bruce A. Carlson, a former 
director of the Waikiki Aquarium). The Waikiki 
Aquarium opened in 1904, the year before CBH?s 
and Baldwin?s illustrations were ?rst published 
by Jordan and Evermann (1905). The postcards 
were reproduced several times, most recently in 
1990 and 1994 (Carlson, in litt., 13 Nov. 2007 
continued
92 [continued] to VGS). The 1994 edition (also a 
Carlson gift to the Smithsonian), if not the others, 
was published in booklet form. Information 
about the postcards sold by the aquarium was 
provided us by M. Heckman, Director of Educa-
tion, Waikiki Aquarium, and Bruce Carlson. 
 Other postcards depicting CBH illustrated 
?shes, were issued and reissued by the Steinhart 
Aquarium in San Francisco, which opened in 
Sept. 1923 (McCosker, 2007:171), a year after 
Jordan (1922) published his remarks. Based on 
the combined holdings of the Division of Fishes 
and those of J. E. McCosker (director emeritus, 
Steinhart Aquarium, 1973?1994), 12 colored 
postcards were issued by Steinhart, of which 10 
were by CBH, reproducing ?ve of CBH?s illus-
trations of Hawaiian ?shes and ?ve of his North 
American trout species. The other two were of 
Hawaiian species illustrated by Albertus H. Bald-
win. Hudson and Baldwin were the illustrators 
on Jordan and Evermann?s 1901 expedition to 
Hawaii. 
 The color reproductions, both in the booklets 
and on the separate postcards, are greatly wanting 
compared with either the original illustrations or 
their ?rst appearances in scienti?c publications. 
93Founded in 1916; exhibition was open to any 
artist who wanted to show his/her work. The 
?1924 Catalogue of the Eighth Annual Exhibi-
tion . . . ? indicates that it took place at the Wal-
dorf Astoria Hotel, 7?30 Mar. CBH was listed as 
living at 817 [317] Alder Street, Paci?c Grove, 
Calif. Each artist was allowed to exhibit one or 
two paintings, depending on their size. CBH 
exhibited only one painting.
71(4) 29
French periodical devoted to the arts. 
He singled out the work of only a few 
of the 710 artists represented in the ex-
hibition for comment, and also provided 
brief biographies of those artists. His 
remarks on CBH?s submission, ?Sunset, 
California Coast,? are extracted here and 
translated. Charier also expressed his 
general appreciation and knowledge of 
CBH?s paintings, which implies a famil-
iarity with CBH?s work that antedated 
the exhibition.
?At the Salon of Independent Art-
ists, in New York, I liked greatly an 
effect of ?Summer? on the ?Coast 
of Monterey County (California)? 
done with in?nite penetration by 
Charles Bradford Hudson. This 
example shows him to be a trained 
draughtsman, an adroit techni-
cian, and a delicate and vibrant 
colorist.? 
 ?This artist . . . was among the 
best equipped to avoid the dif-
?culties that are inherent to the 
landscape style.?
 ?Loving nature greatly, he ap-
proaches her as closely as possible 
in his work, in effect as well as 
color. His favorite subjects are the 
sea [!], ?rst, and then the sights 
of the desert. He has a marked 
predilection for the great French 
school, whose in?uence he admits 
to gladly.?
 ?Having traveled widely, ad-
mired much, and above all, con-
templated much, he interprets the 
scenes of nature with remarkable 
eloquence, imprinting them with 
an indescribable expression of 
calm and serenity, an impression of 
space and ?vastness,? which impart 
to his works an imperishable qual-
ity of beauty.?
A partial English translation of the 
French article was published in the 
Monterey Peninsula Daily Herald for 
4 Dec. 1924. We presume it was pre-
pared by CBH, as it reads identically 
to a copy of his handwritten translation 
of a selected portion of the French ar-
ticle (both made available to us by his 
daughter, CHB).
Emilia Hodel, 9 July 1938, probably 
from the San Francisco Chronicle94, 
in an article titled ?Landscapes in 
New Exhibition at Gumps by Charles 
Hudson? wrote, ?The Uptown Galler-
ies have a variety of exhibitions this 
week. First in importance is the group 
of landscapes by the Canadian?Ameri-
can artist, Charles Bradford Hudson 
at Gumps.?
An Anonymous author (1939b:4) in 
the Christian Science Monitor, 26 Aug. 
1939 [just two months after CBH?s 
death], wrote, ?At the San Francisco 
branch of the Society for Sanity in Art95 
. . . in so large a show it is impossible to 
detail all meritorious items. Excellent 
oils are by [14 artists? names follow, 
one of which is] Charles Bradford 
Hudson.?
Behnke (1982), on the dust jacket of 
the hard-bound edition, and the front 
cover of the paperback edition, are five 
reproductions of Salmo aguabonita 
(see our Plate 15 F). Behnke (1982: 
xiii) wrote, ?. . . drawn from life by the 
eminent artist Charles B. Hudson. It is 
reproduced from the Nineteenth Bien-
nial report of the State Board of Fish 
Commissioners of the State of Califor-
nia, for the years 1905?1906.?
Pister (2003:102) wrote, in re-
viewing Peter Moyle?s (2000) book 
on California inland fishes, wrote: 
?Moyle resorts to accurate and distinc-
tive line drawings, supplemented by an 
assortment of Joe Tomelleri?s superb 
color artwork. Tomelleri is indeed 
a worthy successor to the legendary 
artist Charles Bradford Hudson, who 
accompanied and illustrated the ef-
forts of Barton Warren Evermann in 
his pioneering studies of California?s 
golden trout a century ago . . .?
We and others have noted the 
similarity of CBH?s and Joseph R. 
Tomelleri?s colored illustrations of 
salmonid fishes. We thought it worth-
while to write Tomelleri and ask if 
the similarity was coincidental or if 
at some point he was influenced by 
Hudson?s techniques. He graciously 
responded (in litt., 24 Feb 2006), 
?I would have to say [CBH] did not 
influence the technique, as we used 
different media . . . his being painted, 
mine being drawn.? CBH used wa-
tercolor, ink and gouache. Tomelleri 
wrote that he uses ?solid pencil pig-
ments? highlighted ?with acrylic paint 
when needed . . . That being said, I 
have admired [CBH?s] work for many 
years. Dr. Robert Behnke has always 
spoken in glowing terms of Hudson?s 
paintings, and Hudson?s achievements 
are a benchmark for illustrators.? This 
from one of, if not the foremost illus-
trators of fishes in the world today!
CBH?s Non-ichthyological 
Illustrations in Publications 
by Other Authors
The following comprises an annotated 
listing of publications not authored by 
CBH, but that include his illustrations. 
Excluded are publications that include 
CBH?s illustrations of fishes that he 
made for the USFC, USBF and Cali-
fornia Department of Fish and Game. 
We discuss those in the section ?CBH?s 
Ichthyological Illustrations.? Although 
we made a concerted effort to locate all 
the nonexcluded type of publications, 
our list is undoubtedly incomplete.96 
Even late in this study we continued to 
encounter publications we had missed 
earlier. 
With few exceptions, we report only 
the earliest dated publication for a CBH 
illustration that appeared in more than 
one publication. Arrangement is chrono-
logical by year of ?rst publication, but 
not necessarily chronological within a 
given year. Unless indicated otherwise, 
all illustrations are black and white 
or gray-scale, although one or both of 
his two paintings (current dispositions 
unknown) of the Fish Commission 
Schooner Grampus may have been in 
color. The year in which an illustration 
was prepared, if indicated by CBH, is 
given in the listing.
94Article provided VGS by CHB. 
95Sanity in Art ?is [was?] an association and a 
movement? founded by Mrs. Frank Granger 
Logan, who with her husband, had been issuing 
a medal and cash prize since 1917 for art. She 
wrote, ?Sanity in Art Means Soundness, Ratio-
nalism, a Correct Integration of the Art Work 
Itself in Accordance with some Internal Logic.? 
(Anonymous, 1937a). 96See also Anonymous (1982), below.
30 Marine Fisheries Review
The earliest CBH illustrations done 
for payment appear to have been drawn 
during 1882?85. These illustrations 
were apparently meant for archaeologi-
cal or ethnological studies and done 
at Otis T. Mason?s request, although 
not necessarily for him, and were paid 
for by the Smithsonian Institution. In 
a few instances, the Smithsonian ac-
count ledgers for these years indicate 
the names of the authors or general 
references (usually annual reports) for 
which these early illustrations were 
intended. In no case, however, have 
we found any of these illustrations, 
either as originals (search of SIA and 
NAASI records or annual reports of the 
Board of Regents of the Smithsonian 
Institution).
On the other hand, Otis T. Mason?s 
diary (in NAASI), which covers the 
period 1884?9197, has several entries for 
1887 and 1888 indicating CBH?s work 
on studies for authors (during the period 
1 July 1887?10 Apr. 1888), and we have 
located some, if not all, the publications 
for which these were intended. The earli-
est publications of the 1887 illustrations 
appeared in Willoughby (1889) and 
Merrill (1889).98 
The first published CBH illustra-
tion for Joseph W. Collins (who was 
employed by the USFC) was dated 
1888, although based on Mason?s diary, 
work for Collins started in 1887. These 
drawings and others prepared for the 
USFC about the same time were all 
primarily concerned with boats and 
ships. CBH began a year of salaried 
work for the USFC on 1 July 1888 and 
was assigned to Collins, so it is not 
possible to distinguish CBH?s 1888 
drawings made during that year from 
those that were started or made before 
he became a salaried USFC employee. 
Figure 20.?CBH illustration in Willoughby (1889:?g. 6), article on 
Quinaielt [Quinault] Indians; signed Hudson, lower left.
97NAASI, Otis T. Mason papers, 49033.
98Charles Clark Willoughby (5 July 1857?21 
Apr. 1943), during his early adult years was an 
art dealer with an interest in archaeology. By 
1894 he became employed by Harvard?s Pea-
body Museum as an assistant, ultimately becom-
ing its director, 1915?1928 (E. A. Hooten (1943) 
published an extensive obituary). George Per-
kins Merrill (1854?1929), in 1887, was curator, 
Department of Lithology and Physical Geology, 
U.S. National Museum (SIA RU 7177, has an 
historical note and listing of holdings concern-
ing him).
CBH is best known for his ichthyo-
logical illustrations of ?shes (treated 
in another section), the ?rst of which 
were done in 1896.
Willoughby (1889) published a 
study of the Indians of the Quinaielt 
[Quinault] Agency in the Washington 
Territory. It includes four pen and ink 
drawings, three portraying Indians, 
one of which shows an Indian using a 
small net to catch salmon. The fourth 
is an especially detailed scene, entitled, 
?Example of Quinaelt [sic] burial? 
(Fig. 20).
Merrill?s (1889) extensive article on 
the U.S. National Museum?s collec-
tion of building and ornamental stones 
includes ?ve plates and two text ?gures 
prepared by CBH. All are pen and ink 
drawings. Four of the plates, based on 
photographs, concern rock quarries 
and are the most complex illustrations 
produced by CBH that we know of. We 
reproduce one of them as Figure 21.
Collins (1889:plate 9; our Figure 
2299) published an extensive report 
on beam-trawl fishing by European 
countries. It contained many illustra-
tions, but only one, a scene of trawling 
cutters at Brixham, a port in southern 
England, is by CBH, it is dated 1888. It 
was undoubtedly based on a photograph 
or other illustration, perhaps a sketch 
by Collins, who was also a capable 
illustrator. The other vessels drawn by 
CBH during this early period were all 
done for, or closely supervised by, J. W. 
Collins (e.g. Watkins, 1891; Whitney, 
1889?1891; Collins, 1901). Most were 
not published for 3 or 4 years after they 
were drawn (e.g. Collins, 1891a, b; 
Rathbun, 1892), but two (Collins, 1901:
Fig. 14; plate 66) waited 13 years to be 
published.
Collins (1890) published ?Fishing 
Craft of the World,? an almost encyclo-
pedic article, including 18 illustrations 
prepared by CBH of various relatively 
small ?shing vessels and boats. Fifteen 
of the illustrations are dated 1890, the 
other three are undated. The illustra-
tions are detailed, although presumably 
the originals have been much reduced 
in size in the publication. We also 
presume CBH worked from models, 
photographs, or other illustrations, 
which now appear to be lost. Although 
Collins was employed by the USFC in 
1890, we are uncertain whether CBH 
was so employed at the time of draw-
ing, or whether he was paid for these 
illustrations on contract. We include 
four examples of the illustrations in 
Figure 23.
99The original drawing for this illustration is pre-
served in the National Museum of American His-
tory Archives, Collection 256, Box 4, Folder 3.
71(4) 31
Figure 21.?CBH illustration in Merrill (1889:plate 9) article on building and ornamental stones in the collection of the 
U.S. National Museum; signed Hudson, lower left.
100The ?rst edition of ?The Century Dictionary? 
was originally issued in 24 fascicles between 
1889 and 1891; these were then combined vari-
ously into up to 10 volumes. Several editions 
were published through 1914. Page 5,575 was 
published in 1891 and is the same in all editions 
through the last in 1914 (James Mead, Division 
of Mammals, U.S. National Museum of Natural 
History, personal commun. Mead, a colleague 
and bibliophile, has copies of all editions of the 
Dictionary). The next edition, ?The New Cen-
tury Dictionary of the English Language, ?was 
published in 1952 and does not include CBH?s 
illustration.
101CHB to VGS, in litt., 28 Feb. 1985, 10 Sept. 
1988.
Whitney (1891:5575100) includes a 
detailed labeled line drawing of a sail-
ing ship drawn by CBH (Fig. 24) in the 
Century Dictionary. The illustration is 
not credited to anyone, but his daughter, 
Claire, had a copy of it that her mother 
had excised from the dictionary and 
placed in her CBH ?les.101 Supporting 
this attribution is the editor?s acknowl-
edgement of Capt. J. W. Collins, USFC, 
for nautical information, on page 30 of 
?Writers and Authorities? in a supple-
ment to volume 8 of the 1895 edition 
of the Dictionary. During the years 
1889?90, CBH had prepared paintings 
and drawings of ships, both for and with 
Collins (for the latter, see Watkins, 1891, 
and Collins, 1901). CBH?s ship illustra-
tion appears on the same page (5,575) in 
all editions of the Dictionary through the 
last in 1914. In July 2008, a thumbnail of 
the illustration, which could be enlarged, 
appeared on a website advertising the 
Dictionary.
Hornaday (1891) published a book on 
taxidermy. The frontispiece (our Figure 
25, upper) and plates 5, 7, 8, 10, 13, 16 
(our Figure 25, lower), 19, 20, 21, and 
?gures 18, 21, 23, 28, 54, 58, 69, 70, 
72, 79 are by CBH. The frontispiece is 
dated 1889; plates 7, 8, 10, 19 are not 
dated, all other plates and ?gures are 
dated 1890. All the illustrations, except 
plate 19, a half-tone, are pen and ink 
drawings. Plate 16 was reproduced, 
without attribution to CBH, in Wonders 
(1993).102
Mason (1891) includes six plates, all 
consisting of line drawings, dated as fol-
lows: two, ?87; one, ?88; three undated. 
All portray various aspects of handling 
deer skins and are indicated as ?(After 
Shufeldt)? in the legends to the plates. In 
the lower left-hand corner of each plate 
are the initials WHC [= W. H. Chanlee 
] & CBH, positioned over the year date, 
if one is present. Chanlee illustrated 
a number of ethnological articles for 
the Smithsonian and was mentioned 
as jointly working with CBH ?on Mr. 
Shufeldt?s paper? in Mason?s diary, 
although the diary does not indicate that 
either Chanlee or CBH were working 
on Shufeldt?s paper in 1888.103 In fact, 
CBH is only indicated as working for 
Capt. [J. W.] Collins or the Fish Com-
mission after 16 Sept. 1887 and until 10 
Apr. 1888. Because both Chanlee and 
CBH were working in close proximity, 
we suspect that CBH may have devoted 
only a minor amount of time to the 
Shufeldt project during early 1888.
Smith (1891) wrote a short article on 
the crab ?shery of a small town on the 
Chesapeake Bay. The article included 
six plates, two by CBH; one, a small 
scene of crabbing from a ?Chesapeake 
102Wonders did include a short biographical 
sketch of CBH on page 232 of her ?Appendix: 
select list of diorama painters.?
103We were unable to ?nd any publication 
authored by Shufeldt that contained a CBH 
illustration.
32 Marine Fisheries Review
Figure 22.?Boats by CBH: A, dated 1890, from Smith (1891:plate 39); B, C, dated 1890, from Collins and Collins (1891:plate 9, 
10), D, dated 1888, from Collins 1889:plate 9).
71(4) 33
Figure 23.?Four of 18 CBH illustrations, each signed and dated 1890, appearing in Collins? (1890) on ?shing craft 
of the world.
canoe;? the other, a simple one of a crab 
dredge.
Watkins (1891:plate 151) contains an 
illustration (reproduced as our Figure 
26) of the steamship Savannah, reputed 
to be the ?rst steamship to cross the 
Atlantic Ocean (1819). This illustration, 
which has been published subsequently 
in many different venues, was prepared 
in 1889 by CBH under the direction of J. 
W. Collins, and both their names appear 
at lower left on the painting. According 
to Watkins (p. 611), prior to this illus-
tration, there were no reliable drawings 
of the ship, and a ?lithograph, faulty in 
many of the details of hull, sails, and 
rigging, has been the basis of all previ-
ous illustrations of this historic vessel.? 
Following this remark, details are given 
by Collins explaining the basis for the 
reconstruction. The present location of 
the original painting is unknown, but 
an old photographic negative of it is 
present in the ?les of the Smithsonian?s 
Photographic Services.
Collins (1891a) includes two pen and 
ink drawings of Great Lakes ?shing 
boats by CBH:plate 1 (dated 1888) and 
plate 4 (undated), which we reproduce 
in Figure 27 (upper two ?gures).
Collins (1891b) described the con-
struction and equipment of the U.S. Fish 
Commission schooner Grampus, which 
he had designed. Among the many illus-
trations, plates 1, 5, 7, 8, 11 (all dated 
1888), 6 and 9 (undated), and 10 (dated 
1889) are pen and ink drawings by CBH. 
Colllins? plate 1 (our Figure 28, upper) 
is a line drawing of the Grampus sailing 
to the left. It is based on, or served as 
a basis for, a CBH painting (Figure 29 
upper), also dated 1888. The other plates 
34 Marine Fisheries Review
Figure 24.?Unattributed CBH illustration appearing on page 5,575 in all editions of The Century Dictionary, from 
the ?rst (1889?91) through the last (1914). For accompanying ?gure legend, see the Century Dictionary.
are interior views of the Grampus, of 
which we reproduce plates 6 and 11 as 
Figures 28, lower left and right. (See re-
marks about Plate 1 following Ronnberg 
reference below.) The original drawing 
of plate 1 is present in the Smithsonian 
American History Archives, Collection 
256, Box 4, Folder 3. It is much larger 
than the published version (or the one we 
reproduce in Figure 28. See also Collins 
(1987) and Ronnberg (1987), below, for 
further information and comments about 
the Grampus. Chapelle (1960:224) 
provided additional information on the 
construction of the Grampus and noted 
the presence of a model (No. 29832) 
of the ship in the National Watercraft 
Collection.
Collins and Collins (1891:plate 9?10) 
includes two CBH pen-and-ink drawings 
of pinkie boats and ?shing skiffs, signed 
and dated 1890, which we reproduce 
in Figure 22 B, C. The Collins? report 
covers the period 14 Mar. 1887?30 June 
1888, as indicated in the text, and it 
would appear that CBH?s drawings were 
made after his salaried position with the 
Commission had ended.
Libbey?s (1891) plate 124 (repro-
duced as our Figure 29, lower) is 
a half-tone reproduction of a CBH 
painting, dated 1891 below his name, 
of the Grampus, sailing to the right. 
Except for the direction in which it is 
sailing, it is almost identical in appear-
ance to CBH?s 1888 painting of the 
Grampus sailing to the left upon which 
the line drawing shown in Figure 28 
is based. 
Lewis (1892) contains about 30 line 
drawings by CBH, all dated 1891, so 
far as can be discerned. The drawings 
cover a wide variety of subjects. We 
reproduce two of these: one on page 
17 in Lewis, is reproduced in our 
Figure 1 (frontispiece), and the other, 
on page 21 in Lewis, we reproduce 
in our Figure 30. Of the two men in 
the left foreground of Figure 30, we 
suspect that CBH has included his 
own face on the man to the left and his 
father?s on the man to the right. A short 
review of the Lewis book104 contained 
the following remark, ?To add to the 
attractiveness of his little collection 
it has been handsomely illustrated 
by Charles Bradford Hudson.? The 
Publisher?s Weekly, for 12 Mar. 1892, 
page 418, states that many of the 
poems, had ?already been published in 
the Philadelphia Star, New York Sun, 
and Frank Leslie?s Monthly, etc.? We 
are uncertain if any of these included 
a CBH illustration.
Rathbun (1892) wrote a general 
article on the work of the U.S. Fish 
Commission. Of the many illustrations 
in this article, only one (on page 691), 
a pen and ink drawing of the steamer 
Albatross, dated 1888, is by CBH. 
Although there are many photographs 
of the Albatross, this illustration has 
been reproduced many times, and we 
reproduce it in our Figure 31. It may 
be the only illustration of the Albatross 
steaming under full sail.
104Washington Post, 10 Feb. 1892, p. 4.
71(4) 35
Figure 25.?Two CBH illustrations from Hornaday (1891): upper, frontispiece, dated 1889; lower, plate 16, dated 
1890.
Collins (1892a:20), in an introduction 
to a group of articles on the ?sheries of 
the Paci?c coast of the United States, 
wrote, ?The maps have mostly been 
made, under my direction, by Mr. C. E. 
Gorham; the other drawings for illus-
tration have been prepared by Messrs. 
C. B. Hudson and A. H. Baldwin.? 
Among the numerous illustrations in 
these articles, there are none that can be 
clearly attributed to CBH or Baldwin, 
except plate 18, which has a ?B? in the 
lower left corner and possibly refers to 
Baldwin. In spite of Collins? statement, 
some drawings (e.g. plate 15) include 
the name ?H.W. Elliott.?105
Collins (1892b), in an article on 
Pacific coast fishing vessels and 
boats, includes two pen and ink il-
lustrations, both signed and dated 
1889 by CBH. We reproduce Collins? 
Plate 15, Figure 2, and Plate 16 in 
Figure 27.
Hornaday (1894a:601) includes 
a half-tone illustration of sea otters 
signed and dated 1894 by CBH.
105Henry Wood Elliott, 1846?1930, highly pro-
ductive illustrator, among his other activities, for 
the USFC.
36 Marine Fisheries Review
Figure 26.?Illustration from Watkins (1891:plate 151) of the steamship Savannah, reputed to be the ?rst steam-
ship to cross the Atlantic Ocean (1819). Illustration, dated 1889, prepared by CBH under the direction of J. W. 
Collins and signed by both men.
Hornaday (1894b:957) includes a 
?ne, full-page half-tone illustration of a 
walrus being attacked by two Eskimos, 
signed and dated 1894 by CBH, repro-
duced by us as Figure 32.
Hornaday (1894c) contains five 
half-tone illustrations of sea lions and 
fur seals, and three, shown in habitat 
groups, are by CBH, all signed and 
dated 1894.
Yale (1894) published an article on 
American game ?shes, which included 
eight CBH half-tone illustrations, all 
dated 1894. Three of the illustrations, 
brook trout, striped bass, and large-
mouth bass (Fig. 33), are essentially 
portraits. Three of the illustrations 
are excellent scenes of men ?shing 
(of which we reproduce three, one 
in Figure 33 and two in Figure 34). 
A fourth scene, which we do not re-
produce, is of a sailboat underway, on 
which one can just make out three men, 
one of whom is ?shing. Unfortunately, 
the quality of some of our ?gures is 
lacking compared to that of those in 
the article from which we made our 
copies.
Hornaday?s (1896) novel, ?The Man 
Who Became a Savage,? contains 16 
illustrations [plates], all by CBH. Only 
the pen and ink frontispiece (?rst plate), 
unsigned, undated, and title page of this 
novel were seen by us.
Inman?s (1898) novel includes four 
half-tone plates by CBH, all dated 1897. 
They show people and animals in vari-
ous and usually fearsome situations, e.g. 
our Figure 35 (upper).
Webster?s (1898) frontispiece (our 
Figure 35, lower), signed and dated 
1898 by CBH, illustrates a hunter 
aiming a rifle at a crouching tiger. 
Hornaday (1899b:451) reported that 
the frontispiece was CBH?s last il-
lustration before leaving for duty in 
the Spanish?American War. If so, the 
illustration was completed before May 
1898, as the Washington Post for 11 
May 1898, reported that Lieut. Charles 
B. Hudson was among those encamped 
in the District of Columbia, and the 
issue for 22 May 1898, described the 
21 May departure of the troops from 
the District. The troops returned on 
following 19 Aug. (historical sum-
mary in the Washington Post, 26 Dec. 
1927).106
Hornaday?s (1899a) poem contains 
seven small CBH half-tone illustrations, 
initialed but not dated, variously depict-
ing a wolf and a hunter and his horse in 
desert scenes.
Hornaday?s (1899b) tribute to CBH, 
includes a full-page half-tone plate 
(page 450), signed and dated 1899, by 
CBH, that was to be included in Brown 
(1899; see below). It depicts white Rho-
desian horsemen battling out-gunned 
African natives.
Barry (1899:460) includes a small 
CBH, initialed but undated, and uncom-
plicated, half-tone mountain scene; the 
legend reads, ?In the Sioux country.?
Brown?s (1899) book about South 
Africa contains four half-tone illustra-
tions, signed by CBH and dated vari-
ously 1898 or 1899. We reproduce one 
plate (opposite page 338 in the book) 
as our Figure 36. Brown gives special 
acknowledgment to W. T. Hornaday 
106Washington Post, information from ProQuest 
Historical Newspapers.
71(4) 37
Figure 27.?Four CBH boat illustrations: upper two ?gures, Great Lakes ?shing boats (from Collins, 1891a:plate 1 and 4), 
left dated 1888, right undated); lower two ?gures, Paci?c coast ?shing boats, both dated 1889 (from Collins, 1892b: left, Plate 
16, right, Plate 15, Fig. 2).
for involving him in the expedition 
that led to the writing of the book, 
and it seems probable that Hornaday 
recommended CBH to Brown as an 
illustrator. See also Hornaday (1899b, 
above).
Henshall (1899:289) mentions in a 
footnote that ?The pen-drawings of the 
oldest [?shing] reels are by Mr. Charles 
Bradford Hudson, except several by 
myself.? There are 13 drawings of ?sh-
ing reels, excluding several line draw-
ings of reel mechanisms. Six or seven of 
the reel drawings appear to have names 
of the artist in a lower corner, underneath 
four of which appears to be a year date. 
Our copy is not clear enough to discern 
the names or dates.
S. H.?s (1899) article is a poor attempt 
to be humorous by an author who chose 
to identify himself only by his initials. 
It includes two large and two small 
half-tone signed but undated CBH il-
lustrations. 
Sharp?s (1899) poem about his ri?e 
includes ?ve full-page, half-tone CBH 
illustrations, each dated 1899 and ac-
companied by a stanza of the poem. 
Allen (1900) has a half-tone fron-
tispiece (with legend, ?I killed 17 of 
them?) signed ?Chas. B. Hudson 1900.? 
It illustrates a man riding a horse and 
aiming his shotgun at a high-?ying ?ock 
of birds, and illustrates the author?s de-
scription of a tall tale told by a person 
who claimed to have shot 17 ?ying cur-
lews without a miss while riding along 
and keeping abreast of the ?ying ?ock.
Collins (1901) published an extensive 
volume describing the USFC exhibit at 
the International Fisheries Exposition 
in Bergen, Norway, in 1898. Among 
the numerous illustrations, one (Col-
lins? plate 66, our Figure 37) is a de-
tailed pen-and-ink drawing of a British 
trawler, and is initialed by CBH and 
dated 1888. The other (Figure 14, not 
reproduced here) is of a ?shing sloop, 
less detailed and undated, but indicates 
that it was drawn by J. W. Collins and 
CBH. We presume that CBH?s early 
drawings of boats for the USFC were 
closely supervised by the demanding 
Collins, who prepared many excel-
38 Marine Fisheries Review
Figure 28.?Five of eight CBH illustrations (all but one dated 1888) of the U.S. Fish Commission schooner Grampus, which ?rst 
appeared in Collins (1891b) and indicated as plates. Upper ?gure (plate 1) is based on, or served as basis for upper illustration in our 
Figure 29. Mid-left ?gure (plate 8) above is ?Laboratory looking forward;? mid-right ?gure (plate 5) is ?Forecastle looking forward;? 
lower left ?gure (plate 6, undated) is ?Forehold looking to starboard;? lower right ?gure (plate 11) is ?Cabin looking aft.? Figures 
much reduced in size from original published versions.  The three other Collins (1891b) plates are reproduced in Cart (2004:16).
71(4) 39
Figure 29.?Charles Bradford Hudson?s paintings of the Grampus. Upper, dated 1888, print from 
negative in ?les of Smithsonian Imaging Services (see also Figure 28); lower, dated 1891, copied 
from Libbey (1891:plate 124). Originals possibly in color; both now lost.
40 Marine Fisheries Review
Figure 30.?Left, CBH illustration 
in Lewis (1892:21); upper right, 
enlarged faces of two men in left 
foreground of illustration; below, 
lower left, Lieutenant CBH (from 
(Hornaday, 1899b:449); lower right, 
CBH?s father, T. J. Hudson  (from 
Hudson, 1904). Composition in sup-
port of our presumption that CBH 
included his own and his father?s 
faces in the illustration.
lent drawings of ships during his time 
with the Commission. CBH would 
have been a quick study and after brief 
instruction would have needed little 
supervision. Collins (1901:17) noted 
that CBH was awarded two medals 
for his illustrations at the exhibition: a 
silver one for his ?drawings of ?shing 
vessels and boats,? (for an illustration of 
the medal, see Hornaday, 1899b:449), 
and a bronze medal ?for [a] painting 
illustrating [a] method of fishing.? 
Collins (1901:49) described the paint-
ing as a ??eet of American schooners 
fishing for mackerel with hook and 
line; entitled ?Mackerel ?shing in the 
?fties.?? It is unfortunate that Collins 
did not reproduce this painting in his, 
otherwise comprehensive volume. The 
present location of the painting, if it 
exists, is unknown.
Burroughs? (1902) narrative of the 
Harriman Alaska expedition of 1899, 
includes a fine photogravure repro-
duction, opposite page 94, (which we 
reproduce as Figure 38) of a CBH 
painting. The legend reads, ?Sea-Lions, 
Pribilof Islands, Bering Sea,? signed 
and dated 1900. It appears that the 
painting on which the lithograph was 
based was once hanging in the home 
of Mrs. Edward H. Harriman107, and it 
is the basis for reports in biographical 
sketches of CBH that his paintings are 
included in the Harriman collections.108 
The present location of the painting 
is unknown. Burroughs? article also 
includes two other CBH illustrations, 
both small linecuts signed and dated 
1900. On page 78 of the article is a 
scene, ?Uyak Bay, Kadiak Island,? 
showing a section of the bay in the 
foreground with vegetation on the shore 
and mountains indicated in the distant 
background. On page 95 is a scene, 
?Sea-lions,? illustrating eight sea lions 
resting on rocks. 
Muir (1902), who wrote on Paci?c 
coast glaciers in the Harriman Alaska 
expedition report, included on page 124, 
a small CBH linecut signed and dated 
1900, and labeled ?Mountains on Lynn 
Canal opposite Davidson Glacier.?
Grinnell (1902a), who wrote on 
Alaska natives in the Harriman Alaska 
expedition report, contains three very 
small linecut ?gures by CBH, all ini-
tialed but not dated: on page 156, a 
carved two-headed dancing mask and 
two perspectives of a carved curved 
mixing bowl (both views initialed); on 
107A black-and-white CBH painting was hang-
ing in Arden House, home of Mrs. Edward H. 
Harriman, during 1917. G. P. Du Bois (1917), 
stated (on p. 296), ?In the upper hall there are sea 
lions in black and white by Charles B. Hudson 
that probably were executed during the Harri-
man Alaskan Expedition.? CBH, however, did 
not participate in the expedition. We tried unsuc-
cessfully to locate the painting. Sarah Elliston 
Weiner, Curator of Art Properties, Columbia 
University Libraries Special Collections (in 
litt., 10 June 2008, to D. H. Mortimer, Colum-
bia University; cc to VGS), wrote that there was 
a record of a CBH painting, ?Seals on Rock,? 
brie?y described as a group of seals at the sea-
shore, in an inventory of the paintings in Arden 
House. The description closely ?ts the published 
photogravure. The inventory did not include a 
photograph of the painting, but it is described as 
being oil on board, approximately 8 inches high, 
14 inches wide, therefore, approximately twice 
the size of the published photogravure, which is 
4 1/16? by 7 3/16?. The location of the painting 
in the home was given as ?4th ?oor, bathroom 
closet.? Mortimer (in litt, 10 June 2008) wrote 
that the inventory is probably 15 years old, so 
that it is not de?nite that the painting is still in 
the house. ?The Harrimans gave . . . Arden House 
to Columbia in 1950. Three and a half years ago 
the university closed it and sold it to a conser-
vation organization. Much of the noteworthy art 
has been dispersed and the house has remained 
boarded up . . . . The last time I was in the house, 
the walls were quite bare.? The painting was 
probably based directly on a photograph taken 
on the Harriman Expedition, as is the other CBH 
lithograph published in the Harriman expedition 
series (see C. H. Merriam (1902) below); its dis-
position is also unknown. 
108For example, the obituary announcement of 
CBH in the Monterey Peninsula Herald, for 28 
June 1939.
71(4) 41
Figure 31.?CBH illustration, dated 1888, of the U.S. Fish Commission steamer Albatross (?rst appeared in 
Rathbun, 1892:691). Possibly the only illustration of the Albatross underway in sail.
Figure 32.?CBH illustration, dated 1894, appearing in Hornaday (1894b:957). Our 
reproduction of ?gure suffers in quality compared to the published original.
page 178, an Eskimo dish carved from 
a whale vertebra.
Merriam (1902) wrote an article on 
a new volcano discovered during the 
Harriman Alaska expedition. The article 
includes two CBH illustrations. One 
is an unsigned and undated linecut on 
page 329, entitled ? Fig. 37. Murres,? 
and shows a group of auks, diving birds 
of northern seas, perched on a cliff. Its 
attribution to CBH is made in the list of 
text ?gures in volume 1 of the Harriman 
Alaska Series. The other illustration, 
opposite page 332, is a photogravure en-
titled ?Stampede of Sea-Lions, Bogoslof 
Volcano, July 8, 1899,? based on a CBH 
painting dated 1900. By chance, we 
found that this illustration is a composite 
that was based on three photographs 
taken by Merriam.109 In our Figure 39, 
we reproduce CBH?s illustration and the 
three photographs on which it is based. 
The sum of these elements provides an 
excellent and unique example of CBH?s 
creativity.
Gannett (1902:278) is here included 
arbitrarily as a part of Gannett?s article. 
It only contains a signed CBH linecut 
?gure, dated 1900, of a group of fur 
seals based on a photograph taken by 
C. H. Merriam. The ?gure is a gratu-
itous insertion that belongs neither to 
Gannett?s article nor the article follow-
ing Gannett?s in the volume. 
Grinnell?s (1902b) article on the 
Alaska salmon ?shery includes six 
CBH signed and dated 1900, linecut 
text ?gures. The sixth ?gure, a large 
group of seals on a rocky shore, is all 
that is on the last page, and it is not 
actually a part of Grinnell?s article, 
109The three photographs, by C. Hart Merriam, 
are on page 152 of volume 2, of ?A Souvenir of 
the Harriman Alaska Expedition, 1899,? which is 
a two-album collection of individually mounted 
photographs taken during the Harriman Alaska 
expedition. Probably only a few sets of the albums 
were prepared. The Library of Congress does not 
have a set; however, sets are present in the librar-
ies of: American Museum of Natural History, 
N.Y.; University of Texas, Austin; Alaska State 
Library, Juneau; University of California, both 
Berkeley and Los Angeles; Yale University, New 
Haven, Conn.; Hamilton College, Clinton, N.Y.; 
and University of Washington, Seattle.
42 Marine Fisheries Review
Figure 33.?Four 1894 CBH illustrations appearing in Yale (1894). Left 
side: largemouth bass ?shing. Right side, from top: brook trout, striped 
bass, largemouth bass. Quality of ?gures in original publication is supe-
rior to that reproduced here.
but it was inserted, apparently, to 
separate his article from the next one 
in the volume, with which it is also 
irrelevant. CBH indicated that the ?rst 
?ve ?gures (scenes associated with 
the salmon fishery) were based on 
photographs. The ?gure of the seals 
lacks a legend.
Dall?s (1902) poem contains one CBH 
?gure, a small linecut, signed and dated 
1900. It shows a group of Alaska natives 
seated and standing around a ?re in an 
otherwise darkened enclosure. It lacks a 
legend but was used to illustrate a pas-
sage in the poem. 
Evermann (1905) wrote a popular 
article about the golden trout of Mt. 
Whitney in California. In it, Evermann 
included a full-page reproduction of a 
black-and-white CBH etching, signed 
and dated 1904, and entitled ?a shoulder 
of Mt. Whitney.? In a letter to Ever-
mann, written in Detroit and dated 29 
Sept. 1904, CBH wrote, ?I will send 
you tomorrow, or the day after, an etch-
ing of Crabtree Meadow110, made from 
the water-color sketch. I have made the 
plate between times, and have made a 
number of prints on Japanese 
paper, one of which I intend to 
present to each of our party as 
a memento of the expedition. I 
do not know whether you are 
partial to etchings or not? 
I am?but I hope you will be 
partial to this one on account 
of association.111? Although 
not certain, it appears that the 
published ?gure is the etching 
of which CBH wrote. We sus-
pect, however, that CBH made 
many watercolor sketches 
during the Mount Whitney 
expedition.
Hornaday?s (1906) book on camping 
in the Canadian Rocky Mountains has 
been reprinted several times. It includes 
only three plates, all halftones, which 
are credited to CBH. The plate, facing 
page 196, is captioned ?Mr. Phillips?s 
Most Dangerous Position;? that facing 
p. 286, ?A Great Snow-slide? [drawn 
from photograph]; that facing p. 334, 
?Risking His Life for a Kid.112? The 
110At the foot of the western approach to Mount 
Whitney.
?rst illustration is either based on, or 
was a study for, a CBH painting in 
color, 12? ? 16.75? (305 ? 425 mm], 
oil on board, which was auctioned by 
Cowan?s auction house of Cincinnati, 
Ohio, as item 349, on 31 Mar. 2007, 
and listed as ?Daring photographer in 
western landscape? (which sold for 
$1,375). Perceptively, the painting was 
indicated as a possible study for an il-
lustration. We reproduce both versions 
in Figure 40.
Anonymous (1914) is a Luther Bur- 
bank seed catalog. It contains one full-
page color illustration, opposite page 
48, ?The Burbank Poppies,? signed 
111CASA, B. W. Evermann letter ?les, Box 75.
112A young mountain goat. Similar to the illustra-
tion mentioned in the previous footnote, a CBH 
oil painting for this plate probably exists.
71(4) 43
Figure 34.?Two 1894 CBH ?shing scenes appearing in Yale (1894).
44 Marine Fisheries Review
Figure 35.?Two CBH illustrations: upper, dated 1897, appeared in Inman?s (1898) novel, ?Ranche 
on the Oxhide;? lower, dated 1898, appeared in Webster (1898), and according to Hornaday 
(1899b:451) was CBH?s last illustration before leaving for the Spanish?American War.
?Hudson 1909? (Fig. 41, left) This and/
or other CBH illustrations, including 
those mentioned in Anonymous (1982), 
probably appeared in other Burbank 
catalogs, but this was the only catalog 
available to us.113 
113Smithsonian Libraries, National Museum 
of American History Branch, Trade Literature 
Collection, call no. 014896, barcode 390880 
03837648.
71(4) 45
Figure 36.?CBH illustration, dated 1899, that appeared in Brown?s (1899) book, 
?On the South African Frontier.?
Figure 37.?CBH illustration dated 1888 (from Collins, 1901:plate 66); one of 
several drawings of ?shing vessels for which he was awarded a silver medal at the 
1898 International Fisheries Exposition in Bergen, Norway.
Evermann?s (1917) plates 10 and 17 
are full-page half-tone photographs of 
two California Academy of Sciences 
dioramas for which CBH painted the 
backgrounds; acknowledgments to him 
are on pages 280 and 294.
Anonymous (1982) contains a placard 
and seven color prints of fruits and veg-
etables, cultivars developed by Luther 
Burbank, on heavy paper, the prints suit-
able for framing. The placard states that 
the paintings were done in 1909. Four of 
the prints bear CBH?s name and 1909; 
the other three bear neither. The front of 
the placard has brief biographies of Bur-
bank and CBH. The rear of the placard 
describes the fruits and has acknowledg-
ments, including CBH?s daughter, Claire 
Hudson Brett, for historical information. 
We reproduce one of the prints as our 
Figure 41, right. The prints are still 
available (2008) for purchase from the 
Luther Burbank Home & Gardens (see 
also Anonymous (1914)).
Collins (1987) is a reproduction of 
Collins? (1891b) report, with type reset. 
It includes all eight CBH illustrations, 
enlarged, that appeared in the original 
publication.
Ronnberg (1987:182, Fig. 1) includes 
CBH?s 1888 painting of the Grampus, 
sailing to the left (our Fig. 29, upper). 
Either Ronnberg?s publication or that of 
Backus and Bourne (1987, see below) 
was the ?rst to publish a reproduction 
of this painting. Ronnberg mentions 
that the painting was probably done in 
tempera and, perceptively, recognized 
that it is so similar to CBH?s 1888 line 
drawing of the Grampus, which appears 
as Plate 1 in both Collins (1891b) and 
(1987), that the latter was undoubtedly 
based on the painting.
The 1888 painting, when photo-
graphed at the Smithsonian, was framed 
and under glass, and an accompanying 
label with the ship?s name had split in 
half. We presume that the 1888 paint-
ing, which was unpublished for almost 
100 years, was probably hanging in 
someone?s of?ce or forgotten, so that 
a new painting was requested for the 
article by Libbey (1891). CBH probably 
remembered his original painting, and 
reoriented the sailing direction of the 
Grampus, in order not to duplicate his 
original. Our many concerted attempts 
to locate the original 1888 and 1891 
paintings over the course of many years 
were unsuccessful.
Backus and Bourne (1987:4) pub-
lished a photograph of CBH?s 1888 
painting of the U.S. Fish Commission 
schooner Grampus, sailing to the left, 
46 Marine Fisheries Review
Figure 38.?CBH photogravure, dated 1900, published in Burroughs (1902) and based on a painting formerly owned by 
the E. H. Harriman family; present disposition of painting unknown (see also note in discussion of Burroughs? 1902 article).
based on a print made from a negative 
(#4969) in the ?les of the Smithsonian 
Institution Imaging Services (see Ron-
nberg (1987), for discussion). They did 
not discuss the image.
Shields (2006:11) introduces his 
Chapter 5 with a quotation from CBH?s 
1915 article, ?Monterey on the etching 
plate? (q.v.). On pages 117?118, he 
quotes extensively from the article and 
reproduces one of CBH?s etchings that 
were included in it. Shields credits CBH 
with representing the deep concern felt 
by the artists? community resulting from 
the modernization and deterioration of 
landmarks and native buildings of the 
area. On pages 228?230, Shields pres-
ents a brief biographical sketch of CBH, 
including general comments on CBH?s 
landscapes and seascapes. Page 229 
includes a color reproduction of a CBH 
painting, ?Spanish Bay? (also our Figure 
42), in the collection of the Crocker Art 
Museum. Much enlarged, and rendered 
in subdued tones of tan, Shields used this 
painting as the background on which his 
book?s title page is printed.
CBH Authored Publications
CBH?s publications are noteworthy 
for their variety, facility of expression, 
and often for their humor. Included 
among those we located (and there are 
probably some we missed114) are: two 
novels (his only ?ction, both based on 
historical events); three social com-
mentaries (an almost genetically based 
attack on the behavior of the German 
army during WWI; a deploring of the 
physical decay of historic Monterey, 
Calif.; and a remarkably prescient 
discussion of the historically abusive 
treatment of China by the West and 
what will result in the future; two 
explaining and justifying the work of 
the U.S. Fish Commission; several 
popular articles describing the habits 
of interesting ?shes; one describing 
the history, life, and architecture of 
the Latin Quarter in Paris; and one, 
a letter, presumably unintended for 
publication, describing his pursuit of 
painting desert landscapes. Most of the 
articles, but neither of the novels, are 
adorned with his own informative il-
lustrations. In the following discussion 
we list these publications chronologi-
cally, quoting from and commenting 
on them, and reproducing some of their 
included illustrations.115
114Various published biographical accounts 
about CBH, probably based on information he 
or his family provided, contain statements that 
while he was in Paris (1893?94), he was a corre-
spondent for the Washington Star and the Detroit 
Free Press newspapers. We attempted a partial 
search of micro?lms of the Star for 1893?94 (we 
were unable to locate an available archival source 
for the Free Press), but found this time consum-
ing and unrewarding. Except for major articles, 
authorship of articles in the Star generally were 
not attributed, or attributed only anonymously 
(e.g. ?correspondent in Paris?), and there is no 
internal information in those articles that sug-
gests who the authors might have been. There is 
also mention that CBH contributed to the New 
York Buffalo Illustrated Express (Hornaday, 
1899b:451), which was the Sunday edition of the 
Buffalo Express), but we were unable to locate 
any speci?c information on the nature of CBH?s 
contributions to that newspaper.
115We were only able to obtain poor quality repro-
ductions of some of the publications, and some of 
the ?gures we reproduce suffer accordingly, but 
we include these ?gures as evidence of the variety 
of CBH?s productions and his artistic ability.
71(4) 47
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.
48 Marine Fisheries Review
Figure 40.?Left, CBH painting (oil on board, 
12 ? 16.75 in, 30.5 ? 42.5 cm), possibly used as 
study for preparing CBH illustration at right, which 
appeared in Hornaday (1906).  Illustration and details 
about painting taken from Cowan?s Auctions website, 
18 July 2007.
The earliest CBH authored article we 
found (Hudson, 1893a) was published 
in May 1893. It was probably written 
during 1892, the date indicated for all 
but one or two (undated) of its 11 in-
cluded illustrations. In the article, CBH 
describes the methods of model making, 
the models, and other preparations for 
the USFC exhibit at the 1893 Chicago 
World Fair (World?s Columbian Exposi-
tion), for which the Commission?s plans 
began in May 1891.
All of the illustrations are black-
and-white drawings and, except for an 
illustration of the fisheries building, 
depict models of ?shes, ships (includ-
ing a fourth CBH drawing of the UFSC 
schooner Grampus), and the process of 
model making. We reproduce all the 
illustrations of the ?shes and ships (but 
only one of the model making process) 
in our Figure 43. The illustrations of the 
?shes are among the ?rst of ?shes that 
CBH executed, as well as published, 
either for himself or others. CBH was 
preparing drawings of plans of ?shing 
vessels for the Commission?s exhibit and 
saw an opportunity, perhaps, to addition-
ally augment his ?nances. Likening the 
exhibit and its preparations to an octo-
pus, CBH (1893a:598) extolled:
?The whole continent and the 
deep seas beyond come within 
the range of the gigantic tentacles 
of the Fish Commission Exhibit. 
Everything that pertains to ?sh, 
fishing or fishermen is its prey. 
Photographs, drawings, clothing 
and life-size models of ?shermen; 
photographs, drawings, alcoholic 
specimens and models of the ?sh 
they catch; photographs, drawings, 
plans, speci?cations and accurate 
models of the craft from which 
they catch them; lines, nets, spears, 
traps, rods, reels and gear of every 
description have been brought 
together into a collection larger 
and more perfect than any that the 
world has ever yet beheld.?
CBH (1893b) next published ?Cu-
rious breadwinners of the deep,? an 
article about the peculiarities of various 
?shes, most of which are actually shal-
low dwelling. It contains 11 line draw-
ings that CBH made in 1892 and 1893, 
four of which are indicated as having 
been done in Paris, during the period 
71(4) 49
Figure 41.?Luther Burbank and two CBH illustrations made for him in 1909.  On left: ?Burbank Poppies? from 1914 
?Burbank Seed Book.? On right: ?Nectarine? from 1982 portfolio, ?Artistry with plants.? Photograph from Library of 
Congress digital ?le, LCUSZ6-180, also appeared in 1914 catalog.
Figure 42.?CBH painting, ?Spanish Bay,? Monterey Peninsula, Calif., in collection of Crocker Art Museum, Sacramento, 
Calif. (from Shields, 2006:229).
when he was studying at the Academie 
Julian. All of the illustrations depict 
readily recognizable types of ?shes. 
We reproduce four of the illustrations, 
three representing individual species in 
habitats (Fig. 44) and one reproducing 
a medley of a large number of species 
representing many different families 
(Fig. 45).
50 Marine Fisheries Review
Figure 43.?CBH illustrations, dated 1892 or undated, published in Hudson?s (1893) article about the USFC exhibit at the Chicago 
World?s Fair. Illustrations were all based on models. Current scienti?c name of the sail?sh is Istiophorus platypterus; trunk?sh is 
now called scrawled cow?sh, Lactophrys quadricornis; the  Jew?sh is now known as the Goliath grouper, Epinephelus itajara. The 
Snow and Sparrowhawk were early English vessels used for ?shing on the American coast. The Grampus was designed by J. W. 
Collins for the USFC; the model is No. 298232 in the National Watercraft Collection (Chapelle (1960:224).
71(4) 51
Figure 44.?Three CBH illustrations included 
in Hudson (1893b). Upper left, the archer ?sh,  
Toxotes sp., in the process of shooting down a 
butter?y with a squirt of water. Upper right, mud-
skippers,  Periophthalmus sp., and lower right, 
climbing perch, Anabas sp., members of two 
genera of ?shes that can respire, if damp, out of 
water for long periods of time.
His choice of subject was undoubt-
edly in?uenced by what he learned from 
his employment, on salary or contract, as 
an illustrator for the USFC. The article 
describes several species of ?shes that 
have unusual behaviors or anatomy. 
CBH?s writing is clear and often reads 
as if written for a scienti?c journal, but 
he also capably infuses his subject with 
humor, as in his discussion of the rather 
ugly and voracious angler?sh:
?It is dif?cult to conceive any-
thing more forbidding and more 
repulsive than this slimy monster, 
yet the great French ichthyolo-
gist, Lac?p?de, is at considerable 
pains to show that it bears no 
resemblance, in any respect, to 
a human being, and that its great 
?abby ?ns are in no way similar 
or to be compared with the human 
hand. This was very good and 
thoughtful of Lac?p?de, for if 
any unfortunate should chance 
to detect a fancied resemblance 
between the angler and himself, 
he would probably be a prey 
to considerable uneasiness of 
mind.?
For another species, he quotes from 
Pliny (1st Century A.D.; elder or young-
er not indicated), who wrote in Latin and 
52 Marine Fisheries Review
Figure 45.?CBH illustrated medley of ?shes representing many different families appeared in Hudson (1893b) and was 
prepared in Paris during the time he was attending classes at the Academie Julian.
which CBH appears to have translated 
into English.
From late 1893 to early 1894, CBH 
was in Paris studying with William 
A. Bouguereau116 at the Academie 
Julian, a prominent art school located 
in the Latin Quarter.117 In 1894 he was 
joined in Paris by his wife and young 
daughter. Apparently, he had time not 
only to write and illustrate ?shes for 
his ?Curious Breadwinners? article, 
but he also produced etchings118 and 
pen-and-ink drawings of Paris scenes. 
In April, 1894, CBH (1894) published 
?The Latin Quarter.? The article is a 
historical, physical, and sociological 
description of that famous section 
of Paris and includes 12 line draw-
ings and one halftone illustration, all 
signed and dated ?93, Paris? (possibly 
without CBH?s permission, the editor 
inserted a full-page halftone illustra-
tion by another artist in the article). 
CBH?s excellent illustrations depict the 
activities and dress of the people in the 
Quarter: walking, conversing, carrying 
bread, and reading at bookstalls, all 
including portions of the architecture 
of the Quarter or scenes of the Seine 
(Fig. 46).119
The text is lively, historically infor-
mative, and descriptively detailed as the 
following three excerpts demonstrate 
(italics in original).
?If there was ever a youth, a stu-
dent, to whom the name of the 
Latin Quarter was not an inspira-
tion of longing, in whose breast it 
failed to rouse an alluring dream of 
classic learning and Bohemian lib-
erty, of time-honored schools and 
glittering caf?s, or erudite profes-
sors and dazzling grisettes [lively 
young women], of study, gayety 
and tumult, he could not have been 
well constituted.? (p. 385)
 ?As [the Church of St. Julien le 
Pauvre] stands at present, the edi-
?ce dates from the twelfth century, 
and marks the transition from the 
Roman to the Gothic order. Of the 
original structure some portions 
only remain, having been destroyed 
in 886 by marauding Normans, and 
rebuilt in its present form. During 
the great intellectual movement 
which commenced about 1000, 
following the Crusades and the 
Norman conquests of Italy, Sicily 
and Greece, it became the centre 
round which gathered a community 
of men of letters.? (p. 387?388). 
 ?Any Parisian boulevard is inter-
esting, but St. Michel has a quality 
116Also known as Adolphe William Bougereau or 
William A. Bouguereau, 1825?1905; well known 
for his realistic paintings, particularly those of 
women. 
117During part or all of his visit, he was joined by 
his ?rst wife and their daughter Christine (VGS 
interview, Christine Hudson Kempton, Annapo-
lis, Md., 3 May 1985).
118Two impressions of the same CBH etching, 
?Pont de Bercy, Paris,? 1894, which CBH gifted 
to the Museum of Fine Arts, Boston, in 1898 (S. 
L. Stepanek, MFA, Boston, emails, 26?27 Sept. 
2007), are the only CBH etchings of which we 
are aware that exist in a public collection. The 
foreground of the etching shows a barge tied 
to a quay, with a bridge and buildings faintly 
indicated in the distant background. Our gen-
eral impression of the etching is that it is quite 
rough, perhaps experimental, and suffers greatly 
in comparison with other works by CBH. 
119Butterworth (1897) reproduced ?ve of CBH?s 
illustrations from this publication, one of which, 
?Rue Galande,? we also reproduce in Figure 
46. Butterworth, however, replaced the ?gure?s 
legend with ?A Glimpse of Poorer Paris,? in keep-
ing with the nature of his article, which was about 
charitable organizations in Paris that service its 
homeless and destitute thousands. One wonders 
if CBH was aware that Butterworth would use his 
illustrations for an article that dwelt on the other 
side of the happy life that CBH had so enthusias-
tically described.
71(4) 53
Figure 46.?Three of 13 illustrations CBH made in 1893 for his 1894 article, ?The Latin Quarter.? All were done in Paris 
during his period of study at the Academie Julian. Upper right area of upper right ?gure was ?lled with text.
54 Marine Fisheries Review
Figure 47.?Two CBH 1894 illustrations 
appearing in his 1895a article, ?Finny 
prot?g?s of Uncle Sam.?
71(4) 55
Figure 48.?Three CBH 1894 illus-
trations appearing in his 1895a article 
?Finny prot?g?s of Uncle Sam.? Top 
?gure is ?rst word (To) of article.
of interest which is paralleled no-
where in the world, due, of course, 
to the presence of those ineffable 
creatures, the students, who throng 
here in droves and multitudes, 
loquacious, gay and unrestrained. 
But night is the time to see the 
Boul Mich, and not earlier than 
eleven o?clock. Then the student is 
free and awake, and the caf?s are 
crowded with a restless, singing, 
shouting, turbulent mob which 
would drive insane any landlord 
save him bred to the Boulevard St. 
Michel.? (p. 394)
CBH (1895a) returned to the sea, and 
published ?Finny Prot?g?s of Uncle 
Sam.? It contains 13 of his mostly gray-
scale drawings, probably much reduced 
from their original size, all dated 1894, 
except for the undated initial letter T 
at the beginning of the article (Fig. 47, 
48). In the article, CBH had two serious 
purposes. The ?rst was to impress the 
reader with the contribution of the USFC 
to the nation?s economy. To do this, he 
explains at length the value and success 
of the Commission?s project to restock 
shad in the Potomac River where they 
had become depleted. 
His second purpose was to explain 
in detail the procedures for arti?cially 
propagating ?shes and the great amount 
of effort involved in doing so. Finally, 
he ends by noting how successful these 
efforts have been at introducing shad and 
striped bass, which are native to eastern 
American waters, into the waters of 
the western states.120 It is possible that 
someone in the Fish Commission may 
have suggested the topic of this article to 
CBH, as he had the Commission?s coop-
eration. Tarleton H. Bean121 (1896:36) 
wrote, ?In the spring of 1894 . . . Illustra-
tions and explanations of the methods of 
the [U. S. Fish] Commission were also 
furnished to Mr. C. B. Hudson.? 
A review of the article (Anonymous, 
1895:165) concluded, ?Mr. Hudson 
brings the process before our very eyes, 
and we ?nd his article as interesting 
120Both the American shad, Alosa sapidissima 
(Wilson), and striped bass, Morone saxatilis 
(Walbaum), are desirable food ?shes, native to 
the eastern United States. The bass is, addition-
ally, a favorite game?sh, and both species are still 
present in some of the areas in which they were 
introduced. The introduction of ?shes into areas 
in which they are not native is generally con-
sidered unacceptable today. The consequences 
of such introductions are unpredictable and can 
be destructive to the point of annihilation for the 
native ?shes or other native organisms. 
121Bean (8 Oct. 1846?28 Dec. 1916), from 1892 
to 1894, was Assistant-in-charge, Division of 
Fish Culture, U.S. Fish Commission (Anony-
mous, 1935).
from an artistic standpoint as it is a valu-
able chapter in natural history.?
Continuing his interest in ?shes, CBH 
(1895c) published ?In the realm of the 
wonderful.? It contains 10 of his ink 
drawings (all either undated or dated 
1895) of ?shes. It more or less follows 
his 1893b ?Breadwinners? article in 
describing the peculiar abilities and 
behaviors of selected ?shes.122 One of 
the drawings (Fig. 49), showing sea-
horses and pipe?shes, entwined among 
sea grasses at the bottom and swirling 
upward and diminishing in size along 
an apparent water current, is particularly 
delightful. CBH?s literacy and humor 
pervades the article, including a draw-
ing (Fig. 49) in which three different 
bizarre, but identi?able, deep-sea ?shes 
with widely open toothy mouths are 
converging from different directions 
on one small hapless prey fish. The 
legend of this illustration reads, ?A Bas-
salian123 Tragedy.? The tail of a whole 
ingested prey ?sh, can be seen through 
the distended belly of the ceratioid ang-
ler?sh at the lower left in the ?gure. We 
suspect that William Beebe (1934), of 
bathysphere fame, borrowed the idea for 
his plate 9 and its caption (?A deep-sea 
tragedy drama?in three acts!?) from 
CBH?s article.
CBH ends this article with a bit of 
pedantry: ?But I believe, I declare that 
the reader?s credulity has met a strain. 
And I fear that if he accepts all these 
statements?which, I assure him, are 
worth[y]?he will be ready to exclaim 
with Sebastian, in ?The Tempest,?
A living drollery!124 [Now] I will 
believe
That there are unicorns; that in 
Arabia
There is but one tree, the phoenix? 
throne; one phoenix
At this hour reigning there.?
122 Four of the illustrations appear on a large col-
orful poster (our Figure 49), which was probably 
intended for magazine and newspaper kiosks, 
advertising the magazine issue. Attractive digi-
tally reproduced copies of the poster, in color, 
are available for purchase from the New York 
Public Library.
123An obsolete word meaning abyssal.
124Tempest (III, iii, 21); drollery meant a puppet 
show in Shakespeare?s day; usage now obsolete.
56 Marine Fisheries Review
Figure 49.?Two 1895 CBH illustrations from his 1895c Cosmopolitan magazine 
article, ?In the Realm of the Wonderful? and kiosk poster advertising issue containing 
his article, reproducing four of ten ?gures in the article. Fish in upper left ?gure, 
clockwise: viper?sh; gulper eel; ceratioid angler?sh  (note swollen belly with tail of 
injested ?sh showing through); threatened center ?sh is a lantern ?sh. Lower illustration 
includes sea horses and pipe?shes.
CBH (1895b) continued to draw 
on his knowledge of ?shes in a short 
article for the children?s magazine, St. 
Nicholas, entitled, ?A real air-castle.? 
The article contains only 500 words and 
mainly describes the breeding behavior 
of the paradise ?sh, Macropodus oper-
cularis; (CBH used a junior synonym, 
Macropodus viridi-aurata, which was 
believed to be the correct name at the 
time he wrote). The species builds 
bubble nests for its young (hence, a 
real air castle). Accompanying the 
article is a single CBH illustration125 
(Fig. 50) depicting a habitat slice with 
two accurately illustrated paradise 
?sh, one of which is adding bubbles 
to a bubble nest at the water?s surface. 
CBH also mentioned the ?ghting ?sh, 
Betta pugnax, and the tree climbing 
perch, Anabas testudineus, in the ar-
ticle, which is written with a slightly 
humorous twist; he closes with a 
statement similar in context to that of 
the previously discussed article, ?. . . 
this is getting to sound like a regular 
?sh story . . . [but] Every word is true, 
though, however much they may sound 
like yarns.?
With the exception of a biographical 
sketch of his father, and preface, dated 
1 Feb. 1904, Detroit, Mich., which are 
125The original painting of this illustration 
appeared in an eBay auction in Mar. 2008, and 
sold for $198.
71(4) 57
Figure 50.?1894 CBH illustration used in his 1895b article, ?A real air-castle.? Air castle refers to the 
bubble nest that the male paradise ?sh builds to hold its fertilized eggs and developing young.
included in his father?s, T. J. Hudson 
(1904) posthumous book, ?The Evolu-
tion of the Soul,? CBH (1904), appears 
to have ceased publishing his own 
articles from 1896 until 1907. This was 
an extremely busy and stressful period 
which included much travel, illustrating 
?shes and other subjects for the USFC, 
general illustrating for books and maga-
zine articles by other authors, military 
service during the Spanish?American 
war, separation and a divorce from his 
?rst wife, a move from Washington, 
D.C., to Paci?c Grove, Calif., a second 
marriage, supporting a wife and two 
children, and taking care of his sick 
father in Detroit. 
In addition to the biographical sketch 
and preface (and possibly the included 
lithograph of his father?s pro?le), CBH 
was called upon to edit his father?s 1904 
book. In the preface, CBH attempted 
to explain and defend his father?s ex-
planations of psychic phenomena and 
philosophy of the ?duality of the human 
mental organization . . . He made no 
effort to protect his theories from as-
sault by surrounding them with a haze 
of metaphysics, metaphor, or phrases in 
the subjunctive. He opened his front to 
attack, and threw down the gage [obso-
lete; = glove (or gauntlet?)].? CBH was 
an able wordsmith!
In 1907a, CBH, who is indicated as 
residing in Detroit, Mich., published 
?The Chinaman and the Foreign Devils.? 
The use of ?Chinaman? rather than 
?Chinese? was socially acceptable at 
that time. This article appears to be the 
?rst of only two (see Hudson, 1917) 
seriously political articles published by 
CBH. In it, CBH succinctly describes 
the long history of ?outrageous? and im-
perialistic actions imposed by western 
nations on a historically peaceful China. 
As a result, the Chinese established a 
military school in a former library in 
Peking. CBH remarked prophetically, 
?The right [of the Chinaman] to recog-
nition of his objection [to the abuses by 
the western nations] is, of course not to 
be considered by any power, because 
he is not yet strong enough to enforce 
it. There are indications that some day 
he may be.? 
On 6 Oct. 1907, CBH (1907b) pub-
lished ?The Crimson Conquest, A Ro-
mance of Pizarro and Peru?126, using the 
126The month-day date is taken from newspaper 
advertisements indicating ?Ready To-Day.? The 
book advertisements also note that the colorful 
and ?striking? book cover and frontispiece are 
continued on next page
58 Marine Fisheries Review
126 (continued) by J. C. Leyendecker (1874?
1951), a prominent artist and illustrator whose 
colorful illustrations graced the covers of The 
Saturday Evening Post and appeared in many 
advertisements and magazines. Leyendecker 
is reported to have illustrated only seven book 
covers. An informative web site devoted to him 
is: http://www.bpib.com/illustrat/leyendec.htm.
127Anonymous. The American Review of Reviews, 
vol. 37, p. 122, 1908.
128Anonymous, New York Times (26 Oct. 1907, 
p. BR678)
129The Inter Ocean, a now extinct Chicago news-
paper, 28 Sept. 1907, page number not available. 
Copy of article received courtesy of CHB.
130An extract entitled ?The Golden Ransom,? 
from Chapter 10 of ?The Crimson Conquest,? 
was published under CBH?s name, as pages 
296?301 in E. M. Tappan (Editor), ?The World?s 
Story: a History of the World in Story, Song 
and Art,? vol, 11, 1914, Houghton Mif?in Co., 
Boston and New York.
same publisher as that of his father?s last 
book. ?The Crimson Conquest? is a love 
story between a Spanish captain and an 
Inca princess set amidst Pizarro?s bloody 
conquest of the Incas. Surprisingly, the 
elaborately colored book cover and only 
included illustration, the frontispiece, are 
not by CBH, but by J. C. Leyendecker, a 
prominent illustrator. The book is well 
written, but received usually short and 
mixed reviews. Although CBH was 42 
when it was published, one reviewer127 
described him as ?a young author . . .  a 
scholar,? and the book as set forth with 
?considerable eloquence . . .? Another re-
viewer128, however, concluded, ?Indeed 
there is not a bit of harm in the book, 
except that it is very long and strikes us 
as being very dull.? In general, however, 
reviews were short and complimentary. 
The most extensive review129 included 
a black-and-white reproduction of 
Leyendecker?s frontispiece, a detailed 
recounting of the story, and a statement 
that ?the story is well written and very 
readable.?130
To impart a historical atmosphere, 
CBH used words such as thee, thou, and 
hath in quoted conversations. He con-
tinued this style even more generously 
in his other novel, ?The Royal Outlaw? 
(see below), published 10 years after 
his ?rst novel.
The period between 1907 and 1915 
was another busy one in CBH?s life, 
including the birth of a daughter, Claire, 
and the construction of a home (both 
1910). Additionally, during this time, the 
household included his son Bradford, 
born in 1906, and Lester, now a teenager, 
the son of his ?rst marriage. 
CBH (1915) published and illustrated 
(based on dry-point etchings) an article 
titled ?Monterey on the Etching Plate.? 
The piece is deeply sentimental, invok-
ing and lamenting the lost past of the 
Monterey area and the deterioration of 
its historic buildings, at the same time 
bemoaning those of recent construction. 
The San Jose Mercury Herald (15 Aug. 
1915) carried a highly appreciative and 
complimentary review of Hudson?s 
article by Amanda M. Miller (1915). 
The review reproduced two of the ?ve 
CBH illustrations that accompanied the 
original article. About half of the review 
describes the subjects of CBH?s artistic 
(or interpretive) paintings, which appar-
ently remained the same the rest of his 
life. That portion of the review is worthy 
of repeating here as we can do no better 
(it emphasizes, as well, his ?xation with 
the sea):
?Mr. Hudson is an artist whose 
canvases have already received 
attention and recognition because 
of their strong, vigorous and ar-
tistic handling, as well as their 
splendid technique. Many?nay, 
most?of Mr. Hudson?s paintings 
are scenes along the Monterey 
coast?sea-scapes, in sunshine and 
shadow, in calm and storm; rugged 
rock-strewn shores smothered in 
a swelter of breakers, and long 
stretches of gleaming sands with 
slipping, foam-capped tides creep-
ing in undulating line across its 
shifting surface, while away on the 
horizon the level sun sends shafts 
of golden light in a shimmering 
pathway across the unquiet water; 
landscapes depicting white sand 
dunes adrift about a dwarfed and 
misshapen shrub, or cool, peaceful 
woods where sentry-like, the giant 
sequoias uprear their tall heads 
while sunshine ?lters in a golden 
shower between their drooping 
branches and, through the purple-
hazed vista, one glimpses the 
rugged mountains beyond.?
George Oliver Shields131, staunch 
conservationist, founder and editor of 
Recreation magazine, for which CBH 
had illustrated, submitted a letter he 
received from CBH (1916) to the New 
York Times, in which it was published 
on 18 June 1916 (page E2, column 6). 
CBH was on a desert sketching trip 
preparing for a diorama background 
scene he would paint for the Califor-
nia Academy of Sciences. Although 
lengthy, we reproduce it in its entirety 
because it exempli?es CBH?s deep feel-
ing for the scenes he painted, his ability 
to creatively describe what he saw and 
experienced, as well as to inject a little 
levity in his seriousness. 
Berkeley, Cal., June 7, 1916
Dear Shields: Am just home from 
the desert?the sure enough desert, 
near Salton Sea, back some twenty-
six miles in the coppery hills; dried 
up, arid, shimmering hills?and 
wish I were there again, with no 
houses, no jitneys, no electric 
cars, and no yahoos to contem-
plate. Nothing worse than lizards 
and rattlesnakes, with appropriate 
cactus, yucca, sand, and rocks.
 The handiwork of God sure 
does lay over the handiwork 
of man. In the desert you feel, 
somehow, that you are looking 
on the handiwork of God straight 
from His factory and without any 
modern improvements.
 No wonder the Arab and the 
old-time Hebrew developed a the-
ology. In Riverside County, Cal., 
there is an atmosphere of theology, 
hazy, maybe, like the distance; yet 
borne in on you by the wind that 
makes no noise; by the mountains 
that never budge and remind you 
forcibly that they do not budge, nor 
have ever done so, nor ever shall. 
They wear no trees, no shrubbery 
or grass or any kind of trimmings to 
13126 Aug. 1846?11 Nov. 1925. Editor and owner 
of the magazine Recreation, which published 
articles by W. T. Hornaday that were illustrated 
by CBH. The three men were good friends and 
mutual admirers. (Detailed biography in Malone 
(1935:106)
71(4) 59
suggest growth, decay, and change; 
only the scars of erosion, ancient 
and slow beyond conception. You 
get an idea of permanence as no-
where else; and yet, also, a whisper 
that you are only 6 feet high or less 
[CBH was 5 ft 51/2 in tall], weigh 
something under 200 pounds, have 
a contemptible power of locomo-
tion on your hind legs, and an al-
lotment of life that might amount 
to one-twentieth of a second.
 There is a chastening in?uence 
in the desert, an in?uence that lifts 
the sane; and yet you walk a mile, 
you look around, and wish you had 
a bottle of beer. You walk another 
mile and wish you had a barrel of 
beer. Presently you can look on 
the barren peaks and sweeping, 
stupendous slopes and fancy how 
hostile and diabolical they might 
seem to a man if there were no 
beer anywhere, nor even water, 
nor even ginger pop. Impressive, 
the desert!
 We [I?] came to a canyon, and 
up some 2,600 feet a spring, ?ow-
ing crystal-clear, luke-warm water. 
Cottonwood trees about, and birds 
and butter?ies, and frogs that must 
be the descendants of frogs that 
dwelt there a million years ago, 
before the desert uncrouched132: 
for a modern frog that could hop 
across the intervening hot sand 
from the nearest puddle would 
deserve mention in the sporting 
section, and bring his missus and 
the kids? He couldn?t do it. They 
are old-timers. Have an evensong, 
too; musical beyond compare, and 
different from any other frogs.
 Gold there, too. Panned out 
a color myself. And bees. Old 
prospector drifted in and gathered 
honey. Gave us some wild honey. 
And rattlesnakes! Same old pros-
pector, reclining against his tent 
roll, heard rustle at his elbow, 
arose and killed a big rattler. Killed 
one myself, out on the plain, and 
132We were unable to ?nd a de?nition for this 
word. Crouched means laying low, and CBH 
could possibly have meant uncrouched to indi-
cate ?before mountains arose in the desert.?
wished the next moment I hadn?t. 
Wish so now fervently. He showed 
no fight, tried to get away, and 
probably never would have met an-
other man. And he belonged there, 
and I didn?t. He wanted to go about 
his own business, and I should have 
gone about mine. Tried to hide his 
poor old head. Dammit! If he was 
pizen, he wasn?t as pizen as the 
average man. Wish it had been an 
average man instead. I don?t kill 
snakes, nor yet average men, if 
that?s a virtue.
 But, oh, Shields, avick133, the 
color! The delicacy and subtlety 
of tints and shades in those huge 
masses of rock and boundless 
levels! Brilliant, too, in the sun-
light, yet always delicate. Paint! 
Paint is mud. The painter, a futile 
lump of mud. And when you sit 
down out in the middle of the waste 
and try to paint what you see and 
hear the ticking of your watch 
in the desert?s silence, you want 
to cry. It pretty nearly makes me 
cry even to recall it?the beauty, 
the majesty, the sense of eternity 
of time and space. For the sky is 
bigger there than anywhere else, 
and deeper, and bluer; and the 
mountains seem everlasting.
 You paint with enthusiasm, with 
?lan. You get up to see what you?ve 
done and back into a cactus?in-
evitably. The cactus is there, or if 
it isn?t there, it gets there. Curious 
circumstances, and always of inter-
est to the painter, however callous 
and sophisticated (Fig. 51). 
CBH (1917) published his second, 
historical, novel, ?The Royal Outlaw.?134 
It has a Biblical setting and concerns the 
133The only de?nition we could ?nd for this word 
was on an obscure website that indicated that it 
was a ?hidden French word for dope.? This cer-
tainly was not CBH?s meaning. It seems likely 
that this was an exclamation that was meant for 
general emphasis of what followed.
134Unlike ?The Crimson Conquest,? which had 
an illustrated cover and frontispiece, ?The Royal 
Outlaw? contained neither, but it contained a 
dedication, which his ?rst novel did not. It was 
dedicated, ?affectionately,? but without other 
explanation, to Mary Betts Barnhigel [Barn-
hisel?], possibly CBH?s sister-in-law. 
strained dynamic between David and 
King Saul. CBH included many people, 
places, and battles mentioned in the Old 
Testament.
We found two reviews, both very 
positive and both noting CBH?s origi-
nality in choosing the Bible as a basis 
for his plot, and adhering very closely 
to its text. The ?rst review135 described 
the book as a 
?. . . stirring tale, worked out with 
skill and vigor and imagination . . . . 
Mr. Hudson has merely taken the 
Bible down from the shelf where 
the present generation is prone 
to leave it untouched and woven 
out the tale of David . . . a story 
so breathless, so romantic, so full 
of all the elements that make for 
fascination in adventure that at 
once one wonders why no one ever 
thought of doing it before . . . . His-
torically it is accurate in all of its 
main features . . . his picture stays 
in its frame [and] is recognizable 
as belonging to its time and place 
. . .  . Humor enlivens the pages . . . 
It is a good story, well told, and 
those who like a tale of adventure 
will hardly find a better among 
recent novels.?
The second review136 starts by con-
sidering it ?. . . a surprising pleasure . . . 
the most daring novel of this season, 
or many seasons. Not in the sensual, 
furtively sexual, or blatantly sexed style 
to which . . . the word ?daring? is applied 
by every maidenly reviewer to any book 
that shocks her . . . But . . . is really daring 
[because] it is founded on biblical narra-
tive . . .? The review ends, ?It is wholly 
lacking in ?piety? and no piety is needed 
here . . . the author has realized as well as 
any who read that the period was one of 
rude pastoral kings and nomadic chiefs, 
when war and plunder were the sport and 
work of men.?
With no intent to detract from these 
two reviews, we note one remark that 
135New York Times, 15 July 1917, p. 60. (aided by 
ProQuest Historic Newspapers).
136Los Angeles Times, 26 Aug. 1917, page III, 12, 
?conducted? by G. B. Young. (aided by ProQuest 
Historic Newspapers).
60 Marine Fisheries Review
Figure 51.?CBH paintings of Mohave Desert (indicated by Joshua trees), oil on canvas (sizes not 
provided); probably done from sketches and studies during CBH?s 1916 desert trip (see text). Un?n-
ished correction area faintly visible around Joshua tree in lower painting. (Collection and courtesy 
of the late Claire Hudson Brett; lower ? Jim Patton, 1986).
appears to indicate an ethnic prejudice, 
common in CBH?s day. On page 7, in 
describing David?s physical appear-
ance, CBH asserts, ?The typical Hebrew 
characteristics of feature were wanting, 
as racial traits are always wanting in the 
highest specimens of whatever blood. 
He [David] looked rather a ruddy Greek 
than a Jew . . .? One wonders how it 
escaped someone as highly intelligent 
as CBH, that it would be dif?cult, if not 
impossible, to apply this observation, for 
example, to the ?highest specimens? of 
the natives of China or west Africa.
CBH?s second editorial, a full-page 
article headlined, ?Persistence of Teu-
ton?s Traits from Caesar?s Time,? ap-
peared in the New York Times for 17 Mar. 
1918. The United States had been at war 
with Germany since 6 Apr. 1917, and 
in what would be an ?op-ed? in today?s 
newspapers, CBH penned an attack on 
the German people that appears to indi-
cate he believed that there is a genetic 
component in the personality of tribes or 
nations of peoples. The article surrounds 
a large reproduction of a painting, done 
by a German artist, of and by order of, 
Wilhelm II (1859?1941), last Emperor 
[Kaiser] of Germany and King of Prus-
sia. Wilhelm is ?Shown in the Garb of 
an Ancient Conqueror, Indicating His 
Predilection for the War Methods of 
His Progenitors.? The article evidences 
CBH?s knowledge of early European 
history and is very well written. He 
71(4) 61
begins by describing the inhumanity of 
the proto-Germanic Suebi peoples from 
before Caesar?s time and progresses to 
the present. We quote here the complete 
last paragraph of the article:
?Thus we find, in the primitive 
Teuton, the attributes which have 
united a horri?ed and exasperated 
world against him in this present 
struggle. If the descendant has 
altered in any essential particular 
from the ?Blond Beast137, who 
went about in skins, the difference 
is not distinguishable. And this is 
the people against whom we are 
making war. It is pleasant, and 
possibly commendable, to indulge 
in the platitude that we war only 
upon the military autocracy, the 
Kaiser, his Tirpitzes, his Bissings, 
his Hindenburgs138, and other 
unspeakables, and that we love 
the German people. We might be 
privileged to enjoy at least this 
137Following is from: www.thirdworldtraveler.
com/Genocide/SplendidBlondeBeast.html, 
indicated as excerpted from a book by Chris-
topher Simpson, ?The Splendid Blond Beast: 
Money, Law and Genocide in the Twentieth 
Century? (ISBN: 1567510620), Common Cour-
age Press, 1995, 399 p. [original not examined]: 
?Friedrich Nietzsche called the aristocratic preda-
tors who write society?s laws ?the splendid blond 
beast? precisely because they so often behave as 
though they are beyond the reach of elementary 
morality. As he saw things, these elites have cut 
a path toward a certain sort of excellence consist-
ing mainly of the exercise of power at the expense 
of others. When dealing with ordinary people, he 
said, they ?revert to the innocence of wild ani-
mals. . . .  We can imagine them returning from an 
orgy of murder, arson, rape and torture, jubilant 
and at peace with themselves as though they had 
committed a fraternity prank-convinced, more-
over, that the poets for a long time to come will 
have something to sing about and to praise.? Their 
brutality was true courage, Nietzsche thought, 
and the foundation of social order.? 
138Alfred von Tirpitz (1849?1930), German 
Grand Admiral responsible for policy of unre-
stricted submarine warfare. Moritz Ferdinand 
Freiherr von Bissing (1844?1917), Prussian 
General, governor of occupied Belgium, long 
believed to have been responsible for deport-
ing Belgians to Germany to be used as forced 
labor, but he may not have been responsible for 
this policy. Paul von Hindenburg (1847?1934), 
often successful military strategist, but ultimately 
battle losing supreme commander of the German 
armies during World War I. In 1925, Hindenburg 
was elected second President of the Weimar 
Republic, and was reelected in 1932 (defeating 
Adolf Hitler, whom he unfortunately named 
chancellor of Germany) and served until his 
death in 1934 (various sources).
smug satisfaction had we a shred 
of evidence that a single atrocity 
in this war has failed to receive the 
full endorsement of that people as 
a whole.?
A week later, the New York Times (24 
Mar. 1918, p. X5) published a lengthy 
letter to the editor by J. J. Crawford, sup-
porting and elaborating on CBH?s thesis. 
One of us (VGS) clearly remembers 
frequently hearing similar expressions 
concerning the genetic character of 
Germans during and after World War 
II. CBH was only partly correct in his 
indictments of the particular Germans he 
mentions, but this subject is not relevant 
to our report. We mention it only for its 
interest with regard to CBH.
The March 1918 article is the last 
publication that CBH authored, and his 
1915 article, ?Monterey on the Etching 
Plate,? is the last article, his own or those 
of others, for which he speci?cally pre-
pared the illustrations. Henceforth, CBH 
would devote his creative efforts to pre-
paring the backgrounds for the dioramas 
at the California Academy of Sciences 
and his landscapes and seascapes.
CBH?s Fish Specimens
On those trips that CBH made alone 
in order to illustrate ?shes for the USFC 
and USBF, he was requested to retain 
and tag specimens he collected and illus-
trated. The specimens he collected and 
retained were deposited in the collection 
of the USFC. For the most part, we do 
not know what happened to the speci-
mens, although a few were transferred to 
USNM. The USNM collections have 13 
specimens that are indicated as having 
been collected by CBH. We have been 
unable to determine with certainty if any 
of these were used during the prepara-
tion of his illustrations, but he did not 
prepare an illustration of at least one of 
the specimens, USNM 125386, Anten-
nairus ocellatus, an angler?sh, which 
indicates that he did not always illustrate 
every specimen or species he collected. 
Only general localities are associated 
with the USNM specimens: two (the 
angler?sh and Caraxnx hippos, USNM 
169929), are indicated as Atlantic, and 
11 (one as Salvelinus alpinus, USNM 
61732, and ten as Salmo salar sebago, 
USNM 61750, 61753, 61755, 61758, 
61779?61783) have the locality given 
as ?North America.? 
A Final Small Sample 
of CBH?s Paintings
Before proceeding to a listing and 
discussion of CBH?s ichthyological 
illustrations, we present a small group 
of his seascape and landscape paintings 
(Fig. 52) in addition to the few presented 
earlier (Fig. 12, 13, 18, 19, 51). 
CBH?s Ichthyological Illustrations
Aside from his illustrations of ?shes 
for popular magazine articles, it appears 
that CBH completed a total of 158 sci-
enti?c illustrations of ?shes. Of these, 
78 are in black and white or gray-scale 
and 80 are in color. The original artwork 
of 151 of the illustrations is present in 
the USNM illustration ?les, and four, 
representing salmonid species, are 
present at the California Department of 
Fish and Game, Sacramento (CDFG, 
henceforth). 
All of the original 151 CBH illustra-
tions and one of those missing (P04073) 
bear USNM illustration file catalog 
numbers, beginning with the letter P. 
We have assigned the other two miss-
ing originals that are not represented by 
?les, arbitrary catalog numbers, begin-
ning with the letters XX. File P04073, 
contains only proof copies of the pub-
lished version of the original.
Three of the CDFG illustrations, in-
cluding two of the rainbow trout and one 
of the brook trout, were commissioned 
by Charles A. Vogelsang (executive of-
?cer of the CDFG. from 1901 to 1910). 
CBH signed and dated these illustrations 
1910. The fourth illustration, Chinook 
salmon, is unsigned and undated. We 
do not treat the four CDFG illustrations 
separately below, but each is mentioned 
in our discussions of similar CBH 
paintings of the same salmonid species 
represented in the USNM collection of 
illustrations.
Most recently, Wales (1957) pub-
lished color reproductions of the three 
1910 dated CDFG illustrations, with 
credit to CBH. He also included a 
colored illustration of Oncorhynchus 
62 Marine Fisheries Review
Figure 52.?CBH paintings (A, B, E, F) and studies (C, D), all signed (study signatures include a circled s), none dated. A, late 
afternoon, Paci?c, dimensions not provided; B, Laguna sunset, 20.2 ? 30 in  (51.4 ? 76.2 cm); C, waves, sunset, dimensions not 
provided; D, sunset sky, 10 ? 14 in (25.4 ? 35.6 cm); E, San Jacinto, verbena, 20 ? 30 in (50.8 ? 76.2 cm); F, canyon of the San 
Joaquin, southern Sierras, sunrise, dimensions not provided. B, from Bonhams & Butter?elds, San Francisco, 8 June 2004 auction; 
others collection and courtesy of the late Claire Hudson Brett; A, C, D, E ? Jim Patton, 1986.
71(4) 63
mykiss aguabonita (as O. aguabonita), 
which was neither dated nor credited to 
anyone, but is clearly based on a modi-
?cation of CBH?s 1904 painting of that 
subspecies (our Plate 15 F), to which 
dark spots were added on the body and 
some other minor modi?cations made 
to the color pattern.
The originals of the three missing 
USNM illustrations and their disposi-
tions are unknown; however, they should 
have been present in the USNM ?les. We 
presume this because the three missing 
originals were published in two articles 
in two different Bulletins of the United 
States Bureau of Fisheries, in both 
of which the originals of all the other 
included CBH illustrations are in the 
USNM ?les.
In Plates 1?26, we present 151 ?gures 
copied (scanned) from the original illus-
trations and three copied from their ?rst 
published versions. We do not include 
?gures of the four CDFG illustrations, 
for which we had only poor copies.
Forty-one (26%) of CBH?s illustra-
tions of ?shes were not published during 
his lifetime, and some of these were 
?rst published over 100 years after their 
preparation. Ono et al. (1983) ?rst pub-
lished two of the 41 illustrations 79 years 
after their preparation. Bond (1985) ?rst 
published one 73 years after its prepara-
tion, and Murdy et al. (1997) ?rst pub-
lished 14, twelve prepared in 1896 and 
two prepared in early 1897. We publish 
24 others, prepared between 1896 and 
1903, for the ?rst time, as much as 113 
years after their preparation. 
There are probably several reasons 
why many of the illustrations remained 
unpublished for so long. Some, based 
on the presence of frame marks (more 
below), were probably meant only for 
inclusion in USFC exhibitions (e.g. the 
Paris Exposition Universelle (World?s 
Fair), some were initially planned for 
publications that did not materialize (see 
remarks concerning E. T. Seton below), 
and some appear to have been super?u-
ous (e.g. P01788).
At least 18 of the illustrations, all 
in color, published after CBH?s death, 
have a rectangular stain around their 
bordering surfaces. The stain appears 
to indicate that these illustrations had 
been framed for some period of time 
and that either the matting was acidic 
or, if there were no mats, the frames 
have stained the illustrations.139 Of 
the 18 illustrations 13 were done in 
1896 at Woods Hole, Mass., and ?ve 
were done in 1897, at Key West, Fla. 
They were exhibited at the 1900 Paris 
World?s Fair, from which CBH received 
a bronze medal for his work.140 After 
the fair, the framed illustrations may 
have graced the of?ces of the USFC 
for a while before being unframed 
and ?led. These ?previously framed? 
illustrations are each so indicated in 
the accounts.
The illustration file also contains 
one un?nished (and unpublished) CBH 
color illustration, P09683, Mycteroperca 
phenax (Jordan and Swain), begun in 
Key West, Fla., in 1896, which we have 
not included among our plates. It lacks 
only the color pattern on the lower third 
of the body. We have no information on 
why it was not completed.
One or both sides of many illustra-
tions contain labels and information 
about the illustration, often written by 
CBH. On the reverse side of many of 
the colored illustrations, CBH often 
pasted a palette of the watercolors he 
used in preparing the illustrations (e.g. 
Plate 13).
The original white surface of the 
watercolor boards on which many of the 
illustrations were painted has become 
tan to brownish through time, indicat-
ing that either the boards are acidic 
or that covering sheets of acidic paper 
affected the surfaces. The discoloration 
seriously affects the appearance of 
the paintings. For our publication, the 
discoloration was digitally eliminated 
by using the curves tool (control M) in 
Adobe Photoshop?141, with little, if any, 
modi?cation of the images. The images 
on color Plates 25 and 26 were painted 
in oil against rectangular, variably dark 
areas of oil paint. In the published 
versions of these ?gures, the printer 
removed most of the dark areas and de-
creased the intensity of the portion that 
was retained. Although this produces a 
more attractive illustration, we elected 
to reproduce the original illustrations as 
closely as possible. 
We have seen only one other tech-
nically complete CBH painting of a 
?sh. It is a framed oil painting of the 
rainbow trout, Oncorhynchus mykiss, 
signed and dated 1913, which we 
saw in the home of CBH?s daughter, 
Claire Hudson Brett, in June, 1989.142 
It is very similar to P01499 (Plate 15 
C), dated 1912, and somewhat less 
similar to P04054 (Plate 15B), dated 
1911. The 1912 illustration was the 
last technical illustration of a ?sh that 
CBH prepared that may have been in-
tended for publication, and the similar 
1913 painting was probably completed 
shortly after it, and to our knowledge it 
has not been used in a publication. The 
1912 illustration was ?rst published in 
Bond (1985:135), an announcement for 
the 1985?89 exhibit, ?Drawn from the 
Sea, Art in the Service of Ichthyology,? 
curated by VGS, and on the poster that 
accompanied the exhibit. Aside from 
these publications and our Plate 15 C, 
we know of no other publications of 
this illustration.
It is a testament to the quality of 
CBH?s illustrations of ?shes that many 
were republished, even in recent times. 
For an appraisal of CBH?s illustrative 
contributions, see section ?Honors-
Awards-Assessments.? 
139The 32 CBH illustrations framed and used in 
the 1985?88 ?Drawn from the Sea? exhibit (more 
about this exhibit in the text), were under acid-
free mats with elliptical openings. These mats 
did not stain the illustrations.
140We at ?rst thought it probable that these illus-
trations were framed for display at the 1898 
International Fisheries Exposition in Bergen, 
Norway, at which CBH was awarded silver and 
bronze medals. These medals, however were for 
his illustrations of ?shing vessels and a paint-
ing of a ?shing method. Furthermore, plate 2 in 
Collins (1901) is a photograph of the section of 
the USFC exhibit showing framed illustrations 
of ?shes, which were clearly not prepared by 
CBH: e.g. several portrayed ?shes facing right, 
whereas all CBH ?sh illustrations show the ?sh 
facing left. 
141Mention of trade names does not imply 
endorsement by the National Marine Fisheries 
Service, NOAA.
142She also gave VGS an underexposed 4 ? 5-
inch color transparency photograph of the 
painting, and mentioned that there were two 
other oil paintings of ?shes, ?one of my broth-
er?s [who is deceased] and one down town . . .? 
(CHB to VGS, 17 Sept. 1985). We do not know 
what ?down town? referred to.
64 Marine Fisheries Review
Pl
at
e 
1.
?
 A
, 
P
im
ep
ha
le
s 
pr
om
el
as
, 
P0
81
58
; 
B
, 
M
ox
os
to
m
a 
an
is
ur
um
, 
P1
10
40
; 
C
, 
N
ot
ro
pi
s 
at
he
ri
no
id
es
, 
P0
94
07
; 
D
, 
C
ou
es
iu
s 
pl
um
be
us
, 
P
03
72
8;
 E
, 
M
ac
rh
yb
op
si
s 
st
or
er
ia
na
; P
13
21
8;
 F
, N
ot
ro
pi
s 
bi
fr
en
at
us
, P
09
41
3.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
71(4) 65
Pl
at
e 
2.
?
A
, 
N
ot
ro
pi
s 
bl
en
ni
us
, 
P0
94
36
; 
B
, 
C
at
os
to
m
us
 w
ar
ne
re
ns
is
, 
P0
22
13
; 
C
, 
D
, 
G
il
a 
bi
co
lo
r,
 P
06
62
6,
 P
06
62
7;
 E
, 
H
yb
og
na
th
us
 n
uc
ha
li
s,
 P
13
21
2;
 F
, 
H
io
do
n 
al
os
oi
de
s,
 P
12
84
8.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
66 Marine Fisheries Review
Pl
at
e 
3.
?
A
, G
ym
no
th
or
ax
 p
ic
tu
s,
 P
11
78
7;
 B
, G
ym
no
th
or
ax
 ?
ai
m
ar
gi
na
tu
s,
 P
11
80
0;
 C
, G
ym
no
m
ur
ae
na
 z
eb
ra
, P
11
71
9,
 D
, B
ry
co
na
m
er
ic
us
 e
ig
en
m
an
ni
, P
01
35
8;
 
E
, M
or
in
gu
a 
ed
w
ar
ds
i, 
P0
08
18
. F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
71(4) 67
Pl
at
e 
4.
?
A
, M
yc
te
ro
pe
rc
a 
ve
ne
no
sa
, P
09
66
3;
 B
, O
nc
or
hy
nc
hu
s 
ke
ta
, P
08
85
7;
 C
, L
io
ba
gr
us
 r
ei
ni
i, 
P1
49
29
; D
, P
se
ud
ob
ag
ru
s 
ra
ns
on
ne
tt
ii
, P
11
18
3;
 E
, 
Sc
ut
ic
ar
ia
 ti
gr
in
a,
 P
05
66
3.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
68 Marine Fisheries Review
Pl
at
e 
5.
?
H
ol
oc
en
tr
id
 ?
sh
es
: A
, M
yr
ip
ri
st
is
 a
m
ae
na
, P
09
55
7;
 B
, M
. a
m
ae
na
, P
09
54
8;
 C
, S
ar
go
ce
nt
ro
n 
it
to
da
i, 
P
01
84
0;
 D
, S
. x
an
th
er
yt
hr
um
, 
P1
31
32
; E
, O
st
ic
ht
hy
s 
ja
po
ni
cu
s,
 P
08
80
6;
 F
, S
ar
go
ce
nt
ro
n 
en
si
fe
r,
 P
13
12
4.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
tio
n 
?T
he
 I
llu
st
ra
tio
n 
L
is
tin
gs
.?
71(4) 69
Pl
at
e 
6.
?
 A
, 
E
nn
ea
pt
er
yg
iu
s 
et
he
os
to
m
us
, 
P0
45
54
; 
B
, 
Sp
ri
ng
er
ic
ht
hy
s 
ba
pt
ur
us
, 
P0
45
56
; 
C
, 
N
eo
cl
in
us
 b
ry
op
e,
 P
04
27
2;
 D
, 
St
at
hm
on
ot
us
 s
ta
hl
i, 
P
01
39
1;
 E
, 
C
or
al
li
oz
et
us
 c
ar
do
na
e,
 P
03
41
6;
 F
, E
m
bl
em
ar
ia
 p
an
do
ni
s,
 P
10
34
3;
 G
, M
ug
il
 c
ep
ha
lu
s,
 P
11
00
5;
 H
, P
un
gi
ti
us
 p
un
gi
ti
us
, P
07
35
1.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 
in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
tio
n 
?T
he
 I
llu
st
ra
ti
on
 L
is
ti
ng
s.
?
70 Marine Fisheries Review
Pl
at
e 
7.
?
C
al
lio
ny
m
oi
d 
?s
he
s 
(s
ee
 a
ls
o 
Pl
at
e 
8,
 A
?C
):
 A
, 
B
, 
D
ra
co
ne
tt
a 
xe
ni
ca
, 
P1
00
48
, 
P1
00
47
; 
C
, 
C
al
li
on
ym
us
 j
ap
on
ic
us
, 
P
17
57
5,
 i
ns
et
 i
s 
fe
m
al
e 
sp
in
ou
s 
do
rs
al
 ?
n;
 D
, 
C
. 
va
ri
eg
at
us
, 
P1
75
81
, 
in
se
t 
is
 f
em
al
e 
sp
in
ou
s 
do
rs
al
 ?
n;
 E
, 
C
. 
ca
er
ul
eo
no
ta
tu
s,
 P
02
32
7;
 F
, 
C
. 
do
ry
ss
us
, 
P
15
70
9;
 G
, 
C
. 
de
co
ra
tu
s,
 P
02
34
9;
 H
, 
I,
 
C
. v
al
en
ci
en
ne
i, 
P2
18
66
, P
17
48
5,
 i
ns
et
 i
s 
fe
m
al
e 
sp
in
ou
s 
do
rs
al
 ?
n.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 i
nd
iv
id
ua
l 
?g
ur
e 
se
e 
P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
tin
gs
.?
71(4) 71
Pl
at
e 
8.
?
A
, R
ep
om
uc
en
us
 lu
na
tu
s,
 P
15
47
7,
 in
se
t i
s 
fe
m
al
e 
sp
in
ou
s 
do
rs
al
 ?
n;
 B
, C
al
li
on
ym
us
 e
nn
ea
ct
is
, P
02
32
8;
 C
, R
ep
om
uc
en
us
 v
ir
gi
s,
 P
15
47
9;
 D
, U
pe
ne
us
 a
rg
e,
 
P0
45
03
; E
, P
ri
ol
ep
is
 e
ug
en
iu
s,
 P
02
38
8;
 F
, G
ob
io
ne
ll
us
 o
ce
an
ic
us
, P
11
56
1.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
tin
gs
.?
72 Marine Fisheries Review
Pl
at
e 
9.
?
A
, A
le
ct
ri
as
 b
en
ja
m
in
i, 
P0
01
83
; B
, S
ti
ch
ae
us
 n
oz
aw
ae
, P
17
57
9;
 C
, E
rn
og
ra
m
m
us
 h
ex
ag
ra
m
m
us
, P
10
56
7;
 D
, C
hi
ro
lo
ph
is
 ja
po
ni
cu
s,
 P
17
57
6;
 E
, O
pi
st
ho
ce
nt
ru
s 
zo
no
pe
, 
P1
75
77
; 
F,
 C
hi
ro
lo
ph
is
 s
ai
to
ne
, 
P1
75
80
; 
G
, 
St
ic
ha
eo
ps
is
 n
an
a,
 P
17
57
8;
 H
, 
B
ry
oz
oi
ch
th
ys
 l
ys
im
us
, 
P2
21
13
; 
I,
 C
hi
ro
lo
ph
is
 t
ar
so
de
s,
 P
02
37
8;
 J
, 
Si
cy
op
te
ru
s 
st
im
ps
on
i, 
P0
43
61
. F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
71(4) 73
Pl
at
e 
10
.?
A
, B
od
ia
nu
s 
pe
rd
it
io
, P
14
69
2;
 B
, C
or
is
 a
yg
ul
a,
 P
03
49
7;
 C
, C
ir
rh
il
ab
ru
s 
jo
rd
an
i, 
P0
31
98
; D
, P
se
ud
oc
he
il
in
us
 e
va
ni
du
s,
 P
07
22
5;
 E
, H
al
ic
ho
er
es
 b
le
ek
er
i, 
P0
94
74
; F
, L
ut
ja
nu
s 
sy
na
gr
is
, P
15
11
6.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
74 Marine Fisheries Review
Pl
at
e 
11
.?
C
ot
tid
 ?
sh
es
: 
A
, 
C
ot
ti
us
cu
lu
s 
sc
hm
id
ti
, 
P0
36
74
; 
B
, 
C
ot
tu
s 
ba
ir
di
i, 
P0
37
23
; 
C
, 
Po
ro
co
tt
us
 a
ll
is
i, 
P0
59
34
; 
D
, 
P
se
ud
ob
le
nn
iu
s 
zo
no
st
ig
m
a,
 P
07
22
0;
  
E
, O
cy
ne
ct
es
 m
as
ch
al
is
, P
08
69
7;
 F
, F
ur
ci
na
 o
si
m
ae
, P
11
24
1.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
71(4) 75
Pl
at
e 
12
.?
A
, 
C
hr
io
ne
m
a 
ch
ry
se
re
s,
 P
09
22
8;
 B
, 
C
. 
sq
ua
m
ic
ep
s,
 P
03
12
8;
 C
, 
P
te
ro
ps
ar
on
 i
nc
is
um
, 
P0
71
88
; 
D
, 
N
eo
m
er
in
th
e 
be
an
or
um
, 
P
06
88
5;
 E
, 
B
em
br
ad
iu
m
 
ro
se
um
, P
01
73
5;
 F
, A
ul
ot
ra
ch
ic
ht
hy
s 
pr
os
th
em
iu
s,
 P
08
51
0;
 G
, C
it
ha
ri
ch
th
ys
 a
re
na
ce
us
, P
03
23
9.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 
se
ct
io
n 
?T
he
 I
llu
st
ra
tio
n 
L
is
tin
gs
.?
76 Marine Fisheries Review
Pl
at
e 
13
.?
C
al
am
us
 b
aj
on
ad
o,
 P
02
47
3:
 A
. 0
.7
1X
 o
ri
gi
na
l p
ai
nt
in
g;
 B
, s
ec
ti
on
 o
f A
 b
el
ow
 a
nt
er
io
r 5
 d
or
sa
l-
?n
 s
pi
ne
s,
 2
.1
X
 o
ri
gi
na
l;
 C
, s
ec
ti
on
 o
f A
 n
ea
r e
ye
, 
2.
8X
 o
ri
gi
na
l (
se
ct
io
ns
 e
nl
ar
ge
d 
to
 s
ho
w
 a
rt
is
tic
 te
ch
ni
qu
e;
 n
ot
e 
us
e 
of
 b
ot
h 
w
at
er
co
lo
rs
 a
nd
 g
ou
ac
he
 in
 C
);
 D
, p
al
et
te
 o
f 
w
at
er
co
lo
rs
 u
se
d 
in
 p
ai
nt
in
g 
A
 (
on
 
pi
ec
e 
of
 p
ap
er
 p
as
te
d 
by
 C
B
H
 o
n 
re
ve
rs
e 
si
de
 o
f 
il
lu
st
ra
ti
on
 b
oa
rd
).
 F
or
 m
or
e 
in
fo
rm
at
io
n 
on
 P
02
47
3 
se
e 
se
ct
io
n 
?T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
71(4) 77
Pl
at
e 
14
.?
A
, C
ar
an
x 
cr
ys
os
, P
01
91
9;
 B
, C
. h
ip
po
s,
 P
08
20
6;
 C
, T
ra
ch
in
ot
us
 c
ar
ol
in
us
, P
01
03
9;
 D
, D
ec
ap
te
ru
s 
pu
nc
ta
tu
s,
 P
04
16
3;
 E
, P
om
at
om
us
 s
al
ta
tr
ix
, P
01
03
5;
 
F,
 S
an
de
r 
vi
tr
eu
s,
 P
05
17
1.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
78 Marine Fisheries Review
Pl
at
e 
15
.?
Fo
rm
s 
of
 C
al
if
or
ni
a 
O
nc
or
hy
nc
hu
s 
m
yk
is
s:
 A
, O
. m
. g
il
be
rt
i, 
P0
15
00
; B
, O
. m
yk
is
s,
 M
cC
lo
ud
 R
iv
er
, P
04
05
4;
 C
, O
. m
yk
is
s,
 S
co
tt
?s
 C
re
ek
, S
an
ta
 C
ru
z 
C
ou
nt
y,
 
P0
14
99
; D
, O
. m
. w
hi
te
i, 
P0
40
42
; E
, F
, O
. m
. a
gu
ab
on
it
a,
 S
ou
th
 F
or
k,
 K
er
n 
R
iv
er
, P
04
04
3;
 V
ol
ca
no
 C
re
ek
, P
01
78
7.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 
se
e 
P 
nu
m
be
r 
in
 s
ec
tio
n 
?T
he
 I
llu
st
ra
tio
n 
L
is
tin
gs
.?
71(4) 79
Pl
at
e 
16
.?
Sa
lm
on
id
 ?
sh
es
: 
A
?C
, 
O
nc
or
hy
nc
hu
s 
cl
ar
ki
i 
he
ns
ha
w
i, 
P0
40
46
 (
fe
m
al
e)
, 
P0
17
88
 (
im
m
at
ur
e)
, 
P0
40
47
 (
m
al
e)
; 
D
, 
E
, 
Sa
lm
o 
sa
la
r,
 P
04
05
8,
 P
04
05
7;
 F
, 
O
nc
or
hy
nc
hu
s 
ts
ha
w
yt
sc
ha
, P
04
04
0.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
80 Marine Fisheries Review
Pl
at
e 
17
.?
Sa
lm
on
id
 ?
sh
es
: A
?D
, S
al
ve
li
nu
s 
al
pi
nu
s,
 P
04
05
9,
 P
04
07
0,
 P
04
07
1,
 P
04
07
2;
 E
, F
, S
al
ve
li
nu
s 
au
re
ol
us
, P
04
06
1,
 P
04
06
2.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 
in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
tio
n 
?T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
71(4) 81
Pl
at
e 
18
.?
Sa
lm
on
id
 ?
sh
es
: A
, S
al
ve
li
nu
s 
fo
nt
in
al
is
, P
04
07
3;
 B
, S
. n
am
ay
cu
sh
, P
04
06
4;
 C
, C
or
eg
on
us
 c
lu
pe
af
or
m
is
, P
03
44
4;
 D
, C
. a
rt
ed
i;
 P
03
44
5;
 E
, C
. j
oh
an
na
e,
 
P1
48
59
; F
, C
. n
ig
ri
pi
nn
is
, P
14
87
0.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
82 Marine Fisheries Review
Pl
at
e 
19
.?
A
, 
C
or
eg
on
us
 s
pe
ci
es
? 
P0
34
62
; 
B
, 
P
ro
so
pi
um
 c
yl
in
dr
ac
eu
m
, 
P0
34
84
; 
C
, 
A
ng
ui
ll
a 
ro
st
ra
ta
, 
P0
09
79
; 
D
, 
O
sm
er
us
 m
or
da
x,
 P
08
78
7;
 E
, 
C
lu
pe
a 
ha
re
ng
us
, 
P0
09
80
; F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
71(4) 83
Pl
at
e 
20
.?
L
ut
ja
ni
d 
?s
he
s 
(a
ls
o 
Pl
at
e 
10
 F
):
 A
, L
ut
ja
nu
s 
an
al
is
, P
15
08
0;
 B
, L
. g
ri
se
us
, P
00
99
5;
 C
, L
. j
oc
u,
 X
X
00
2;
 D
, L
. a
po
du
s,
 P
15
08
2;
 E
, L
. s
yn
ag
ri
s,
 P
11
82
9;
 F
, 
O
cy
ur
us
 c
hr
ys
ur
us
, P
01
52
9.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 o
r 
X
X
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
84 Marine Fisheries Review
Pl
at
e 
21
.?
Se
rr
an
id
 ?
sh
es
 (
se
e 
al
so
 P
la
te
s 
4 
A
, 2
2 
A
, B
):
 A
, E
pi
ne
ph
el
us
 a
ds
ce
ns
io
ni
s,
 P
10
44
8;
 B
, E
. g
ut
ta
tu
s,
 P
10
47
5;
 C
, E
. s
tr
ia
tu
s,
 X
X
00
1;
 D
, E
. m
or
io
, P
10
48
2;
 
E
, 
E
. 
it
aj
ar
a,
 P
07
15
9;
 F
, 
M
yc
te
ro
pe
rc
a 
ve
ne
no
sa
, 
P0
96
81
; 
Fo
r 
co
m
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 i
nd
iv
id
ua
l 
?g
ur
e 
se
e 
P
 o
r 
X
X
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
tin
gs
.?
71(4) 85
Pl
at
e 
22
.?
A
, 
M
yc
te
ro
pe
rc
a 
bo
na
ci
, 
P0
96
60
; 
B
, 
M
. 
m
ic
ro
le
pi
s,
 P
00
99
1;
 C
, 
F
un
du
lu
s 
m
aj
al
is
, 
m
al
e,
 P
00
98
5;
 D
, 
F.
 m
aj
al
is
, 
fe
m
al
e,
 P
00
98
6;
 E
, 
M
yo
xo
ce
ph
al
us
 
oc
to
de
ce
m
sp
in
os
us
, P
01
00
3;
 F
, P
se
ud
op
le
ur
on
ec
te
s 
am
er
ic
an
us
, P
01
00
8.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
tin
gs
.?
86 Marine Fisheries Review
Pl
at
e 
23
.?
A
, 
U
ro
ph
yc
is
 t
en
ui
s,
 P
07
97
6;
 B
, 
M
er
lu
cc
iu
s 
bi
li
ne
ar
is
, 
P0
09
84
; 
C
, 
G
ad
us
 m
or
hu
a,
 P
01
11
5;
 D
, 
Po
ll
ac
hi
us
 v
ir
en
s,
 P
00
98
2;
 E
, 
O
ps
an
us
 t
au
, 
P
00
98
1;
 F
, 
C
yn
os
ci
on
 r
eg
al
is
, P
00
99
7.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
71(4) 87
Pl
at
e 
24
.?
A
, S
co
m
be
r 
,
co
li
as
 P
01
00
1;
 B
, S
. s
co
m
br
us
, P
05
89
0;
 C
, S
co
m
be
ro
m
or
us
 m
ac
ul
at
us
, P
01
00
2;
 D
, T
au
to
ga
 o
ni
ti
s,
 P
00
99
9;
 E
, H
ae
m
ul
on
 m
ac
ro
st
om
um
, 
P0
15
28
. F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
88 Marine Fisheries Review
Pl
at
e 
25
.?
C
B
H
 o
il 
pa
in
tin
gs
 d
on
e 
in
 H
on
ol
ul
u,
 H
aw
ai
i, 
19
01
 (
pu
bl
is
he
d 
im
ag
es
 w
er
e 
is
ol
at
ed
 f
ro
m
 b
ac
kg
ro
un
ds
):
 A
, C
or
is
 g
ai
m
ar
d,
 P
03
50
5;
 B
, C
. v
en
us
ta
, P
03
51
3;
 
C
, O
xy
ch
ei
li
nu
s 
bi
m
ac
ul
at
us
, P
02
93
3;
 D
, G
om
ph
os
us
 v
ar
iu
s,
 P
11
62
8;
 E
, T
ha
la
ss
om
a 
du
pe
rr
ey
, P
04
92
5;
 F
, D
en
tr
oc
hi
ru
s 
ba
rb
er
i, 
P
04
00
8.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
71(4) 89
Pl
at
e 
26
.?
C
B
H
 o
il 
pa
in
tin
gs
 d
on
e 
in
 H
on
ol
ul
u,
 H
aw
ai
i, 
19
01
 (
pu
bl
is
he
d 
im
ag
es
 w
er
e 
is
ol
at
ed
 f
ro
m
 b
ac
kg
ro
un
ds
):
 A
. R
hi
ne
ca
nt
hu
s 
re
ct
an
gu
lu
s,
 
P0
14
39
; 
B
, 
A
ro
th
ro
n 
hi
sp
id
us
, 
P0
12
76
; 
C
, 
Pa
ra
ci
rr
hi
te
s 
fo
rs
te
ri
, P
08
65
9;
 D
, 
C
ir
rh
it
us
 p
in
nu
la
tu
s,
 P
03
21
4;
 E
, 
C
ir
rh
it
op
s 
fa
sc
ia
tu
s,
 P
08
65
8;
 F
, 
Pa
ra
ci
rr
hi
te
s 
ar
ca
tu
s,
 P
08
65
7.
 F
or
 c
om
pl
et
e 
in
fo
rm
at
io
n 
on
 a
ny
 in
di
vi
du
al
 ?
gu
re
 s
ee
 P
 n
um
be
r 
in
 s
ec
ti
on
 ?
T
he
 I
ll
us
tr
at
io
n 
L
is
ti
ng
s.
?
90 Marine Fisheries Review
XX001?Plate 21 C
Epinephelus striatus (Bloch)
Nassau grouper, Family Serranidae
Illustration ?rst published as: Epinephelus striatus by 
Evermann and Marsh (1900:plate 12).
Date illustrated: between Jan. and Apr. 1897, when CBH 
was in Key West, Fla.144
Length of specimen: about 12 inches [about 305 mm]; 
length as illustrated, 9.12 inches [about 231 mm]
Remarks: original illustration lost; reproduced from pub-
lished lithograph.
XX002?Plate 20 C
Lutjanus jocu (Bloch and Scheneider).
Dog snapper, Family Lutjanidae
Illustration ?rst published as: Neomaenis jocu by Evermann 
and Marsh (1900:plate 18).
Date illustrated: between 15 Jan. and 1 Apr. 1897 in Key 
West, Fla.  (see XX001, footnote to date illustrated [not 
illlustration].
Length of specimen: about 11.5 inches [about 292 mm]; 
length as illustrated, 9.25 inches [235 mm].
Each ?gure is listed in numeric sequence by its illustra-
tion catalog number, followed by the plate number and 
alphabetic position on the plate in which it appears, and the 
current scienti?c name of the species (which is the same as 
that which appears in the legend to the plate). We chose an 
overall sequential listing, as opposed to grouped listings by 
plate, because many of the comments and discussions refer 
to several of the illustrations and we found it easier to locate 
individual catalog numbers in a sequence than by searching 
through 26 plates for a catalog number. 
Under the current scienti?c name, we give the accepted 
common name only for North American species, and the ?sh 
family name for all species. Next, we provide the scienti?c 
name that was assigned to the illustration when the illustra-
tion was ?rst published, and include the literature citation for 
that publication. 
Other information is variable and, insofar as known, in-
cludes approximate date illustration was prepared (often based 
on ancillary references, e.g. the steamer Albatross station 
records for 1901?02 for the Hawaiian Islands, published in 
the Report of the Commissioner, U.S. Commission of Fish and 
Fisheries, Part 28, for year ending 30 June 1902 [1904], which 
provides dates of collection for specimens when authors cited 
only station data). Date of collection is the earliest possible 
date for preparation of an illustration, and date of publication 
of the illustration is the latest possible date for its prepara-
tion. CBH often indicated an actual date for preparation or 
indicated a year on the painting under his signature. With 
few exceptions, CBH and/or authors of the published plates 
usually only indicated total lengths (TL) of the specimen il-
The Illustration Listings
lustrated, and usually only in inches. We present the data as 
indicated by the authors, and also approximate conversions to 
millimeters. If millimeters were used originally, we usually do 
not convert to inches. Other information we present includes 
CBH?s indication when a particular illustration is based on 
more than one specimen; status of illustrated specimen as a 
holotype, if indicated or can be discerned from the publica-
tion; indication of media (ink, inkwash, watercolor, gouache 
(an opaque watercolor), oil, lead pencil) and, occasionally 
technique (stippling, ink lines) used in preparation of illustra-
tions; price CBH was paid for the illustration (indicated on 
the illustration and based either on the illustrated length of the 
?sh in inches, or the length and depth in square inches). We 
do not indicate the length of the ?gures as published; these 
are quite often different, and much reduced from the originals; 
none appear to have been published enlarged. 
Thirty-two of the CBH illustrations (including some of the 
?previously framed illustrations?) were included in the exhibit, 
?Drawn from the Sea: Art in the Service of Ichthyology? 
(abbreviated DFSA, henceforth), which was on display at 
the Smithsonian?s National Museum of Natural History from 
Sept. 1985 to Mar. 1986. From 1987 to 1989, a reduced DFSA 
traveled to 16 museums, universities, and science centers, from 
Ontario to Texas and from Maine to California.143 Only 12 
of the 32 CBH illustrations that were included in the original 
DFSA were included in the 1987?89 version.
Remarks: original illustration lost; reproduced by us from 
published lithograph.
P00183?Plate 9 A
Alectrias benjamini Jordan and Snyder
Family Stichaeidae
Illustration ?rst published as: Alectrias benjamini by Jordan 
and Snyder (1902b:?g. 16).
Date illustrated: before 26 Sept. 1902, based on date of 
publication.
143The exhibit was curated by VGS and featured a poster which included 
11 ?shes, two by CBH (P00979, P01499). The original exhibit included 
200 illustrations representing the work of 21 artists. The traveling exhibit 
included only 80 of the 200 illustrations, but represented all 21 of the artists.
144Evermann and Marsh (1900:51) erroneously state that CBH was illus-
trating ?shes in Key West ?during the winter of 1897?98,? i.e. about 21 
Dec. 1897?21 Mar. 1898. We believe they intended their statement to read 
the winter of 1896?97. Evermann and Kendall (1900:38) correctly noted, 
?During the early part of 1897 Mr. Charles B. Hudson was in Key West 
engaged in painting for the U.S. Fish Commission the important food-
?shes found at that place.? They stated that the specimens CBH used for 
illustrations, and some others, were obtained and preserved in 1897, and 
they referred to them generally as ?Hudson coll., 1897.? CBH?s handwrit-
ten information on several of his illustrations records them as having been 
done in Key West on various dates between 2 Jan. and 27 Mar. 1897. On one 
illustration, P08206 (Caranx crysos), however, CBH wrote ?Apr. 1. 1898.? 
Another possibility is that CBH made color sketches and did the ?nal paint-
ings in Washington, D.C. 
71(4) 91
Length of specimen: about.7.5 inches [190.5 mm], based 
on scale line accompanying original illustration; length 
as illustrated, 12.5 inches [about 318 mm].
Media: inked lines and stipples.
P00818?Plate 3 E
Moringua edwardsi (Jordan and Bollman)
Spaghetti eel, Family Moringuidae
Illustration apparently not published previously. Name on 
drawing is Aphthalmichthys caribbeus and represents 
the holotype, 270 mm TL, of Aphthalmichthys carib-
beus Gill and Smith (1900:974), which was described 
in more detail, but not illustrated, by Evermann and 
Marsh (1900:71). 
Length of specimen: The longest dimension of the eel in 
the original illustration is 10 inches [254 mm], but as the 
eel is drawn curved on itself, the original illustration is 
about twice the length of the actual specimen.
Media: includes ink wash and lead pencil, with some ?ne 
white gouache highlights.
P00979?Plate 19 C
Anguilla rostrata (Leseuer)
American eel, Family Anguillidae
Illustration ?rst published as Anguilla chrysypa by Ever-
mann and Marsh (1900:plate 1).
Date illustrated: drawn from life, 08 Dec. 1896, Woods 
Hole, Mass.
Length of specimen: 27 inches [about 686 mm]; length as 
illustrated, 9.25 inches [ca. 235 mm], but as the eel is 
drawn curved on itself, the original illustration is about 
two-thirds the length of the actual specimen.
Media: watercolor, ?ne pen and ink, white gouache high-
lights.
Remarks: This illustration has been reproduced in several 
publications and other venues subsequent to its origi-
nal publication. It was included in both the initial and 
reduced versions of DFSA and on the poster for the 
exhibition. Previously framed.
P00980?Plate 19 E
Clupea harengus (Linnaeus)
Atlantic herring, Family Clupeidae
Illustration ?rst published as Clupea harengus by Murdy 
et al. (1997:plate 5).
Date illustrated: drawn from dead specimen 16 Nov. 1896, 
Woods Hole, Mass. 
Length of specimen: 13 inches [about 229 mm]; length as 
illustrated, 9 inches [about 229 mm].
Media: Watercolor and gouache.
Remarks: Previously framed.
P00981?Plate 23 E
Opsanus tau (Linnaeus)
Oyster toad?sh, Family Batrachoididae
Illustration ?rst published as Opsanus tau by Murdy et al. 
(1997:plate 15).
Date illustrated: drawn from life, 31 Oct. 1896, Woods 
Hole, Mass.
Length of specimen: 10.5 inches [about 267 mm]; Length 
as illustrated, 9 inches [about 229 mm].
Media: watercolor, gouache, ink.
Remarks: Previously framed. Also included in original 
DFSA.
P00982?Plate 23 D
Pollachius virens (Linnaeus)
Pollock, Family Gadidae
Illustration ?rst published as Pollachius virens by Murdy 
et al. (1997:plate 16).
Date illustrated: drawn from life, 30 Nov. 1896, Woods 
Hole, Mass.
Length of specimen: 10.75 inches [273 mm]; length as 
illustrated, 9 inches [about 229 mm].
Media: watercolor, gouache, ?ne gray stippling on ?ns.
Remarks: Previously framed.
P00984?Plate 23 B
Merluccius bilinearis (Mitchill)
Silver hake, Family Merlucciidae
Illustration ?rst published as Merluccius bilinearis by 
Murdy et al. (1997:plate 17).
Date illustrated: drawn from dead specimen, 11 Nov. 1896, 
Woods Hole, Mass.
Length of specimen: 17.625 inches [about 447.7 mm]; 
length as illustrated, 9 inches [about 229 mm].
Media: watercolor, much gouache, a little ink.
Remarks: Framed previously.
P00985?Plate 22 C
Fundulus majalis (Walbaum), male
Striped killi?sh, Family Fundulidae
Illustration ?rst published as Fundulus majalis by Murdy 
et al. (1997:plate 18a).
Date illustrated: drawn from dead specimen, 17 Oct. 1896, 
Woods Hole, Mass.
Length of specimen and illustration: each 6 inches [about 
152 mm].
Media: watercolor, gouache, black ink, and lead pencil.
P00986?Plate 22 D
Fundulus majalis (Walbaum), female
Striped killi?sh, Family Fundulidae
Illustration ?rst published as Fundulus majalis by Murdy 
et al. (1997:plate 18b).
Date illustrated: drawn from dead specimen, 8 Oct. 1896, 
Woods Hole, Mass.
Length of specimen and illustration: each 6 inches [about 
152 mm].
Media: watercolor, gouache, black ink, and lead pencil.
92 Marine Fisheries Review
P00991?Plate 22 B
Mycteroperca microlepis (Goode and Bean)
Gag, Family Serranidae
Illustration ?rst published as Mycteroperca microlepis by 
Murdy et al. (1997:plate 46).
Date illustrated: drawn from life, outline from one speci-
men, color from another, Feb. 1897, Key West, Fla.
Length of specimen: 16.75 inches [about 425 mm]; length 
as illustrated, 9.44 inches [about 240 mm].
Media: inkwash and gouache.
Remarks: Previously framed.
P00995?Plate 20 B
Lutjanus griseus (Linnaeus)
Gray snapper, Family Lutjanidae
Illustration ?rst published as Neomaenis griseus by Ever-
mann and Marsh (1900:plate 17).
Date illustrated: Drawn from life, 12 Mar. 1897, Key West, 
Fla., outline from one specimen, color from another.
Length of specimen: 12.44 inches [about 316 mm]; length 
as illustrated, 9.25 inches [about 235 mm].
Media: watercolor, gouache, ink in pupil.
Remarks: DFSA; previously framed. Illustration has been 
reproduced many times in various publications.
P00997?Plate 23 F
Cynoscion regalis (Bloch and Schneider)
Weak?sh, Family Sciaenidae
Illustration ?rst published as Cynoscion regalis by Murdy 
et al. (1997:plate 31).
Date illustrated: Unknown, data on illustration was de-
stroyed when board was trimmed to ?t in ?ling cabinet, 
probably drawn from fresh specimen at Woods Hole, 
Mass., during fall of 1896.
Length of specimen: unknown; length as illustrated, 9.25 
inches [about 235 mm].
Media: watercolor with white gouache highlights.
Remarks: Previously framed.
P00999?Plate 24 D
Tautoga onitis (Linnaeus), female
Tautog, Family Labridae
Illustration ?rst published as Tautoga onitis by Murdy et 
al. (1997:plate 44).
Date illustrated: drawn from life, 24 Sept. 1896, at Woods 
Hole, Mass.
Length of specimen: 11.88 inches [about 302 mm]; length 
as illustrated, 8.06 inches [about 205 mm].
Media: watercolor and gouache.
Remarks: Previously framed.
P01001?Plate 24 A
 Gmelin
Illustration ?rst published as Scomber japonicus by Murdy 
et al. (1997:plate 26).
Date illustrated: probably drawn from a fresh specimen 
although indicated as drawn from life, 15 Oct. 1896, 
Woods Hole, Mass.
Length of specimen: 10 inches [254 mm]; length of illustra-
tion, 9.06 inches [about 230 mm].
Media: watercolor and gouache.
Remarks: DFSA, also previously framed. 
P01002?Plate 24 C
Scomberomorus maculatus (Mitchill)
Spanish mackerel, Family Scombridae
Illustration ?rst published as Scomberomorus maculatus 
by Evermann and Marsh (1900:plate 6).
Date illustrated: Presumably illustrated from fresh speci-
men; date on illustration is 5 Sept. 1896, Cape Charles 
City, Va.
Length of specimen: 20 inches [508 mm]; length as illus-
trated, 9.06 inches [about 230 mm].
Media: watercolor and gouache.
Remarks: Previously framed.
P01003?Plate 22 E
Myoxocephalus octodecemspinosus (Mitchill)
Longhorn sculpin, Family Cottidae
Illustration ?rst published as Myoxocephalus octodecimspi-
nosus by Murdy et al. (1997:plate 21).
Date illustrated: presumably illustrated from fresh or live 
specimen; date on illustration is 6 Nov. 1896, Woods 
Hole, Mass.
Length of specimen: 13 inches [about 330 mm]; length as 
illustrated, 9 inches [about 229 mm].
Media: watercolor, ink, and gouache. 
Remarks: DFSA. Previously framed.
P01008?Plate 22 F
Pseudopleuronectes americanus (Walbaum)
Winter ?ounder, Family Pleuronectidae
Illustration ?rst published as Pseudopleuronectes ameri-
canus by Murdy et al. (1997:plate 49).
Date illustrated: drawn from life, 3 Oct. 1896, Woods 
Hole, Mass.
Length of specimen: 12.5 inches [about 318 mm]; length 
as illustrated, 9.12 inches [about 232 mm].
Media: watercolor and gouache.
Remarks: Previously framed.
P01035?Plate 14 E
Pomatomus saltatrix (Linnaeus)
Blue?sh, Family Pomatomidae
Illustration ?rst published as Pomatomus saltatrix by Murdy 
et al. (1997:plate 32).
Date illustrated: presumably based on fresh specimen, 14 
Sept. 1896, Cape Charles City, Va.
Length of specimen: 17 inches [about 432 mm]; length as 
illustrated, 9.25 inches [about 235 mm].
Atlantic chub mackerel, Family Scombridae
coliasScomber 
71(4) 93
Media: watercolor, gouache, ink, ?ne lines of ink.
Remarks: Previously framed.
P01039?Plate 14 C
Trachinotus carolinus (Linnaeus)
Florida pompano, Family Carangidae
Illustration ?rst published as Trachinotus carolinus by 
Evermann and Marsh (1900:plate 10).
Date illustrated: presumably based on a fresh specimen, 3 
Sept. 1896, Cape Charles City, Va.
Length of specimen: 17 inches [432 mm]; length as illus-
trated, 9.25 inches [235 mm].
Media: watercolor, gouache, ink around eye.
Remarks: Previously framed, DFSA.
P01115?Plate 23 C
Gadus morhua Linnaeus
Atlantic cod, Family Gadidae
Apparently published here for the ?rst time.
Date illustrated: Based on a [fresh] dead specimen, 24 Oct. 
1896, Woods Hole, Mass. 
Length of specimen: 22 inches [539 mm]; length as illus-
trated, 9.06 inches [about 230 mm].
Media: watercolor and gouache.
Remarks: Previously framed.
P01276?Plate 26 B
Arothron hispidus (Linnaeus)
Stripebelly puffer, Family Tetraodontidae
Illustration ?rst published as Tetraodon hispidus Linnaeus 
by Jordan and Evermann (1905: colored plate 66).
Date illustrated: painted from life, June 1901, Moanalua, 
Honolulu, Hawaii.
Length of specimen: 9 inches [about 229 mm]; length as 
illustrated, 6.25 inches [about 159 mm]; specimen is 
illustrated against a blue-green background.
Media: oil on board.
Remarks: This illustration has been republished in many 
different venues, often with the background removed. In 
the original publication, the background was modi?ed 
from rectangular to an irregular ellipse. DFSA.
P01358?Plate 3 D
Bryconamericus eigenmanni (Evermann & Kendall)
Family Characidae
Illustration ?rst published as Astyanax eigenmanni by Ever-
mann and Kendall (1906:?g. 1), Based on the holotype, 
USNM 55570.
Date illustrated: during 1906, but before 25 July (date of 
publication).
Length of specimen: ?about 3 inches [76 mm]?; length as 
illustrated, 8 inches [about 203 mm].
Media: Ink, gouache, lead pencil. 
P01391?Plate 6 D
Stathmonotus stahli (Evermann & Marsh)
Family Chaenopsidae
Illustration ?rst published as Auchenistius stahli by Ever-
mann and Marsh (1900:?g. 102), based on the holotype, 
USNM 49372 (indicated on illustration), from Ponce, 
Puerto Rico.
Date illustrated: probably from preserved specimen, be-
tween 1 Feb. 1899, date collected, and 11 Sept. 1900, 
date Evermann indicated approval for publication of 
illustration.
Length of specimen: 1.2 inches [about 30.5 mm]; length 
as illustrated, 9 inches [about 229 mm].
Media: inked stipples. 
Remarks: Hastings and Springer (1994:22) reported that 
the illustration is in error in indicating the presence of 
42 dorsal-?n spines and 25 segmented anal-?n rays. 
The numbers are 41 and 24 respectively. As described 
and illustrated, the holotype, in poor condition, has only 
one anal-?n spine and it is not possible to determine 
if a second spine, normally present, was lost through 
damage. Specimens of Stathmonotus are frequently 
distorted, and the ?n rays are dif?cult to count. Ich-
thyologists now x-ray specimens to avoid dif?culties 
in counting the vertical ?n elements, a technique not 
generally available to ichthyologists in 1900. Although 
Evermann and Marsh reported the number of dorsal-?n 
spines in agreement with the illustration, they correctly 
indicated 24 rays as the maximum number in the anal 
?n.
P01439?Plate 26 A
Rhinecanthus rectangulus (Bloch & Schneider)
Family Balistidae
Illustration ?rst published as Balistapus rectangulus by 
Jordan and Evermann (1905: color plate 63).
Date illustrated: drawn from life in 1901 (probably June or 
July), Honolulu, Hawaii.
Length of specimen: 7.5 inches [about 191 mm]; length 
as illustrated, 7.75 inches [about 197 mm]; specimen is 
illustrated against a rectangular blue-green background, 
which was modi?ed to a roughly oval area in the original 
publication.
Media: oil on board.
P01499?Plate 15 C
Oncorhynchus mykiss (Walbaum)
Rainbow trout, Family Salmonidae
Illustration ?rst published as Salmo gairdneri by Bond 
(1985:185), advertising DFSA, and on the poster, which 
accompanied the exhibition. The illustration apparently, 
had not been published otherwise previously.
Date illustrated: 1912 (on illustration), from male specimen 
obtained May 1911, Scotts Creek, Santa Cruz Co., Calif. 
Color notes or study probably made at time of collection, 
or color based on other specimens.
Length of specimen: 23 inches [about 584 mm]; length as 
illustrated, 8.25 inches [about 210 mm].
Media: watercolor, gouache, dark spots are ink.
94 Marine Fisheries Review
Remarks: DFSA. This was the last illustration of a ?sh 
that CBH prepared, ostensibly for publication. A similar 
illustration by CBH, dated 1910, was ?rst published 
by Evermann and Bryant (1919) as Salmo irideus, a 
sea-run form. The original is framed and in an of?ce 
of CDFG.
P01500?Plate 15 A
Oncorhynchus mykiss (Walbaum)
Rainbow trout, Family Salmonidae
Illustration ?rst published as Salmo gilberti by Evermann 
(1906:plate 15), now considered to be a subspecies, O. 
m. gilberti (Jordan). Identical plates 1, 15, and 16 (our 
P01787, P01500, P04042) in Evermann (1906), which 
was published 16 May 1906, were also published and 
randomly inserted in Scott (1906). According to infor-
mation on page 5 in Scott, that publication would have 
a date of on or after 1 Dec. 1906. We note also that 
Henshall?s (1906a), report on the ?shes of Montana, 
exact date not indicated, but a library stamp on cover 
reads ?Received Apr 25 1906,? was republished slightly 
modi?ed as Henshall (1906b) in Scott (1906). We know 
of no subsequent mention of Henshall (1906b) in the 
ichthyological literature.
Date illustrated: from life, 1904; label on reverse side of 
illustration states collected 19 July 1904, Kern River, 
Calif.
Length of specimen: 18.25 inches [about 464 mm]; length 
as illustrated, 10.25 inches [about 260 mm].
Media: watercolor, gouache, dark spots are ink.
Remarks: Reproduced many times in different venues. 
DFSA. This is the rainbow trout of the Kern River (see 
remarks in P04042). A similar illustration by CBH, dated 
1910, was ?rst published by Evermann and Bryant (1919) 
as Salmo irideus, a stream form. The original is framed 
and in an of?ce of CDFG.
P01528?Plate 24 E
Haemulon macrostomum G?nther
Spanish grunt, Family Haemulidae
Illustration ?rst published as Haemulon album by Ever-
mann and Marsh (1900:plate 24).
Date illustrated: drawn from life, 27 Mar. 1897, Key West, 
Fla., but also indicated as outline from one specimen, 
color from two others.
Length of specimen: about 21 inches [about 533 mm]; 
length as illustrated, 9.25 inches [235 mm].
Media: watercolor, a little gouache.
Remarks: Previously framed. DFSA.
P01529?Plate 20 F
Ocyurus chrysurus (Bloch)
Yellowtail snapper, Family Lutjanidae
Illustration ?rst published as Ocyurus chrysurus by Ever-
mann and Marsh (1900:plate 23).
Date illustrated: 1897, Key West, Fla. Outline and color 
probably based on different specimens.
Length of specimen: 13 inches [about 330 mm]; length as 
illustrated, 9.25 inches [235 mm SL]. 
Media: watercolor, gouache, ink on eyeball.
Remarks: Previously framed. DFSA.
P01735?Plate 12 E
Bembradium roseum Gilbert
Family Bembridae
Illustration ?rst published as Bembradium roseus by Gil-
bert (1905:plate 82), based on holotype, USNM 51617. 
Plate was erroneously labeled roseus (Gilbert, 1905:637, 
footnote).
Date illustrated: Between Mar. 1902 and 12 Feb. 1903, latter 
based on letter145 from G. A. Clark, D. S. Jordan?s secre-
tary, to CBH, ?Dr. Gilbert has given me the data for the 
enclosed bill for 6 drawings at $10146 each for work done 
for the Fish Commission in connection with his report on 
Hawaii. Will you kindly sign the vouchers and forward 
them to Washington.? Five of the drawings are identi?-
able as P01735, P03128, P07188, P09228, P10047. The 
sixth is provided a spurious or tentative name, Othonias 
exormus, which applies to either P02327 or P02349 
(CBH did seven drawings for Gilbert?s study). 
Length of specimen: according to Gilbert, 90 mm; accord-
ing to label on illustration, 3.5 inches [88.9 mm]; length 
as illustrated, 9 inches [about 229 mm].
Media: inkwash, lead pencil, gouache highlights.
Remarks: CBH was paid $0.50 per square inch for this il-
lustration, which he recorded as 1.25 inches ? 9 inches= 
$5.62.
P01787?Plate 15 F
Oncorhynchus mykiss (Walbaum)
Rainbow trout [golden trout of the High Sierras], Family 
Salmonidae
Illustration ?rst published as a half-tone and as Salmo 
aguabonita in Evermann (1905:106), based on holo-
type, USNM 53064. The original illustration was ?rst 
reproduced in color as Salmo roosevelti in Evermann 
(1906:plate 1). See also discussion in section on ?rst 
publication in P01500. 
Date illustrated: drawn from life, 24 July 1904, Volcano 
Creek, High Sierras, Calif. 
Length of specimen: 11.12 inches [about 283 mm]; length 
as illustrated, 9 inches [about 229 mm].
Media: watercolor, gouache, dark spots are ink.
145Stanford University Libraries, Department of Special Collections, call 
number: SC 058; Box 6; Folder v. 12.
146Stanford University Libraries, Department of Special Collections, call 
number: SC 058; Box 6; Folder v. 11. Letter from G. A. Clark to CBH, 28 
Dec. 1902, ?President Jordan has just received . . . a letter from [U.S. Fish] 
Commissioner Bowers approving of his recommendation that you be given 
a uniform rate of $10 per drawing on the Hawaiian ?shes, you to make the 
drawings large or small, according to the amount of detail to be put in.?
71(4) 95
Remarks: DFSA. This illustration has been republished in 
many different articles and venues; it represents O. m. 
aguabonita (Jordan), one of three closely related subspe-
cies (see remarks in P04042).
P01788?Plate 16 B
Oncorhynchus clarkii (Richardson)
Cutthroat trout, Family Salmonidae
Apparently not published previously; representative of a 
now extinct subspecies, Onchorhychus clarkii henshawi 
(Gill and Jordan).
Date illustrated: last week in June 1904, Lake Tahoe, Calif. 
Outline based on a female; color based on four different 
male specimens.
Length of specimen: 14.12 inches [about 359 mm]; length 
as illustrated, 10.25 inches [about 260 mm]. 
Media: watercolor, gouache, dark spots are ink.
Remarks: It is unknown why CBH would have colored 
an outline based on a female specimen using males. 
Perhaps immature females and males have the same 
general color pattern. Considering their interest in 
salmonids, it might seem puzzling why D. S. Jordan 
or B. W. Evermann did not publish any of the CBH?s 
three illustrations of the Lake Tahoe cutthroat trout 
(see also P04046 and P04047). We provide a possible 
explanation in the section of our introductory narrative 
entitled ?From Lake Tahoe to the Golden Trout of the 
High Sierras.?
P01840?Plate 5 C
Sargocentron ittodai (Jordan and Fowler)
Family Holocentridae
Illustration ?rst published as Holocentrus ittodai by Jordan 
and Fowler (1902:?g. 4).
Date illustrated: between summer of 1900 (when collected) 
and 26 Nov. 1902 (when published), based on holotype, 
CAS-SU 7746.
Length of specimen: 4.94 inches [about 125 mm]; length 
as illustrated, 10 inches [254 mm].
Media: Oil.
Remarks: CBH indicated his charge for the drawing as 
?27/8? ? 10? [= 28.75 square inches ? $0.50 =] $14.37.? 
DFSA.
P01919?Plate 14 A
Caranx crysos (Mitchill)
Blue runner, Family Carangidae
Illustration ?rst published as Caranx crysos by Evermann 
and Marsh (1900:plate 9).
Date illustrated: 30 Mar. 1897, Key West, Fla., outline 
based on one specimen, color based on two [probably 
fresh and/or live] specimens.
Length of specimen: 14.5 inches [about 368 mm]; length 
as illustrated, 9.31 inches [about 237 mm].
Media: watercolor, a little gouache.
Remarks: Previously framed. DFSA.
P02213?Plate 2 B
Catostomus warnerensis (Snyder)
Warner sucker, Family Catostomidae
Illustration ?rst published as Catostomus warnerensis, by 
Snyder (1908:?g. 2), based on holotype USNM 55597.
Date illustrated: after 15 July 1904 (when collected) and 
before 28 Sept. 1908 (when published).
Length of specimen: 296 mm, provided by Snyder (but 
11 inches [279 mm] according to CBH); length as il-
lustrated, about 191 mm.
Media: much lead pencil, inkwash (?), minimal white 
gouache on ?n rays, eye.
P02327?Plate 7 E
Callionymus caeruleonotatus Gilbert
Family Callionymidae
Illustration ?rst published as Callionymus caeruleonotatus 
by Gilbert (1905:plate 89), based on holotype, USNM 
51603.
Date illustrated: between 18 July 1902 (when collected) 
and 5 Aug. 1905 (when published).
Length of specimen: 86 mm TL, 49 mm SL (legend to 
plate gives ?three inches,? Gilbert, 1905:iii); length as 
illustrated, about 305 mm.
Media: inkwash, ink, white gouache, and lead pencil.
P02328?Plate 8 B
Callionymus enneactis Bleeker
Family Callionymidae
Illustration ?rst published as Callionymus calliste, by 
Jordan and Fowler (1903a:?g. 8a).
Date illustrated: Probably between early summer and mid 
Oct. 1902.147
Length of specimen: 3.88 inches [about 98.5 mm] or less; 
length as illustrated, about 13.94 inches [about 354 mm]. 
Media: inkwash, ink, white gouache, and lead pencil.
Remarks: CBH was paid $0.50 per square inch for this 
illustration, for which he listed the measurements as 
1.5 ? 14 in. The measurements and amount paid, $10.50, 
are written in the bottom margin of the illustration.
P02349?Plate 7 G
Callionymus decoratus (Gilbert)
Family Callionymidae
Illustration ?rst published as Calliurichthys decoratus 
by Gilbert (1905:plate 90), based on holotype USNM 
51609.
147In letters from D. S. Jordan to CBH in Detroit, dated 27 Sept. and 11 
Oct. 1902, Jordan importuned CBH for information on when he would 
?nish the drawings of the callionymids, ?When you get those drawings 
?nished, kindly send them to Dr. [Marcus] Benjamin [publications editor 
at the Smithsonian Institution] . . . and the paper will go to the press.? Stan-
ford University Libraries, Department of Special Collections, SC 058, D. S. 
Jordan, Series I-AA, Box 5, Folder v. 10. CBH responded to Jordan?s letter 
of 27 Sept. on 6 Oct. 1902, ?I have one drawing yet to make of Callionymus, 
and will send them to Dr. Benjamin in three or four days.? Stanford Univer-
sity Libraries, Department of Special Collections, SC 058, Series I-A, D. S. 
Jordan, Box 33, Folder 329.
96 Marine Fisheries Review
Date illustrated: between 9 July 1902 (when collected) and 
5 Aug. 1905 (when published).
Length of specimen: Gilbert (1905:651) indicates 183 mm 
[TL = 7.2 in], 91 mm [SL = 3.6 in]; length according to 
the list of plates (Gilbert:1905:vii) is ?6 inches? [about 
152 mm]; length as illustrated, 12.75 inches [324 mm].
Media: inkwash and white gouache.
P02378?Plate 9 I
Chirolophis tarsodes (Jordan and Snyder)
Matcheek warbonnet, Family Stichaeidae
Illustration ?rst published as Bryostemma tarsodes in 
Jordan and Gilbert (1902d:?g. 1), based on holotype, 
USNM 50570.
Date illustrated: probably about same time as CBH was 
illustrating Japanese stichaeids for Jordan and Snyder?s 
(1902b) study, between summer of 1900 and 4 Nov. 
1902, when published. Specimen was collected 21 May 
1890.
Length of specimen: ?115 mm? [TL]; length as illustrated, 
16 3/8 inches [416 mm].
Media: ink and inkwash; lead pencil on ?n rays; opaque 
white gouache highlights.
Remarks: CBH indicated his charge as: ?23/8? ? 163/8? [= 
38.9 square inches ? $0.50 =] $19.45.?
P02388?Plate 8 E
Priolepis eugenius (Jordan and Evermann)
Family Gobiidae
Illustration ?rst published as Quisquilius eugenius by 
Jordan and Evermann (1905:plate 57, but indicated in 
text, pages iii and 483, as Gobiomorphus eugenius), 
based on holotype USNM 50674, now apparently lost.
Date illustrated: between 1901 (when collected) and 29 
July 1905 (when published).
Length of specimen: 1.4 inches [about 35.6 mm] according 
to Jordan and Evermann (1903:205), 2 inches [about 
50.8 mm] according to Jordan and Evermann (1905:
xv), or 1.4 inches [maximum for all specimens] ac-
cording to Jordan and Evermann (1905:483); 1.4 inch 
TL appears to be correct based on a scale line, which 
appears to represent one-half inch, that accompanies 
the illustration. Length as illustrated, 12.12 inches 
[about 308 mm].
Media: lead pencil outline, inkwash and gouache.
P02473?Plate 13
Calamus bajonado (Bloch and Schneider)
Jolthead porgy, Sparidae
Illustration ?rst published as Calamus bajonado by Ever-
mann and Marsh (1900:plate 25).
Date illustrated: drawn from life, 18 Mar 1897, Key West, 
Fla.; outline based on one specimen, color based on two 
other specimens.
Length of specimen, about 11.62 inches [about 295 mm]; 
length as illustrated, 9 inches [about 229 mm].
Media: watercolor, gouache, lead pencil (see enlarged 
sections plate 13).
Remarks: Previously framed. DFSA. 
P02933?Plate 25 C
Oxycheilinus bimaculatus (Valenciennes)
Family Labridae
Illustration ?rst published as Cheilinus bimaculatus, by 
Jordan and Evermann (1905: color plate 38). Probably 
drawn from life.
Date illustrated: summer of 1901.
Length of specimen: 5 inches [127 mm]; length as illus-
trated, 4.5 inches [about 107 mm].
Media: oil on Academy Board, DVOE & Co. This is one of 
the few CBH scienti?c illustrations on which the trade 
name of the supporting surface of the media is available. 
In a letter from CBH to Hugh M. Smith (NARA, Record 
Group 106, Smithsonian Institution, Hugh M. Smith, 
Box 5), dated 29 Dec. 1902, Palo Alto, Calif., CBH in-
dicated he was working on the ?Hawaiian collection? of 
the ?Fish Commission? and requested Smith to provide 
?Whatman Water-color Board, NOT surface,? which was 
unavailable in California. ?It is of course understood 
that I will use it only for Fish Commission work.? An 
imprint on the letter indicates Smith responded to the 
letter on 10 Jan. 1903, but we did not locate a copy; 
however, he wrote on CBH?s letter requesting a Mr. 
Pritchard to send CBH two dozen sheets. Underneath 
this, in a different handwriting, ?1 Doz. Boards 10 ? 14? 
sent by mail Jan. 17?03.? 
Remarks: This illustration, like many of the colored plates 
of Jordan and Evermann?s ?Fishes of Hawaii,? has been 
reproduced many different times, usually as postcards 
by the Waikiki and Steinhart aquariums. In all repro-
ductions, including the original, the gray background 
is paler than in the actual painting, and the colors of 
the ?sh made considerably more brilliant.
P03128?Plate 12 B
Chrionema squamiceps Gilbert
Family Percophidae
Illustration ?rst published as Chrionema squamiceps by 
Gilbert (1905:plate 86), based on holotype, USNM 
51635.
Date illustrated: between 23 July 1902 (when collected) 
and 5 Aug 1905 (when published).
Length of specimen: 2.4 inches [61 mm], but Gilbert (1905: 
vii) indicates 2.5 inches; length as illustrated, 11 inches 
[about 279 mm].
Media: inkwash, ink, white gouache, lead pencil.
P03198?Plate 10 C
Cirrhilabrus jordani Snyder
Family Labridae
First published as Cirrhilabrus jordani by Snyder (1902:
plate 10, Figure 18), based on holotype, male (USNM 
71(4) 97
50878; other specimens from same collection are 
females).
Date illustrated: between 14 Apr. 1902 (when collected) 
and 19 Jan. 1904 (when published).
Length of specimen: 3.3 inches [83.8 mm]; length as il-
lustrated, 9.5 inches [about 241 mm].
Media: lead pencil, inkwash, and white gouache.
P03214?Plate 26 D
Cirrhitus pinnulatus (Forster)
Family Cirrhitidae
Illustration ?rst published as Cirrhites marmoratus by 
Jordan and Evermann (1905: color plate 70).
Date illustrated: painted from live specimen, summer 1901, 
Hawaii.
Length of specimen: 7 inches [about 178 mm]; length as 
illustrated, 6 inches [about 152 mm].
Media: oil; see also media under P02933.
Remarks: Gray-green background of original decreased in 
intensity and brightness of ?sh increased in publication.
P03239?Plate 12 G
Citharichthys arenaceus Evermann and Marsh
Sand whiff, Family Paralichthyidae
Illustration ?rst published as Citharichthys arenaceus by 
Evermann and Marsh (1900:?g. 106). Based on the ho-
lotype (USNM 49536, not 49526 as published).
Date illustrated: between 2 Jan. and 21 Feb. 1899 (when 
collected) and 10 Sept. 1900 (when B. W. Evermann 
approved illustration).
Length of specimen: 162 mm TL; length as illustrated, 
172 mm.
Media: Inked stipples.
P03416?Plate 6 E
Coralliozetus cardonae Evermann and Marsh
Family Chaenopsidae
Illustration ?rst published as Coralliozetus cardonae by 
Evermann and Marsh (1900:?g. 103), based on the 
holotype, USNM 49377.
Date illustrated: between 1 Feb. 1899 (when collected) 
and 11 Sept. 1900 (when B. W. Evermann approved 
illustration).
Length of specimen: 1 inch [25.4 mm]; length as illustrated, 
8 inches (203 mm].
Media: inked stipples.
P03444?Plate 18 C
Coregonus clupeaformis (Mitchill)
Lake white?sh, Family Salmonidae
Illustration ?rst published as Coregonus albus by Jordan 
and Evermann (1911:plate 6).
Date illustrated: 19 June 1906, probably from fresh 
specimen, Lake Michigan, off Berrien County, 
Mich.; outline from one specimen, color from another 
specimen.
Length of specimen: 17.25 inches [about 438 mm]; length 
as illustrated, 8.5 inches [216 mm].
Media: watercolor, gouache, some lead pencil.
P03445?Plate 18 D
Coregonus artedi Lesueur
Cisco, Family Salmonidae
Illustration ?rst published as Leucichthys sisco huronius 
by Jordan and Evermann (1911:plate 2).
Date illustrated: 1 Aug. 1906, probably from fresh speci-
men, Lake Michigan, off Berrien County, Mich.; outline 
based on one specimen, color based on two others.
Length of specimen: 12.62 inches [about 321 mm]; length 
as illustrated, 9.5 inches [about 241 mm].
Media: watercolor, yellow and pink gouache, lead pencil, 
and ink.
P03462?Plate 19 A
Coregonus species?
Family Salmonidae
Illustration ?rst published as Leucichthys hoyi in Jordan 
and Evermann (1911:plate 5). Plate 5 is not hoyi ac-
cording to Koelz (1929:377, 449), but he did not iden-
tify the ?sh illustrated in plate 5 in his publication, in 
which he did identify all the species illustrated in the 
other plates.
Date illustrated: 25 June 1906, probably from fresh speci-
men, Lake Michigan, off Berrien County, Mich.; outline 
based on one specimen, color on three others.
Length of specimen: 14.75 inches [about 375 mm]; length 
as illustrated, 8.5 inches [216 mm].
Media: watercolor, gouache, some lead pencil.
P03484?Plate 19 B
Prosopium cylindraceum (Pennant)
Round white?sh, Family Salmonidae
Illustration ?rst published as Coregonus quadrilateralis by 
Jordan and Evermann (1911:plate 7).
Date illustrated: 20 Sept. 1906, Lake Huron, off St. Ignace, 
Mich.; outline based on one specimen, color based on 
four other specimens.
Length of specimen: 18.19 inches [about 462 mm]; length 
as illustrated, 8.5 inches [about 216 mm].
Media: watercolor, gouache, some lead pencil.
P03497?Plate 10 B
Coris aygula Lacep?de
Family Labridae
Illustration ?rst published as Coris aygula by Jordan and 
Snyder (1902a:?g. 9).
Date illustrated: Based on information in letter148 from 
CBH to G. A. Clark (D. S. Jordan?s secretary), this is 
148Stanford University Libraries, Department of Special Collections, SC 
058 I-A, D. S. Jordan, Box 30, Folder 303, ?I signed and forwarded the 
vouchers which you sent me, and also two others received from Washington 
two or three days ago, for the three labrid ?shes . . . ? 
98 Marine Fisheries Review
one of three labrid illustrations (the others are P09474, 
P14692) CBH completed shortly before 18 Jan. 1902, 
possibly including late 1901. All three were ?rst pub-
lished in Jordan and Snyder (1902a), dated 2 May 
1902.
Length of specimen: uncertain; length as illustrated, 11 
inches [about 279 mm].
Media: inked lines and stipples.
P03505?Plate 25 A
Coris gaimard (Quoy & Gaimard)
Family Labridae
Illustration ?rst published as Julis pulcherrima by Jordan 
and Evermann (1905: color plate 27).
Date illustrated: apparently painted from life, summer of 
1901, Hawaii.
Length of specimen: 8.5 inches [about 208 mm]; length as 
illustrated about the same.
Media: oil on academy board.
Remarks: This illustration has been published in several 
different venues. In all the reproductions, the color of 
the ?sh and the background have been reproduced much 
brighter than in the original.
P03513?Plate 25 B
Coris venusta Vaillant and Sauvage
Family Labridae
Illustration ?rst published as Hemicoris venusta by Jordan 
and Evermann (1905: color plate 31).
Date illustrated: Apparently painted from life, summer of 
1901, Hawaii.
Length of specimen: 5.75 inches [about 146 mm]; length 
as illustrated, same.
Media: oil on Academy Board.
Remarks: This illustration has been reproduced in several 
different venues. 
P03674?Plate 11 A
Cottiusculus schmidti Jordan and Starks
Family Cottidae
Illustration ?rst published as Cottiusculus schmidti by 
Jordan and Starks (1904:?g. 30).
Date illustrated: probably early 1903 (see P11241, date 
illustrated).
Length of specimen: unknown, but based on the description 
it is less than 92 mm [TL or SL?]. If the scale line with 
illustration equals one-half inch (CBH?s usual denomi-
nation, specimen was about 50 mm TL, or if it equals 
one inch, which he also often used, the specimen was 
about 100 mm TL); length as illustrated, 12.25 inches 
[about 311 mm].
Media: inkwash, lead pencil, white gouache highlights 
on ?ns.
Remarks: CBH indicated his charge as, ?21/8 ? 121/4 = 
261/32 [square inches ? $0.50] = $13.? 
P03723?Plate 11 B
Cottus bairdii Girard
Mottled sculpin, Family Cottidae
Unpublished previously, although remark concerning 
reduction for printing is written on illustration. Name 
written on illustration: Cottus spilotus. Uranidea spilota 
Cope is a junior synonym of Cottus bairdii. Locality: 
Fish Creek, Milwaukee, Wisc.
Date illustrated: after 1905.
Length of specimen: 2.88 inches [about 73 mm]; length as 
illustrated, 8 inches [about 203 mm].
Media: inkwash, lead pencil, white gouache highlights.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse. See discussion of illustrations drawn for Seton. 
P03728?Plate 1 D
Couesius plumbeus (Agassiz)
Lake chub, Family Cyprinidae
Unpublished previously, although remark concerning 
reduction for printing is written on illustration. Name 
written on illustration is Couesius dissimilis.
Date illustrated: 1905.
Length of specimen: 3.3 inches [about 84 mm]; length as 
illustrated, 8 inches [about 203 mm].
Media: inkwash, lead pencil, white gouache.
Remarks: Initials E. T. S. [Ernest Thompson Seton] writ-
ten on reverse side of illustration (see discussion of 
illustrations drawn for Seton). Specimen appears to be 
part of USNM 125198, which contains ?ve specimens 
collected by C. J. Eigenmann in Medicine Hat, Alberta, 
in 1892. The catalog entry contains the remark ?U. S. 
B. F. [United States Bureau of Fisheries] no. 149 drawn 
by Hudson for [Ernest Thompson] Seton.? 
P04008?Plate 25 F
Dendrochirus barberi (Steindachner)
Family Scorpaenidae
Illustration ?rst published as Dendrochirus hudsoni by 
Jordan and Evermann (1905: color plate 73), based 
on the holotype, USNM 50652. Jordan and Evermann 
(1905:465) treated the species as D. barberi (a junior 
synonym) in their text, but did not change the name in 
the legend to the plate.
Date illustrated: painted from life, summer of 1901, Hawaii.
Length of specimen: 1.8 inches [45.7 mm]; length as il-
lustrated, 6 inches [about 153 mm].
Media: oil.
P04040?Plate 16 F
Oncorhynchus tshawytscha (Walbaum)
Chinook salmon, Family Salmonidae
Illustration apparently not published previously.
Date illustrated on or about 16 July 1907, based on a male 
specimen taken in Monterey Bay, Calif.
Length of specimen: 29.62 inches [727 mm]; length as 
illustrated, 8.75 inches [222 mm].
71(4) 99
Media: watercolor, gouache, inkspots.
Remarks: DFSA. A very similar painting, attributed to 
CBH, was published as the frontispiece to California 
Fish and Game, vol. 3, no. 3, 1917. According to K. 
Hashagen, former editor of the journal (in litt., 20 Mar 
2008), the painting is framed, but (surprisingly for a CBH 
color illustration) unsigned and undated, and is held by 
the CDFG, Sacramento. Possibly a mat obscures CBH?s 
signature and date. We know of no subsequent publica-
tion of this painting.
P04042?Plate 15 D
Oncorhynchus mykiss whitei (Evermann)
Rainbow trout, Family Salmonidae
Illustration first published as Salmo whitei, holotype, 
USNM 53065 by Evermann (1906:plate 16). It represents 
a valid subspecies of O. mykiss, O. m. whitei. See also 
discussion in section on ?rst publication in P01500.
Date illustrated: early July 1904, south fork of Kaweah 
River, High Sierras, Calif.
Length of holotype: 7.75 inches [197 mm]; length as il-
lustrated, 8 inches [203 mm].
Media: watercolor, gouache, spots are ink.
Remarks: R. J. Behnke (email, 12 July 08 to VGS), fore-
most authority on the systematics of North American 
salmon and trout, recognizes three subspecies of O. 
mykiss that are more closely related to each other than 
to any other form of O. mykiss: O. m. whitei (Plate 15 
D) of the Little Kern River; O. m. aguabonita (Jordan) 
of the South Fork of the Kern River and Volcano Creek 
(Plate 15 E, F); and O. m. gilberti, ?Rainbow trout? of 
Kern River (Plate 15 A).
P04043?Plate 15 E
Oncorhynchus mykiss aguabonita (Jordan)
Rainbow trout [golden trout of the High Sierras], Family 
Salmonidae
Illustration apparently ?rst and, possibly, only previously 
published as Salmo agua-bonita on a postcard by the 
Steinhart Aquarium of the California Academy of Sci-
ences; date uncertain, but may have been issued at the 
opening of the aquarium in 1923. The original illustra-
tion and a postcard are present in the USNM Division 
of Fishes ?les. 
Date illustrated: between 21 Feb. and 6 Apr. 1907, based 
on year date under CBH?s signature on painting and 
information from Claire H. Brett.149 A label on the 
illustration in CBH?s handwriting indicates that the 
color is from a CBH ?eld sketch, which was based on 
a specimen collected on 23 July 1904. On this date, the 
Evermann expedition to Mt. Whitney was at the South 
Fork of the Kern River (Evermann, 1906:25). The speci-
men on which the outline was based may have been a 
painting made by A. H. Baldwin, although that cannot be 
established with certainty (see also footnote mentioned 
above). Information on catalog number and associated 
locality information indicated on CBH?s label con?ict 
with catalog records. Determining which specimens 
were used as a basis for the illustration is complex, if 
not impossible. 
Length of specimen: 7 inches [178 mm]; length as illus-
trated, 9.5 inches [241 mm].
Media: watercolor, gouache, ink spots.
Remarks: This illustration depicts another example of O. 
mykiss aguabonita (compare with Plate 15 F, P01787).
P04046?Plate 16 A
Oncorhynchus clarkii henshawi (Gill & Jordon)
Cutthroat trout, Family Salmonidae
Illustration ?rst published as Salmo clarki henshawi by 
Ono et al. (1983:plate 5, female); publication, other-
wise, only by Behnke (1986:18, lower ?gure). Form is 
now considered representative of an extinct subspecies, 
Onchorhychus clarkii henshawi (Gill and Jordan).
Date illustrated: from life, June 1904, Lake Tahoe; outline 
based on one specimen, color based on three others. 
Female color pattern.
Length of specimen: 13.88 inches [about 352 mm]; length 
as illustrated, 10 inches [254 mm].
Media: watercolor, gouache, ink spots.
Remarks: DFSA. Considering their interest in salmonids, 
it might seem puzzling why D. S. Jordan or B. W. Ever-
mann did not publish any of the CBH?s three Lake Tahoe 
illustrations (see also P01788 and P04047). We provide 
a possible explanation in the section of our introductory 
narrative entitled ?From Lake Tahoe to the Golden Trout 
of the High Sierras.?
P04047?Plate 16 C
Oncorhynchus clarkii (Richardson)
Cutthroat trout, Family Salmonidae
Illustration ?rst published as Salmo clarki henshawi by 
Ono et al. (1983:plate 5, male); publication, otherwise, 
only by Behnke (1986:18, upper ?gure). Form is now 
considered representative of an extinct subspecies, On-
chorhychus clarkii henshawi (Gill and Jordan). 
Date illustrated: from life, 14 June 1904, Lake Tahoe, out-
line based on one specimen, color based on two others. 
Male color pattern.
Length of specimen: 16.75 inches [about 426 mm]; length 
as illustrated, 10.12 inches [257 mm].
Media: watercolor, gouache, ink spots.
P04054?Plate 15 B
Oncorhynchus mykiss (Walbaum)
Rainbow trout, Family Salmonidae
149Her unpublished manuscript chronology, ?Charles Bradford Hudson? 
mentions letter of 21 Feb. 1907 from B. W. Evermann requesting this paint-
ing, and enclosing a painting in black and white made by [Albertus H.] 
Baldwin [from a presumably preserved specimen] from the South Fork of 
the Kern River, and CBH?s original painting [P04043] from Volcano Creek, 
requesting CBH to make a colored painting based on the Baldwin illustration.
100 Marine Fisheries Review
Illustration apparently ?rst (and only) published as Salmo 
shasta on a postcard issued by the Steinhart Aquarium 
of the California Academy of Sciences; date uncertain, 
but may have been issued at opening of the aquarium in 
1923. The original illustration and a postcard are present 
in the USNM Division of Fishes ?les.
Date illustrated: 1911 based on date under CBH?s signature. 
Specimen was a male collected in Oct. 1910 from ?sh 
bred in Sisson Hatchery, Calif. General coloring from 
male taken from McCloud River, Calif; markings from 
hatchery male.
Length of specimen: 12.33 inches [313 mm]; length as 
illustrated, 8.5 inches [216 mm].
Media: watercolor, gouache, ink spots.
Remarks: A similar painting signed by CBH and dated 
1910, was ?rst published by Evermann and Bryant 
(1919:plate opposite page 114), as Salmo irideus). The 
painting is framed and in the possession of the CDFG, 
Sacramento. 
P04057?Plate 16 E
Salmo salar Linnaeus
Atlantic salmon, Family Salmonidae
Illustration ?rst published as Salmo sebago by Kendall 
(1918:plate 40; breeding male).
Date illustrated: ?Finished Oct. 12, 1904.? Rangely stream, 
Oquassoc, Maine.
Length of specimen: outline based on specimen 19 inches 
[483 mm] long; length as illustrated, 9.5 inches [241 
mm].
Media: watercolor, gouache, ink spots.
Remarks: DFSA.
P04058?Plate 16 D
Salmo salar Linnaeus
Atlantic salmon, Family Salmonidae
Illustration ?rst published as Salmo sebago, by Kendall 
(1918:plate 40; nearly ripe female).
Date illustrated: ?Painting ?nished Nov. 3, 1904.? Rangely 
Lake stream, Oquassoc, Maine.
Length of specimen: CBH indicated length of specimen 
no. 01355, as ?outline 163/4? [476 mm] long,? and on a 
second label, as ?19 inches [483 mm] long,? and further 
indicated that the color was from a specimen, ?01358, 
231/2 [570 mm] long.? Length as illustrated, 9.5 inches 
[241 mm].
Media: watercolor, gouache, ink spots.
P04059?Plate 17 A
Salvelinus alpinus (Linnaeus)
Arctic char, Family Salmonidae
Illustration ?rst published as Salvelinus oquassa by Kendall 
(1918:plate 41).
Date illustrated: 10?18 Oct. 1904, breeding female, 
Rangely stream, Oquassoc, Maine. 
Length of specimen: CBH indicated length of specimen 
used for outline as 15 inches [381 mm] on one label 
and on another as 15.2 inches [386 mm]. Color was 
from specimen 16 7/8 inches [429 mm] long. Length as 
published, 9.5 inches [241 mm].
Media: watercolor, gouache, some lead pencil.
P04061?Plate 17 E
Salvelinus aureolus Bean
Sunapee trout, Family Salmonidae
Illustration ?rst published as ?White Trout [Salvelinus 
aureolus] by Kendall (1914:plate 9), indicated as ?Breed-
ing Female.?
Date illustrated: outline based on one specimen, 21 Nov. 
1904, color from another, 26 Nov. 1904, past breeding 
female; Sunapee Lake, N.H.
Length of specimen used for outline: 17.5 inches [about 445 
mm]; specimen used for color, 17.125 inches [435 mm]
Media: watercolor, gouache, ink.
P04062?Plate 17 F
Salvelinus aureolus Bean
Sunapee trout, Family Salmonidae
Illustration ?rst published as ?White Trout [Salvelinus 
aureolus] by Kendall (1914:plate 8), indicated as ?Breed-
ing Male.?
Date illustrated: outline based on one specimen, 19 Nov. 
1904, color based on another specimen, 20 Nov. 1904; 
Sunapee Lake, N.H.
Length of specimen used for outline: 15.5 inches [394 mm]; 
specimen used for color, ?166/8? inches [about 424 mm]; 
length as illustrated, 9.75 inches [248 mm].
Media: watercolor, gouache, ink.
P04064?Plate 18 B
Salvelinus namaycush (Walbaum)
Lake trout, Family Salmonidae
Illustration ?rst published as Cristivomer namaycush by 
Jordan and Evermann (1911:plate 1).
Date illustrated: outline based on specimen from Lake 
Michigan off Berrien Co, Mich., 18 July 1906; color 
from specimens taken on shoals off St. Ignace, Mich. 
(Lake Huron) 24 Sept. 1906.
Length of specimen used for outline: 25.5 inches [648 mm]; 
length as illustrated, 8.5 inches [140 mm].
Media: watercolor, gouache, lead pencil.
P04070?Plate 17 B
Salvelinus alpinus (Linnaeus)
Arctic char, Family Salmonidae
Illustration apparently not published previously. Name 
on illustration, Salvelinus marstoni [Garman = S. 
alpinus].
Date illustrated: outline apparently based on specimen 
drawn 2 Dec. 1904; [color] from another specimen; 
?nished 4 Dec 1904. Specimens were ?Young, about 3 
71(4) 101
years old. Hatched from eggs of wild ?sh, at St. John-
sbury, Vt.?
Length of specimen used from outline: 12.25 inches [311 
mm]; specimen apparently used for color, 13.75 inches 
[349 mm] long. Length as illustrated, 9.5 inches [241 
mm].
Media: watercolor, gouache, ink, some lead pencil.
Remarks: DFSA.
P04071?Plate 17 C
Salvelinus alpinus (Linnaeus)
Arctic char, Family Salmonidae
Illustration apparently not published previously. Name 
on illustration, Salvelinus marstoni [Garman = S. al-
pinus].
Date illustrated: outline drawn 12 Nov. 1904, based on one 
specimen; color based on another specimen; illustration 
?nished 16 Nov. 1904. Male past breeding. Fish were 
from U.S. ?sh hatchery, St. Johnsbury, Vt., transferred 
to Nashua, N.H., where painting was done. 
Length of specimen used for outline: 14.5 inches [368 mm]; 
male specimen used for color, 15.2 inches [386 mm]; 
length as illustrated, 9.5 inches [241 mm].
Media: watercolor, gouache, ink, some lead pencil.
Remarks: DFSA.
P04072?Plate 17 D
Salvelinus alpinus (Linnaeus)
Arctic char, Family Salmonidae
Illustration apparently not published previously. Name 
on illustration, Salvelinus marstoni [Garman = S. al-
pinus].
Date illustrated: outline drawn 29 Nov. 1904, based on one 
specimen, color based on another specimen, ?nished 1 
Dec. 1904. Female past breeding. Fish were from U.S. 
?sh hatchery, [St. Johnsbury, Vt.] transferred to Nashua, 
N.H., where painting was done. 
Length of specimen used for outline: 15.2 inches [386 mm]; 
female specimen used for color, 13 inches [330 mm]; 
length as illustrated, 9.5 inches [241 mm].
Media: Watercolor, gouache, ink, some lead pencil.
Remarks: DFSA.
P04073?Plate 18 A
Salvelinus fontinalis (Mitchell)
Brook trout, Family Salmonidae
Illustration ?rst published as Salvelinus fontinalis by Ken-
dall (1918:plate 42, female). 
Date illustrated: unknown; probably 1904 based on other 
Rangeley Lakes illustrations; disposition of original il-
lustration unknown. 
Length of specimen: 16.5 inches [419 mm]; length as 
illustrated, unknown, but probably about nine inches 
[229 mm], in keeping with other CBH Rangeley Lakes 
illustrations.
Media: probably watercolor, gouache.
Remarks: CBH illustrated a male of this species in 1910, 
probably based on a specimen from California. The paint-
ing, which is framed, is in a CDFG of?ce, Sacramento. 
It was ?rst published as the frontispiece, unassociated 
with an article, in a 1917 issue of California Fish and 
Game, vol. 3, no. 1.
P04163?Plate 14 D
Decapterus punctatus (Cuvier)
Round scad, Family Carangidae
Illustration ?rst published as Decapterus punctatus by 
Evermann and Marsh (1900:plate 8).
Date illustrated: 10 Oct. 1896, based on dead specimen 
from Woods Hole, Mass.
Length of specimen: 5.69 inches [about 144 mm]; length 
as illustrated, 5.75 inches [146 mm].
Media: watercolor, white gouache, a little lead pencil and 
ink.
Remarks: Previously framed.
P04272?Plate 6 C
Neoclinus bryope (Jordan and Snyder)
Family Chaenopsidae
Illustration ?rst published as Zacalles bryope by Jordan 
and Snyder (1902b:?g. 3). 
Date illustrated: after summer of 1900 (when collected) 
and before 26 Sept. 1902 (when published).
Length of specimen: 2.75 inches [about 70 mm]; length as 
illustrated, 16 inches [about 406 mm].
Media: inked lines and stipples.
Remarks: CBH ?gured his charge as, ?2? ? 16? [= 32 square 
inches, @ 0.50 =] $16.00.?
P04361?Plate 9 J
Sicyopterus stimpsoni (Gill)
Family Gobiidae
Illustration ?rst published as Vitraria clarescens by Jordan 
and Evermann (1905: black and white plate 60), based 
on holotype, USNM 50655.
Date illustrated: between the summer of 1901 (when col-
lected) and 29 July 1905 (when published).
Length of holotype: about 1.2 inches [about 30.5 mm]; 
length as illustrated, 16.5 inches [419 mm].
Media: inkwash and white gouache.
Remarks: This ?gure was reproduced from the published 
?gure in Jordan and Evermann (1905: black and white 
plate 60). The original ?gure is present in the USNM 
illustration ?les.
P04503?Plate 8 D
Upeneus arge Jordan and Evermann
Family Mullidae
Illustration ?rst published as Upeneus arge by Jordan and 
Evermann (1905: black and white plate 39), who, we 
believe, erroneously indicated that it was based on the 
?type? [= holotype], USNM 50667, Honolulu, Hawaii 
102 Marine Fisheries Review
(see discussion below on length of specimen), which was 
given the ?eld number 02999.
Date illustrated: between summer of 1901 (when collected) 
and 29 July 1905 (when published).
Length of specimen: Jordan and Evermann (1903:188) 
wrote that the type was 8.5 inches long. Handwriting 
(B. W. Evermann?s?) on the margin of the illustration 
includes, in order, the species name, ?type? [which 
someone has crossed out], ?Honolulu,? ?10.25,? and [a 
few illegible marks]?. The only other information on 
the illustration is a label in someone else?s handwriting 
stating ?type? number as ?3954, Field Col[lection?]. 
Mus. [which Jordan and Evermann, 1903:188, indicated 
was the ?nal disposition of a cotype 10.25 inches long, 
with the ?eld number 03795]. Based on interpretation 
of CBH?s undenominated scale line on the illustration as 
representing 0.5 inch (which it represents in many of his 
illustrations), we calculated that the specimen, which was 
illustrated as 9 inches long, to be 10.28 inches long, well 
within a reasonable margin of error. We conclude that 
Jordan and Evermann (1905) were in error in indicating 
that this illustration was based on the holotype.
Media: inkwash, gouache, and lead pencil.
P04554?Plate 6 A
Enneapterygius etheostomus (Jordan and Snyder)
Family Tripterygiidae
Illustration ?rst published as Tripterygion etheostoma by 
Jordan and Snyder (1902b:?g. 1).
Date illustrated: after summer of 1900 (when collected) 
and before 26 Sept. 1902 (when published).
Length of specimen: 2.55 inches [about 65 mm]; length as 
illustrated, 11 inches [about 280 mm].
Media: inked lines and stipples.
P04556?Plate 6 B
Springerichthys bapturus (Jordan & Snyder)
Family Tripterygiidae
Illustration ?rst published as Tripergion [Tripterygion] 
bapturum by Jordan and Snyder (1902:?g. 2), based on 
the holotype, CAS-SU 7066.
Date illustrated: after summer of 1900 (when collected) 
and before 26 Sept. 1902 (when published).
Length of specimen: 2 inches [50 mm]; length as illustrated, 
13 inches [about 330 mm].
Media: inked lines and stipples; ?ne white gouache used 
to interrupt inked lines of ?n rays and to indicate seg-
mented ?n-rays.
P04925?Plate 25 E
Thalassoma duperrey (Quoy & Gaimard)
Family Labridae
Illustration ?rst published as Thalassoma duperrey by 
Jordan an Evermann (1905: color plate 35).
Date illustrated: from a live or fresh specimen, summer 
1901.
Length of specimen: 6.75 inches [about 171 mm]; length 
as illustrated, 7 inches [178 mm].
Media: oil.
P05171?Plate 14 F
Sander vitreus (Mitchill)
Walleye, Family Percidae
Illustration apparently not published previously. 
Date illustrated: 1905, apparently from life or a fresh speci-
men, Georgian Bay, Ontario. Indicated as collected by 
CBH.
Length of specimen: 18.88 inches [479 mm]; length as 
illustrated, 8 inches [203 mm].
Media: watercolor and gouache.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse side of illustration (see discussion of illustrations 
drawn for Seton).
P05663?Plate 4 E
Scuticaria tigrina (Lesson)
Tiger reef eel, Family Muraenidae
Illustration ?rst published as Scuticaria tigrina by Jordan 
and Evermann (1905: black and white plate 22).
Date illustrated: between summer of 1901, when collected, 
and 10 Nov. 1902, when noted as having been received 
from D. S. Jordan (see remarks under P11719).
Length of specimen: 40 inches (about 1.02 m); length as 
illustrated, 24 inches [588 mm], includes curvature.
Media: Inkwash and a little white gouache.
Remarks: CBH ?gured his charge: ?7/8? ? 24? [= 21square 
inches, at $0.50 per square inch =] $10.50?
P05890?Plate 24 B
Scomber scombrus (Linnaeus)
Atlantic mackerel, Family Scombridae
Apparently not published previously.
Date illustrated: drawn from life, 15 Oct. 1896, Woods 
Hole, Mass.
Length of specimen: unknown; length as illustrated, 9.25 
inches [about 235 mm].  
Media: watercolor and gouache.
Remarks: Previously framed.
P05934?Plate 11 C
Porocottus allisi (Jordan and Starks)
Family Cottidae
Illustration ?rst published as Crossias allisi by Jordan 
and Starks (1904:?g. 28), probably based on holotype, 
CAS-SU 7711 
Date illustrated: probably early 1903 (see P11241, date 
illustrated).
Length of holotype published as 77 mm (length about 73 
mm, based on scale line accompanying illustration; 
paratypes all indicated as 68 mm or shorter; see also 
P11241, length of specimen); length as illustrated, 12 
inches [about 305 mm].
71(4) 103
Media: inkwash, gouache, and lead pencil.
Remarks: CBH ?gured his charge as: ?27/8? ? 12? = 34.5 
sq. [@ 0.50] = $17.25.?
P06626?Plate 2 C
Gila bicolor (Girard)
Tui chub, Family Cyprinidae
Illustration first published as Rutilus columbianus by 
Snyder (1908:?g. 4, the holotype, USNM 55595).
Date illustrated: between 20 July 1904 (based on date of 
collection) and before 28 Sept. 1908 (based on date of 
publication).
Length of specimen: 136 mm TL (we remeasured at 132 
mm, but part of caudal ?n is missing); length as illus-
trated, about 191 mm.
Media: inkwash, gouache, some lead pencil.
P06627?Plate 2 D
Gila bicolor (Girard)
Tui chub, Family Cyprinidae
Illustration ?rst published as Rutilus oregonensis by Snyder 
(1908:?g. 3, the holotype, USNM 55596).
Date illustrated: after July 1904 (based on date of col-
lection) and before 28 Sept. 1908 (based on date of 
publication).
Length of specimen: 202 TL (we remeasured and agree); 
length as illustrated, about 197 mm.
Media: inkwash, gouache, some pencil.
P06885?Plate 12 D
Neomerinthe beanorum (Evermann and Marsh)
Family Scorpaenidae
Illustration ?rst published as Pontinus beanorum by Ever-
mann and Marsh (1900:?g. 85), based on the holotype, 
USNM 49534.
Date illustrated: between 13 Jan. 1899 (when collected) 
and 11 Sept. 1900 (when B. W. Evermann approved the 
illustration; as entered on illustration).
Length of specimen: 5.5 inches [about 140 mm]; length as 
illustrated, 10.81 inches [about 275 mm].
Media: ink stipples.
P07159?Plate 21 E
Epinephelus itajara (Lichtenstein)
Goliath grouper, Family Serranidae
Illustration not previously published. Label on illustra-
tion reads, ?Promicrops guttatus, juv.,? an old, errone-
ous identi?cation, but clearly this is a juvenile of E. 
itajara.
Date illustrated: unknown, but undoubtedly done in Key 
West, Fla., 1897, based on other CBH Key West illus-
trations. Other evidence is that the illustration shows 
stains of having been framed, which we found only on 
illustrations of ?shes done at Key West and Woods Hole, 
and the species does not occur at Woods Hole, but does 
occur at Key West (see also remarks, below).
Length of specimen unknown; length as illustrated, 9.12 
inches [231 mm].
Media: watercolor and inkwash.
Remarks: Previously framed. Although CBH did not sign 
and date any of his colored paintings done in Key West, 
this illustration is unusual in not bearing a Bureau of 
Fisheries label attributing it to CBH or including a date 
and place where the specimen was obtained. A handwrit-
ten number, ?1223 color? on the reverse of the illustration 
corresponds to a number for this species in the U.S. Fish 
Commission Tag Number Ledger, which states that CBH 
collected this specimen, and the only place where CBH 
worked and where the species occurs was Key West. 
P07188?Plate 12 C
Pteropsaron incisum Gilbert
Family Percophidae
Illustration ?rst published as Pteropsaron incisum, by 
Gilbert (1905:plate 87), who indicated it was based 
on the holotype, but it is actually based on a paratype, 
USNM 51659.
Date illustrated: between Mar.?Aug. 1902 and 12 Feb. 1903 
(see P01735, date illustrated).
Length of specimen: 2 inches [about 50 mm] based on 
scale line on illustration; length as illustrated, about 
305 mm.
Media: inkwash, white gouache, and lead pencil.
P07220?Plate 11 D
Pseudoblennius zonostigma Jordan and Starks
Family Cottidae
Illustration ?rst published as Pseudoblennius zonostigma 
by Jordan and Starks (1904:?g. 35), based on either the 
holotype, CAS SU 7718, or one of the two paratypes, 
USNM 50927. See discussion in Length of specimen 
section (below).
Date illustrated: probably early 1903 (see P11241, date 
illustrated).
Length of specimen: Jordan and Starks had three specimens. 
The holotype, CAS-SU 7718, stated as being 105 mm 
(Jordan almost always used TL), and two paratypes, one, 
120 mm, probably also at Stanford, and USNM 50927, 
which we measured as 108 mm TL. When CBH entered 
a factor with his scale lines, it was either 0.5 inch [12.7 
mm] or 1 inch [25.4 mm]. Using these factors resulted 
in our ?nding that the illustration represented a specimen 
that was either 106.7 mm or 213 mm TL. Although our 
conversion factor for 0.5 inch places the length of the il-
lustrated specimen slightly closer in length to the USNM 
specimen than to the holotype, we think that a margin 
of error makes it impossible to attribute the drawing to 
either the holotype or USNM paratype (see also P11241, 
length of specimen); treating the scale as 1 inch indicates 
a size much larger than any of the three specimens. 
Length as illustrated, 10.7 inches [about 272 mm].
Media: Inkwash, white gouache, and lead pencil.
104 Marine Fisheries Review
Remarks: CBH indicated his charge as: ?23/8? ? 103/4? [=] 
25.53 sq. in [$0.50 =] $12.76.?
P07225?Plate 10 D
Pseudocheilinus evanidus Jordan and Evermann
Family Labridae
Illustration ?rst published as Pseudocheilinus evanidus by 
Jordan and Evermann (1905: black and white plate 43), 
based on holotype, USNM 50678.
Date illustrated: 1903 (indicated by CBH on label pasted 
to illustration).
Length of holotype; 3.25 inches [82.6 mm]; length as il-
lustrated, 9.5 inches [241 mm]. Jordan and Evermann 
(1903:192, 1905:317) did not give the length of the 
holotype. But in the list of illustrations (Jordan and Ev-
ermann (1905:xiv), they gave the length as 3.25 inches, 
and indicate the specimen was collected by themselves. 
In both the 1903 and 1905 descriptions, however, they 
indicate that Mr. Sindo is the collector. The data in the 
illustration list was apparently taken from CBH?s label, 
which gives the length and implies that Jordan and 
Evermann were the collectors. CBH was probably un-
aware of the information in the descriptions and Jordan 
and Evermann (1905), considering other errors in their 
illustration lists, did not read, or did not have, the op-
portunity to read, proof on their publication.
Media: Inkwash, white gouache, lead pencil.
P07351?Plate 6 H
Pungitius pungitius (Linnaeus)
Ninespine stickleback, Family Gasterosteidae
Unpublished previously, although remark concerning re-
duction for printing is written on illustration. Name on 
illustration is Pygosteus pungitius. 
Date illustrated: 1905.
Length of specimen: 1.83 inches [about 46.5 mm]; length 
as illustrated, 8 inches [about 203 mm].
Media: Inkwash, a little white gouache, lead pencil.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse side of illustration (see discussion of illustrations 
drawn for Seton).
P07976? Plate 23 A
Urophycis tenuis (Mitchill)
White hake, Family Phycidae
Apparently not published previously.
Date illustrated: drawn from life, 25 Nov. 1896. Woods 
Hole, Mass.
Length of specimen: 12.12 inches [308 mm]; length as 
illustrated, 9 inches [229 mm].
Media: watercolor, gouache, ink.
Remarks: Previously framed.
P08158?Plate 1 A
Pimephales promelas (Ra?nesque)
Fathead minnow, Family Cyprinidae
Unpublished previously, although remark concerning re-
duction for printing is written on illustration. Name on 
illustration is Pimephales promelas.
Date illustrated: probably 1905 (see remarks under 
P03728).
Length of specimen: 2.75 inches [70 mm]; length as il-
lustrated, 8.0 inches [about 203 mm].
Media: inkwash, lead pencil, white gouache highlights.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse side of illustration (see discussion of illustra-
tions for Seton).
P08206?Plate 14 B
Caranx hippos (Linnaeus)
Crevalle jack, Family Carangidae
Illustration ?rst published as Caranx hippos by Murdy et 
al. (1997:plate 23).
Date illustrated: drawn from life 1 Apr. 1897 (erroneously 
indicated as 1898 on illustration; see footnote under 
XX001), outline from one specimen and color from 
another (latter now cataloged as 169929 in the USNM 
?sh collection); Key West, Fla.
Length of specimen: specimen used for outline 12.62 inches 
[321 mm]; length as illustrated, 9.25 inches [235 mm].
Media: watercolor, gouache, and ink.
Remarks: Previously framed. 
P08510?Plate 12 F
Aulotrachichthys prosthemius (Jordan & Fowler)
Family Trachichthyidae
Illustration ?rst published as Paratrachichthys prosthemius 
by Jordan and Fowler (1902:?g. 1), based on holotype, 
USNM 50575.
Date illustrated: between 16 May 1900 (when collected) 
and 25 Nov. 1902 (when published).
Length of holotype: 2.4375 inches [61.9 mm]; length as 
illustrated, 10.125 inches [257 mm].
Media: gouache and some lead pencil.
Remarks: CBH indicated his charge as ?27/8? ? 10? [= 28.75 
square inches @ $0.50 =] $14.37.?
P08657?Plate 26 F
Paracirrhites arcatus (Cuvier)
Family Cirrhitidae
Illustration ?rst published as Paracirrhites arcatus, by 
Jordan and Evermann (1905: color plate 69).
Date illustrated: from live specimen, summer of 1901, 
Honolulu, Hawaii.
Length of specimen: 4.12 inches [105 mm]; length as il-
lustrated, same.
Media: Oil on board.
Remarks: P08657 and P08658 are on the same piece of 
board. CBH was probably trying to conserve materials.
P08658?Plate 26 E
Cirrhitops fasciatus (Bennett)
Family Cirrhitidae
71(4) 105
Illustration ?rst published as Paracirrhites cinctus by 
Jordan and Evermann (1905: color plate 68).
Date illustrated: from live specimen, summer of 1901, 
Honolulu, Hawaii.
Length of specimen: about 3.8 inches [about 96 mm]; length 
as illustrated, same.
Media: Oil on board. 
Remarks: P08658 and P08657 are on the same piece of 
board. CBH was probably trying to conserve materials.
P08659?Plate 26 C
Paracirrhites forsteri (Schneider)
Family Cirrhitidae
Illustration ?rst published as Paracirrhites forsteri by 
Jordan and Evermann (1905: color plate 67).
Date illustrated: from life, summer of 1901.
Length of specimen: 7 inches [178 mm]; length as illus-
trated, 6 inches [153 mm].
Media: Oil on board.
P08697?Plate 11 E
Ocynectes maschalis Jordan and Starks
Family Cottidae
Illustration ?rst published as Ocynectes maschalis by 
Jordan and Starks (1904:?g. 34), probably based on 
holotype, CAS-SU 7717.
Date illustrated: probably early 1903 (see P11341, date 
illustrated).
Length of specimen: holotype published as 55 mm, not 
exceeded by any paratype. Based on scale line accompa-
nying illustration we calculated the length as 53.3 mm, 
within a small range of error (see also P11241, length of 
specimen). Length as illustrated, 12 inches (305 mm].
Media: inkwash and white gouache.
Remarks: CBH calculated his charge as: ?21/2? ? 12? = 30 
sq. in (@ $0.50 [=] $15.00.?
P08787?Plate 19 D
Osmerus mordax (Mitchill)
Rainbow smelt, Family Osmeridae
Apparently not published previously.
Date illustrated: backside of illustration, in CBH?s handwrit-
ing, ?Woods Hole, Mass., Sept. 30, 1896. Taken on sandy 
or gravel bottom nearly white. Chas. B. Hudson.?
Length of specimen: not provided no scale line included; 
length as illustrated, 9 inches [229 mm].
Media: watercolor and ink; backside of illustration board 
bears stamp: Fred A. Schmidt, No. 504 9th Street, 
Washington, D.C., Artists? & Draughtmen?s Materials 
& Stationers.
Remarks: Previously framed.
P08806?Plate 5 E
Ostichthys japonicus (Cuvier)
Family Holocentridae
Illustration ?rst published as Ostichthys japonicus by 
Jordan and Fowler (1902:?g. 2). 
Date illustrated: between end of summer 1900 (when col-
lected) and 25 Nov. 1902 (when published).
Length of specimen: 13.25 inches [about 325 mm]; length 
as illustrated, 10.5 inches [about 267 mm].
Media: inked lines and stipples; ?ne white gouache used to 
break ink lines of ?n rays into tiny segments.
P08857?Plate 4 B
Oncorhynchus keta (Walbaum)
Chum salmon, Family Salmonidae
Illustration ?rst published as Oncorhynchus keta by Jordan 
and Snyder (1902c:?g. 2).
Date illustrated: between end of summer, 1900 (when col-
lected) and 25 Mar. 1902 (when published).
Length of specimen: unknown; length as illustrated, 11 
inches (about 279 mm).
Media: inked lines and stipples.
Remarks: CBH indicated his charge as, ?27/8? ? 11? [= 31.62 
square inches ? $0.50] = [$]15.80.?
P09228?Plate 12 A
Chrionema chryseres Gilbert
Family Percophidae 
Illustration ?rst published as Chrionema chryseres by 
Gilbert (1905:plate 85) based on the holotype, USNM 
51655.
Date illustrated: between Mar.?Aug. 1902 and 12 Feb. 1903 
(see P01735, date illustrated).
Length of holotype: 206 mm; length as illustrated, 308 
mm. 
Media: inkwash, ink, white gouache, some lead pencil.
P09407?Plate 1 C
Notropis atherinoides (Ra?nesque)
Emerald shiner, Family Cyprinidae
Unpublished previously, although remark concerning re-
duction for printing is written on illustration. Name on 
illustration is Notropis atherinoides.
Date illustrated: 1905.
Length of specimen: 2.78 inches [about 73 mm]; length as 
illustrated, 8 inches [about 203 mm].
Media: inkwash, lead pencil, white gouache highlights.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse side of illustration (see discussion of illustrations 
drawn for Seton).
P09413?Plate 1 F
Notropis bifrenatus (Cope)
Bridle shiner, Family Cyprinidae
Unpublished previously, although remark concerning re-
duction for printing is written on illustration. Name on 
illustration is Notropis cayuga. 
Date illustrated: probably 1905 (see remarks under 
P03728).
106 Marine Fisheries Review
Length of specimen: 1.81 inches [about 46 mm]; length as 
illustrated, 8 inches [about 203 mm].
Media: inkwash, lead pencil, white gouache highlights.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse (see discussion of illustrations drawn for 
Seton).
P09436?Plate 2 A
Notropis blennius (Girard)
River shiner, Family Cyprinidae
Unpublished previously, although remark concerning re-
duction for printing is written on illustration. Name on 
illustration is Notropis jejunus.
Date illustrated: 1905.
Length of specimen: 2.31 inches [about 58.7 mm]; length 
as illustrated, 8 inches [about 203 mm].
Media: inkwash, lead pencil, white gouache.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse side of illustration (see discussion of illustrations 
drawn for Seton).
P09474?Plate 10 E
Halichoeres bleekeri Steindachner and D?derlein
Family Labridae
Ilustration ?rst published as Halichoeres tremebundus by 
Jordan and Snyder (1902a:?g. 8).
Date illustrated: between late 1901 and 18 Jan. 1902 (see 
P03497, date illustrated).
Length of specimen: uncertain, about 3.85 inches [97.8 
mm] if scale line accompanying ?gure represents one 
inch (CBH gave inch measurements in those instances 
where he indicated what his scale lines represented). 
Illustration could represent holotype (CAS-SU 6853), 
which Jordan and Snyder stated was about 100 mm. 
Length as illustrated, 10 inches (254 mm].
Media: inked lines and stipples.
Remarks: CBH indicated his charge as: ?21/8? ? 10? 
[= 21.25 inches @ $0.50 =] $10.62.?
P09548?Plate 5 B
Myripristis amaena (Castelnau)
Family Holocentridae
Illustration ?rst published as Myripristis argyromus by 
Jordan and Evermann (1905:black and white plate 27). 
The illustration is purportedly based on the type (= 
holotype; USNM 50631, 9.5 inches long, from Hilo, 
Hawaii), and the caption to plate 27 also indicates it 
portrays the type. CBH?s label on the drawing, how-
ever, indicates it is based on a different specimen (a 
cotype = paratype, 9 inches long, from Honolulu). 
To complicate matters, in the list of black and white 
plates (Jordan and Evermann, 1905:xiii), plate 27 is 
indicated as based on the holotype, 9 inches long, col-
lected at Honolulu by Jordan and Evermann in 1902 
[sic]. It can be determined from information in Jordan 
and Evermann (1903), which includes the original 
description of M. argyromus, that the specimen CBH 
painted was collected by Jordan and Evermann in 
Honolulu in 1901. 
Date illustrated: either this specimen, or P09557 (both 
were collected in 1901 in Hawaii) was completed about 
21 Apr. 1903, according to CBH letter of that date to D. 
S. Jordan150; otherwise (for either specimen), between 
summer of 1901 (when collected) and 29 July 1905 
(when published).
Length of specimen: 9 inches [about 229 mm]; length as 
illustrated: 9.5 inches [about 241 mm]
Media: inkwash and white gouache.
P09557?Plate 5 A
Myripristis amaena (Castelnau)
Family Holocentridae
Illustration ?rst published as Myripristis symmetricus by 
Jordan and Evermann (1905: black and white plate 26), 
based on the holotype, USNM 50632.
Date illustrated: see date illustrated under P09548. 
Length of specimen: 5.5 inches [about 140 mm]; length as 
illustrated, 8.25 inches [about 210 mm].
Media: inkwash and white gouache.
P09660?Plate 22 A
Mycteroperca bonaci (Poey)
Black grouper, Family Serranidae
Illustration apparently not published previously.
Date illustrated: ?Drawn from life,? Key West, Fla., 21 
Jan. 1897. 
Length of specimen: 27.5 inches [about 700 mm]; length 
as illustrated, 9.24 inches [about 235 mm].
Media: watercolor and gouache.
Remarks: Outline [measurement, details] based on one 
specimen and color taken from two others. This appears 
to indicate that the specimen from which the outline was 
taken was not alive and, perhaps, that the two specimens 
from which the color was taken, were held in aquaria. We 
suspect that making measurements and ?n-ray counts on 
a live specimen about 700 mm in length would present 
considerable dif?culty. Illustration shows evidence of 
having been framed.
P09663?Plate 4 A
Mycteroperca venenosa (Linnaeus)
Yellow?n grouper, Family Serranidae
Illustration originally published as Mycteroperca bowersi 
by Evermann and Marsh (1900:?g. 45), based on holo-
type, USNM 49530.
Date illustrated: between 10 Feb. 1899 (when collected) 
and 15 Sept. 1900 (when B. W. Evermann approved 
illustration).
150?I have ?nished Myripristis and will send it to Dr. Evermann tomorrow 
morning.? Stanford University Libraries, Department of Special Collec-
tions, SC 058, D. S. Jordan, Series I-A , Box 36, Folder 357,
71(4) 107
Length of holotype: 21.5 inches [546 mm]; length as il-
lustrated, 9.25 inches [235 mm].
Media: inked lines and stipples.
P09681?Plate 21 F
Mycteroperca venenosa (Linnaeus)
Yellow?n grouper, Family Serranidae
Illustration apparently not published previously.
Date illustrated: 27 Jan. 1897, Key West, Fla. Outline 
indicated from one specimen; possibly another used 
for color.
Length of specimen: 22.62 inches [575 mm]; length as 
illustrated, 9.5 inches [241 mm].
Media: watercolor, a little gouache and lead pencil.
Remarks: Previously framed. DFSA.
P10047?Plate 7 B
Draconetta xenica (Jordan and Fowler)
Family Draconettidae
Illustration ?rst published as Draconetta hawaiiensis by 
Gilbert (1905:plate 91), based on holotype, USNM 
51633.
Date illustrated: probably between early summer and mid 
Oct. 1902 (see P02328, date illustrated).
Length of holotype: 2 inches [50.8 mm]; length as illus-
trated, 10 inches (254 mm].
Media: inkwash, lead pencil, white gouache highlights.
Remarks: CBH indicated his charge as ?11/8? ? 10? [= 11.25 
square inches ? $0.50 =] $5.62.?
P10048?Plate 7 A
Draconetta xenica Jordan and Fowler
Family Draconettidae
Illustration ?rst published as Draconetta xenica by Jordan 
and Fowler (1903a:?g. 1), based on the holotype, USNM 
50816.
Date illustrated probably between early summer and mid 
Oct. 1902 (see P02328).
Length of holotype: ?2 9/16 inches,? according to 
Jordan and Fowler (1903a:940) or ?21/2 inches,? ac-
cording to Jordan and Fowler (1903a:941); therefore 
about 63.5 mm; length as illustrated, 14 inches [about 
356 mm].
Media: inkwash, lead pencil, white gouache.
Remarks: CBH indicated his charge as ?17/8? ? 14? [= 26.25 
square inches =] $12.25.? Inasmuch as he was receiving 
$0.50 per square inch, he should have charged $13.12.
P10343?Plate 6 F
Emblemaria pandionis (Evermann & Marsh)
Sail?n blenny, Family Chaenopsidae
Illustration ?rst published as Emblemaria pandionis by 
Evermann and Marsh (1900:?g. 104), based on the 
holotype, USNM 49535.
Date illustrated: between 08 Feb. 1899 (when collected) 
and 29 Dec. 1900 (when published).
Length of specimen: 1.5 inches [38.1 mm]; length as il-
lustrated, 8.75 inches [about 222 mm].
Media: inked stipples.
P10448?Plate 21 A
Epinephelus adscensionis (Osbeck)
Rock hind, Family Serranidae
Illustration ?rst published as Epinephelus adscensionis by 
Evermann and Marsh (1900:plate 11).
Date illustrated: 1897, Key West, Fla.
Length of specimen: 13.5 inches [343 mm]; length as il-
lustrated, 9.44 inches [240 mm].
Media: watercolor and a little gouache.
Remarks: Previously framed. DFSA.
P10475?Plate 21 B
Epinephelus guttatus (Linnaeus)
Red hind, Family Serranidae
Illustration ?rst published as Epinephelus maculosus by 
Evermann and Marsh (1900:plate 13); text, however, 
used Epinephelus guttatus when listing the species and 
referring to the plate.
Date illustrated: 1897, Key West, Fla.
Length of specimen: 14.5 inches [368 mm]; length as il-
lustrated, 9.5 inches [241 mm].
Media: watercolor and a little gouache.
Remarks: Previously framed. DFSA.
P10482?Plate 21 D
Epinephelus morio (Valenciennes)
Red grouper, Family Serranidae
Illustration ?rst published as Epinephelus morio by Ever-
mann and Marsh (1900:plate 14).
Date illustrated: Drawn from life, 15 Jan 1897, Key West, 
Fla. Outline based on one specimen, color from another.
Length of specimen used for outline: 17.75 inches [451 
mm]; length as illustrated, 9.69 inches [246 mm].
Media: watercolor and a little gouache.
Remarks: Previously framed.
P10567?Plate 9 C
Ernogrammus hexagrammus (Schlegel)
Family Stichaeidae
Illustration ?rst published as Ernogrammus hexagrammus, 
by Jordan and Snyder (1902b:?g. 23).
Date illustrated: between summer of 1900 (when collected) 
and 26 Sept. 1902 (when published).
Length of specimen: about 4.72 inches [120 mm]; length 
as illustrated, 16 inches [406 mm].
Media: inked lines and stipples.
Remarks: CBH indicated his charge as: ?25/8? ? 16? [= 42 
square inches ? $0.50 =] $21.00.?
P11005?Plate 6 G
Mugil cephalus Linnaeus
Striped mullet, Family Mugilidae
108 Marine Fisheries Review
Illustration apparently published here for the ?rst time, 
although the words ?reduce to? without indication of 
how much is written on front of illustration. Specimen 
indicated as Stanford Univ. 6223 [= CAS-SU 6223], 
which was collected in Jan. 1896. Name on illustration: 
Mugil rammelsbergi.
Date illustrated: After 1 Jan. 1896 [when collected], prob-
ably after 1901, when CBH ?rst moved to California.
Length of specimen: 7.75 inches [about 197 mm]; length 
as illustrated, 7.9 inches [about 202 mm]
Media: inkwash and white gouache.
P11040?Plate 1 B
Moxostoma anisurum (Ra?nesque)
Silver redhorse, Family Catostomidae
Unpublished previously, although remark concerning re-
duction for printing is written on illustration. 
Date illustrated: 1905. Slough of Mississippi River at 
Muscatine, La.
Length of specimen: 6.15 inches [about 154 mm]; length 
as illustrated, 9 inches [about 229 mm].
Media: inkwash and lead pencil.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse side of illustration (see discussion of illustrations 
drawn for Seton).
P11183?Plate 4 D
Pseudobagrus ransonnettii Steindachner
Family Bagridae
Illustration ?rst published as Fluvidraco ransonnetii by 
Jordan and Fowler (1903b:?g. 1).
Date illustrated: Between summer of 1900 (when col-
lected) and 12/5/02 (when ?B. A. B.? [= Barton A. 
Bean151], assistant curator, USNM, approved payment 
for the illustration. Springer (2001: last paragraph on 
page 46 et seq.) noted that an author could ask that 
someone at the museum oversee production of an il-
lustration to accompany a publication scheduled for the 
Proceedings of the United States National Museum. In 
the cited example, it was also B. A. Bean who oversaw 
the preparation of an illustration of a ?sh.
Length of specimen: unknown; length as illustrated, 9 
inches [about 229 mm].
Media: inkwash and a little white gouache on Windsor 
& Newton?s Watercolour Sketching Boards, ?NOT? 
Surface.
Remarks: CBH indicated his charge: ?size 1? ? 9 = [15.75 ? 
$0.50] $7.89.?
P11241?Plate 11 F
Furcina osimae Jordan and Starks
Family Cottidae
Illustration ?rst published as Furcina osimae by Jordan 
and Starks (1904:?g. 33), probably based on holotype, 
CAS-SU 7716 (see length of specimen).
Date illustrated: probably early 1903, based on letters dated 
13 and 27 Mar. and 28 Apr. 1903152 from David Starr 
Jordan in California, to CBH in Detroit, Mich. By this 
time Jordan must have had faith in CBH?s ability as he 
asked that the drawings be sent directly to B. W. Ever-
mann in Washington [without Jordan?s checking]. 
Length of specimen: based on CBH?s scale line accompa-
nying the ?gure, we calculated the length of the illus-
trated specimen as 75.5 mm TL. Jordan and Starks gave 
the length of the holotype as 77 mm. The 2% difference 
between our calculation and the length given by Jordan 
and Starks is probably within a reasonable range of 
error; however, as there were several paratypes we are 
uncertain if the specimen is a paratype or the holotype. 
Length as illustrated is 12 inches [305 mm]. In a letter 
dated 25 Mar. 1901153, from David Starr Jordan in Cali-
fornia, to CBH in Washington, D. C., Jordan stated that 
he liked to make descriptions and ?gures from the same 
specimens. For that reason, we are inclined to believe 
the illustrated specimen is the holotype. 
Media: inkwash and gouache.
Remarks: CBH indicated his charge as: ?25/8? ? 12? [=] 
31.5 [square inches @ $0.50 = $15.75.?
P11561?Plate 8 F
Gobionellus oceanicus (Pallas)
High?n goby, Family Gobiidae
Illustration ?rst published as Gobius bayamonensis by Ev-
ermann and Marsh (1900:?g. 90), based on the holotype, 
USNM 49365 [CBH indicated 49367 on illustration].
Date illustrated: between Jan. 1899, when obtained at a 
?sh market in Puerto Rico, and 11 Sept. 1900, when B. 
W. Evermann approved payment for, or publication of, 
illustration (information entered on illustration).
Length of specimen: 9 inches [289 mm]; length as illus-
trated, 9 inches.
Media: inked lines and stipples.
P11628?Plate 25 D
Gomphosus varius Lacep?de
Family Labridae
Illustration ?rst published as Gomphosus tricolor by Jordan 
and Evermann (1905: color plate 36).
Date illustrated: summer of 1901, from live or fresh speci-
men, Hawaii.
151Bean (1860?1947), joined the Smithsonian?s National Museum as a clerk 
in 1881. He rose to the position of Assistant Curator of Fishes in 1890, 
which position he held until he retired in 1932. He also worked with the 
U.S. Fish Commission, which was closely associated with the Smithsonian 
(information from R. V. Szary, Historical Note in Record Unit 7224, Barton 
A. Bean Papers, Smithsonian Institution Archives).
152Stanford University Libraries, Department of Special Collections, 
SC 058, D. S. Jordan, ser. IAA, Box 7, Folder v. 13.
153Stanford University Libraries, Department of Special Collections, 
SC 058, D. S. Jordan, ser. IAA, Box 2, Folder v. 3.
71(4) 109
Length of specimen: about 8 inches [about 203 mm]; length 
as illustrated, 6 inches [about 152 mm].
Media: oil on ?Academy Board.?
Remarks: DFSA. Published version has intensity of gray-
green background considerably decreased. Subsequent to 
original publication, image appeared on an early 1900?s 
booklet of Hawaiian ?shes and repeatedly on postcards, 
issued during various years by the Waikiki Aquarium.
P11719?Plate 3 C
Gymnomuraena zebra (Shaw)
Zebra moray, Family Muraenidae
Illustration ?rst published as Echidna zebra by Jordan and 
Evermann (1905: black and white plate 20).
Date illustrated: between summer, 1901, when collected, 
and 10 Nov. 1902 (see remarks, below).
Length of specimen: 23.5 inches [ca. 597 mm]; length as 
illustrated (specimen is drawn curved on itself), about 
the same.
Media: inkwash and a little white gouache in eye.
Remarks: DFSA. On the reverse side of illustration is a 
note that ?4 washed paintings of Hawaiian Fishes. By 
Mr. Hudson rec?d from Dr. Jordan Nov 10, 1902.? These 
refer to this illustration and three other eel species (see 
P05663, P11787, P11800). CBH ?gured his charge: ?1 
3/16? ? 231/2? [= 27.9 square inches, at $0.50 per square 
inch =] $13.95.? 
P11787?Plate 3 A
Gymnothorax pictus (Ahl)
Family Muraenidae
Illustration ?rst published as Gymnothorax pictus by Jordan 
and Evermann (1905: black and white plate 19).
Date illustrated: between summer, 1901, when collected, 
and 10 Nov. 1902, when delivered to D. S. Jordan (see 
remarks under P11719).
Length of specimen: 27.5 inches [about 699 mm]; length 
as illustrated, 22.5 inches [about 572 mm], specimen is 
drawn curved on itself.
Media: inkwash, a little gouache.
Remarks: CBH ?gured his charge as ?19/16 ? 221/2 inches? [= 
28.4 square inches], for which he claimed $15.00, or a little 
more than the $0.50 per square inch he usually charged.
P11800?Plate 3 B
Gymnothorax ?avimarginatus (Ruppell)
Family Muraenidae
Illustration ?rst published as Gymnothorax thalassopterus 
by Jenkins (1903:plate 2; based on holotype, USNM 
50619); republished by Jordan and Evermann (1905: 
black and white plate 17). Mistakenly recataloged as 
USNM 51073.
Date illustrated: between summer 1901, when collected, 
and 10 Nov. 1902, when delivered to D. S. Jordan (see 
remarks under P11719).
Length of specimen: 23 inches [about 584 mm]; length as 
illustrated, about 11.62 inches [about 295 mm]; specimen 
drawn curved on itself.
Media: inkwash and gouache.
Remarks: CBH indicate his charge as: ?13/8? ? 21? [= 28.87 
square inches @ $0.50] = $14.43.?
P11829?Plate 20 E
Lutjanus synagris (Linnaeus)
Lane snapper, Family Lutjanidae
Illustration apparently not published previously.
Date illustrated: 4 Mar. 1897, Key West, Fla. Drawn from 
life. Outline based on one specimen, color based on 
another.
Length of specimen: 14.5 inches [368 mm]; length as il-
lustrated, 9.3 inches [about 237 mm].
Media: watercolor, considerable gouache.
Remarks: Previously framed. Evermann and Marsh (1900:
plate 22) used A. H. Baldwin?s color painting of L. 
synagris, done in Puerto Rico, rather than CBH?s done 
in Florida. It is understandable that they preferred a 
painting of a species from the locality of their research 
over one from a distant locality. Scienti?cally, as well as 
aesthetically, CBH?s illustration is superior. Evermann 
and Marsh, however, used CBH?s inked illustration 
(P15116) of this species, based on what they thought 
was a different, new Puerto Rican species. 
P12848?Plate 2 F
Hiodon alosoides (Ra?nesque)
Goldeye, Family Hiodontidae
First published as Hiodon alosoides by Coker (1930: 
?g. 8).
Date illustrated: 1905.
Length of specimen: 7 inches [about 178 mm]; length as 
illustrated, 8 inches [about 203 mm].
Media: inkwash, white gouache, and lead pencil.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse side of illustration (see discussion of illustrations 
drawn for Seton).
P13124?Plate 5 F
Sargocentron ensifer (Jordan & Evermann)
Family Holocentridae
Illustration ?rst published as Holocentrus ensifer by Jordan 
and Evermann (1905: black and white plate 28). The 
plate legend indicates the illustration is based on the 
?type,? which Jordan and Evermann (1903:177) desig-
nated as USNM 50637, with the ?eld number 03448. A 
label on the reverse of the illustration, however, indicates 
that the drawing is based on a specimen (cotype) at 
the Museum of Comparative Zoology (MCZ) with the 
U.S. Fish Commission ?eld number 04931. This ?eld 
number, as are those of all the other type specimens, is 
included on page 58 in a U.S. Fish Commission catalog 
110 Marine Fisheries Review
book deposited at USNM.154 The catalog lists the USNM 
specimen as being 9 inches long and the MCZ speci-
men as being 8 inches long (K. Hartel, MCZ, measured 
the TL of that specimen, which is missing a portion of 
the caudal ?n, as about 7.5 inches). Lengths for all the 
specimens on the page, including the type and eight co-
types of H. ensifer and specimens of other holocentrids, 
are given in whole or whole plus quarters of an inch. 
Based on the scale line CBH included with the illustra-
tion, we calculated the length of the illustrated speci-
men to be about 8.27 inches, which we consider within 
an acceptable range of mechanical error or shrinkage. 
We conclude that the illustration is based on the MCZ 
specimen and not the USNM holotype.
 Jordan and Evermann (1903:177) gave the length of the 
USNM holotype as 6 inches, and Jordan and Evermann 
(1905:xiii), inexplicably gave the length as 6.25 inches, 
in either case, much shorter than the 9 inches indicated 
for the specimen in the Fish Commission ledger. At our 
request, J. T. Williams measured the holotype as having a 
TL of 225 mm [8.8 inches], very close to the length given 
in the ledger. USNM has one other specimen of the nine 
in the type series, USNM 126155 (?eld number 04929), 
which was originally part of the defunct Fish Commis-
sion collection. Jordan and Evermann (1903:177) give 
the length of this specimen as 8.75 inches and J. T. Wil-
liams measured it as 8.5 inches, again within a reasonable 
margin of mechanical error or shrinkage.
 We presume that the erroneous 6-inch measurements 
of the two specimens were the result of a printer?s error. 
In the early 1900?s, tables, such as that in which Jordan 
and Evermann (1903:177) listed their specimens and as-
sociated data, were probably hand-set from loose type. In 
the type font in which their table was set, a 6 was merely 
a 9 upside down. Mistakes were probably common, and 
would have necessitated careful proo?ng to correct. 
Date illustrated: between summer of 1901 (when collected) 
and 29 July 1905 (when published).
Media: inkwash, white gouache, lead pencil.
P13132?Plate 5 D
Sargocentron xantherythrum (Jordan and Evermann)
Family Holocentridae
Probably not published previously. Name on label on illus-
tration in unknown handwriting indicates: Holocentrus 
ensifer; xantherythrus is written above ensifer.
Date illustrated: label indicates 1903.
Length of specimen: 6.25 inches [159 mm]; length as il-
lustrated, 8.25 inches [about 210 mm].
Media: inkwash, white gouache, lead pencil.
P13212?Plate 2 E
Hybognathus nuchalis (Agassiz)
Mississippi silvery minnow, Family Cyprinidae
Not published previously, although remark concerning 
reduction for printing is written on illustration. Name 
on illustration is Hybognathus nuchale.
Date illustrated: 1905.
Length of specimen: 3.33 inches [about 84.6 mm]; length 
as illustrated, 8 inches [about 203 mm].
Media: inkwash, lead pencil, white gouache.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse side of illustration (see discussion of illustrations 
drawn for Seton).
P13218?Plate 1 E
Macrhybopsis storeriana (Kirtland)
Silver chub, Family Cyprinidae
Not published previously, although remark concerning 
reduction for printing is written on illustration. Name 
on illustration Hybopsis storerianus.
Date illustrated: 1905.
Length of specimen: 4.6 inches [about 117 mm]; length as 
illustrated, 8 inches [about 203 mm].
Media: inkwash, lead pencil, white gouache.
Remarks: Initials E. T. S. [Ernest Thompson Seton] on 
reverse side of illustration (see discussion of illustrations 
drawn for Seton).
P14692? Plate 10 A
Bodianus perditio (Quoy & Gaimard)
Family Labridae
First published as Lepidaplois perditio by Jordan and 
Snyder (1902a:?g. 2)
Date illustrated: between late 1901 and 18 Jan. 1902 (see 
P03487, date illustrated).
Length of ?sh: not directly speci?ed, but Jordan and Snyder 
(1902a:619) only indicated one specimen, 330 mm, in their 
description; length as illustrated, 10.5 inches [267 mm].
Media: inked lines and stipples.
Remarks: CBH indicated his charge as ?31/8? ? 101/4??[= 
32.03 square inches @ $0.50 =] $16.? Difference (2.4%) 
between our measurement and CBH?s could be due to 
mechanical error.
P14859?Plate 18 E
Coregonus johannae (Wagner)
Deepwater cisco, Family Salmonidae
Illustration ?rst published as Leucichthys johannae by 
Jordan and Evermann (1911:plate 3); identi?cation is 
uncertain.
Date illustrated: 1906, probably early Oct.; outline 
based on specimen obtained from fishermen, 30 
Sept. 1906; color based on two other specimens, date 
not indicated, all from Lake Huron, off Cheboygan 
County, Mich.
Length of specimen used for outline: 14.5 inches [361 mm]; 
length as illustrated, 8.5 inches [216 mm].
Media: watercolor, gouache, and ink.
154?Catalogue of Specimens of Hawaiian and Philippine Fishes, with List of 
Tag Numbers of the Hawaiian and the Philippine Fishes.
71(4) 111
P14870?Plate 18 F
Coregonus nigripinnis (Milner)
Black?n cisco, Family Salmonidae
Illustration ?rst published as Leucichthys nigripinnis (Gill) 
[sic] by Jordan and Evermann (1911:plate 4).
Date illustrated: 1906, probably late July?early Aug.; 
outline from specimen collected from Lake Michigan 
off Berrien Co, Mich., 24 July 1906; color from three 
other specimens.
Length of specimen used for outline: 15.25 inches [387 
mm]; length as illustrated, 9.5 inches [241 mm].
Media: watercolor, gouache, ink, lead pencil.
Remarks: DFSA
P14929?Plate 4 C
Liobagrus reinii Hilgendorf
Family Amblycipitidae
Illustration ?rst published as Liobagrus reini by Jordan and 
Fowler (1903b:?g. 2).
Date illustrated: between summer 1900 (when obtained 
from K. Otaki) and 5 Dec. 1902, when Barton A. 
Bean approved the painting (see date illustrated for 
P11183).
Length of specimen: 3.5 inches [88.9 mm, SL]; length as 
illustrated, 10 inches [254 mm].
Media: inkwash, a little white gouache, lead pencil.
Remarks: CBH indicated his charge: ?13/8? ? 10? [= 
13.75 ? $0.50] $6.87.?
P15080?Plate 20 A
Lutjanus analis (Cuvier)
Mutton snapper, Family Lutjanidae
Illustration ?rst published as Neomaenis analis by Ever-
mann and Marsh (1900:plate 21).
Date illustrated: spring 1897, Key West, Fla.
Length of specimen: about 11 inches [about 279 mm]; 
length as illustrated, 9.25 inches [235 mm].
Media: watercolor and gouache.
Remarks: DFSA; previously framed.
P15082?Plate 20 D
Lutjanus apodus (Walbaum)
Schoolmaster, Family Lutjanidae
Illustration ?rst published as Neomaenis apodus by Ever-
mann and Marsh (1900:plate 19).
Date illustrated: spring, 1897, Key West, Fla.
Length of specimen: about 23 inches [about 584 mm]; 
length as illustrated, 9.25 inches [235 mm].
Media: watercolor and gouache.
Remarks: Previously framed. DFSA.
P15116?Plate 10 F
Lutjanus synagris (Linnaeus)
Lane snapper, Family Lutjanidae
Illustration ?rst published as Neomaenis megalophthal-
mus by Evermann and Marsh (1900:?g. 48), based on 
the holotype, USNM 49531, from Puerto Real, Puerto 
Rico.
Date illustrated: between 25 Jan. 1899 (when collected) 
and 29 Dec. 1900 (when published).
Length of holotype: 11.5 inches [292 mm]; length as il-
lustrated, 9.0625 inches [230 mm].
Media: ink stipples.
Remarks: DFSA.
P15477?Plate 8 A
Repomucenus lunatus (Temminck & Schlegel)
Family Callionymidae
Illustration ?rst published as Callionymus lunatus by Jordan 
and Fowler (1903a:?g. 5).
Date illustrated: probably between early summer and mid 
Oct. 1902 (see P02328, date illustrated).
Length of specimen: ? 5.4375 inches [138 mm]; length as 
illustrated, 13 inches [330 mm].
Media: inkwash, lead pencil, white gouache highlights.
Remarks: CBH indicated his charge as: ?Size?13/8? ? 13? 
[= 17.875 square inches] [+] ??n?13/8? ? 2?? [= 2.75 sq. 
in] [= total 20.62 sq. in.]. [? $0.50 ]= ?$10.30.?
P15479?Plate 8 C
Repomucenus virgis (Jordan & Fowler)
Family Callionymidae 
Illustration ?rst published as Callionymus virgis by Jordan 
and Fowler (1903a:?g. 9), based on holotype, CAS-SU 
7189.
Date illustrated: probably between early summer and mid 
Oct. 1902 (see P02328, date illustrated).
Length of holotype: 2.69 inches [42.9 mm]; length as il-
lustrated, 12 inches [305 mm].
Media: inkwash, white gouache, lead pencil on ?Winsor & 
Newton?s water colour sketching boards ?NOT? surface, 
made in all sizes & surfaces . . . London, England.?
Remarks: CBH indicated his charge as; ?Size 13/8? ? 12? 
[= 16.5 square inches ? $0.50=] $8.25.? 
P15709?Plate 7 F
Callionymus doryssus (Jordan and Fowler)
Family Callionymidae 
Illustration ?rst published as Calliurichthys doryssus, by 
Jordan and Fowler (1903a:?g. 4).
Date illustrated: probably between early summer and mid 
Oct 1902 (see P02328, date illustrated).
Length of specimen: 7.25 inches [184 mm]; length as il-
lustrated, 12 inches [305 mm].
Media: inkwash and white gouache.
Remarks: CBH indicated his charge: ?1? ? 12? [= 12 square 
inches ? $0.50 =] $6.00.?
P17485?Plate 7 I
Callionymus valenciennei Temminck and Schlegel
Family Callionymidae 
112 Marine Fisheries Review
Illustration ?rst published as Callionymus valenciennesi 
by Jordan and Fowler (1903a:?g. 6).
Date illustrated: probably between early summer and mid 
Oct. 1902 (see P02328, date illustrated).
Length of specimen: unknown, but based on information 
in publication, ?8.625 inches [219 mm]. If the scale 
line accompanying the ?gure represents one inch, the 
complete ?sh (male) is about 7.3 inches [about 186 mm] 
TL; length as illustrated, 16 inches [406 mm]. 
Media: inkwash, some white gouache.
Remarks: CBH indicated his charge as: ?Size?11/2? ? 16? 
[= 24 square inches] [+] Fin. 4 sq. in. Total 28 sq. in. 
[? $0.50 =] $14.00.? DFSA.
P17575?Plate 7 C
Callionymus japonicus Houttuyn
Family Callionymidae
Illustration ?rst published as Calliurichthys japonicus by 
Jordan and Fowler (1903a:?g. 2).
Date illustrated: probably between early summer and mid 
Oct. 1902 (see P02328, date illustrated).
Length of specimen: based on information in publication, 
?11.25 inches [about 286 mm]. If the scale line accom-
panying the ?gure represents one inch, the complete ?sh 
(male) is about 11.25 inches. TL; length as illustrated, 
17 inches [432 mm]. 
Media: inkwash and white gouache.
Remarks: CBH indicated his charge as: ?Size 1? ? 17? [= 17 
square inches] [+] ?n 11/2? ? 11/2? [= 2.25? square inches] 
[= 19.25 square inches ? $0.50 =] $9.62.?
P17576?Plate 9 D
Chirolophis japonicus (Herzenstein)
Family Stichaeidae
Illustration ?rst published as Bryostemma otohime by 
Jordan and Snyder (1902b:?g. 12).
Date illustrated: between summer of 1900 (when collected) 
26 Sept. 1902 (when published).
Length of specimen: about 3.2 inches [about 82 mm], based 
on scale line with illustration; length as illustrated, 16 
inches [406 mm].
Media: inked lines and stipples.
Remarks: CBH indicated his charge as: ?29/16? ? 16? [= 41 
square inches ? $0.50 =] $20.50.?
P17577?Plate 9 E
Opisthocentrus zonope Jordan and Snyder
Family Stichaeidae
Illustration ?rst published as Opisthocentrus zonope by 
Jordan and Snyder (1902b:?g. 21).
Date illustrated: between summer of 1900 (when collected) 
26 Sept. 1902 (when published).
Length of specimen: about 4.92 inches [125 mm], based 
on scale line with illustration; length as illustrated, 16 
inches [406 mm].
Media: inked lines and stipples.
Remarks: CBH indicated his charge as: ?211/16? ? 16? 
[= 41 square inches ? $0.50 =] $21.50.?
P17578?Plate 9 G
Stichaeopsis nana Kner
Family Stichaeidae
Illustration ?rst published as Ozorthe dictyogrammus by 
Jordan and Snyder (1902b:?g. 25).
Date illustrated: between summer of 1900 (when collected) 
and 26 Sept. 1902 (when published).
Length of specimen: about 6.3 inches (about 160 mm], 
based on scale line with illustration; length as illustrated, 
16 inches (about 406 mm].
Media: inked lines and stipples.
P17579?Plate 9 B
Stichaeus nozawae Jordan and Snyder
Family Stichaeidae
Illustration ?rst published as Stichaeus nozawae by Jordan 
and Snyder (1902b:?g. 26), based on the holotype, in a 
Japanese collection (?Fisheries Bureau at Sapporo?).
Date illustrated: between summer of 1900 (made available 
to Jordan and Snyder during their expedition to Japan) 
and 26 Sept. 1902 (when published).
Length of specimen: 10 inches [255 mm]; length as illus-
trated, 16 inches [406 mm].
Media: inked lines and stipples.
Remarks: CBH indicated his charge as: ?2.25? ? 16? [= 36 
square inches @ $0.50 =] $18.00.?
P17580?Plate 9 F
Chirolophis saitone (Jordan & Snyder)
Family Stichaeidae
Illustration ?rst published as Bryostemma saitone by Jordan 
and Snyder (1902b:?g. 12), based on the holotype, 
CAS-SU 7072.
Date illustrated: probably between summer of 1900 (given 
to Jordan and Snyder during their expedition to Japan) 
and 26 Sept. 1902 (when published).
Length of holotype: Jordan and Snyder (1902b:468) state 
that the holotype is 95 mm long. Presumably this is 
standard length, because beginning on page 467, they 
wrote, ?The only specimen which we have of this spe-
cies is in such a poor state of preservation that accurate 
statements concerning the lateral line, the extent of the 
scaly covering, the tentacles of the head, the shape and 
character of the ?ns, and points of less importance can 
not be made; the caudal ?n is entirely gone.? Total length 
as illustrated, 16 inches [406 mm].
Media: inkwash and a little white gouache.
Remarks: Considering the condition of the specimen, 
one must question its usefulness. CBH must have been 
challenged to prepare the illustration, of which Jordan 
and Snyder made no comments. CBH indicated his 
charge as: ?21/2? ? 16? [= 40 square inches ? $0.50 =] 
$20.00.?
71(4) 113
P17581?Plate 7 D
Callionymus variegatus Temminck and Schlegel
Family Callionymidae
Illustration ?rst published as Calliurichthys variegatus by 
Jordan and Fowler (1903a:?g. 3)
Date illustrated: probably between early summer and mid 
Oct. 1902 (see P02328, date illustrated).
Length of specimen: 6.31 inches [160 mm]; length as il-
lustrated, 17 inches [432 mm].
Media: inkwash and white gouache.
Remarks: CBH indicated his charge as: ?Size 11/4 ? ? 17? 
[= 21.25 square inches] [+] ?n 1? ? 11/2? [= 1.5 square 
inches] [= 22.75 square inches ? $0.50 =] $11.37.? 
P21866?Plate 7 H
Callionymus valenciennei Temminck and Schlegel.
Family Callionymidae
Illustration ?rst published as Callionymus ?agris by Jordan 
and Fowler (1903a:?g. 7).
Date illustrated: probably between early summer and mid 
Oct. 1902 (see P02328, date illustrated).
Length of specimen: about 7.5 inches (190.5 mm] or 
smaller, based on information in Jordan and Fowler 
(1903a:953); length as illustrated, 16.5 inches [429 
mm].
Media: inkwash and white gouache.
Remarks: CBH indicated his charge as: ?Size 1? ? 16.5? 
[= 16.5 square inches ? $0.50 =] $8.25.? 
P22113?Plate 9 H
Bryozoichthys lysimus (Jordan and Snyder)
Nutcracker prickleback, Family Stichaeidae
Illustration ?rst published as Bryolophus lysimus by Jordan 
and Snyder (1902d:?g. 3), based on the paratype with 
62 dorsal-?n spines in CAS SU 3049.
Date illustrated: probably about same time as CBH was 
illustrating Japanese stichaeids for Jordan and Snyder?s 
(1902b) study, between summer of 1900 and 4 Nov. 1902, 
when published. Specimen was collected 21 May 1890.
Length of specimen: about 100 mm TL, based on a scale 
accompanying the illustration; length as illustrated, 16 
inches [406 mm].
Media: ink and inkwash; lead pencil on ?n rays; opaque 
white gouache highlights.
Remarks: CBH indicated his charge as: ?23/16? ? 16? [= 35 
square inches ? $0.50 =] $17.50.?
Acknowledgments
Our biography bene?ted greatly by 
the generous and gracious assistance 
of a large number of individuals. Fore-
most among these was the late Claire 
Hudson Brett, with whom VGS shared 
information on her father, CBH, during 
the mid 1980?s. More recently, Claire?s 
son, Hudson Brett, and granddaughter, 
Sarah Q. Brett, also contributed infor-
mation to our study, and we here extend 
our appreciation to them. We were 
privileged to interview, by telephone, 
U.S. Navy Lt. Alan Hudson, and his 
son, Cmdr. Patrick Hudson, CBH?s 
grandson and great grandson of his 
?rst marriage. 
Many Smithsonian colleagues, 
both immediate and at other bureaus 
within the institution, contributed 
variously and importantly to our efforts. 
American Art Museum: Sarah Duffel. 
Smithsonian Libraries: Claire Catron, 
Cecilia Chin, D. Chris Cottrill, Maggie 
Dittmore, Richard Green, James Harar, 
Alvin Hutchinson, Patricia Lasker, 
Doug Litts, Leslie Overstreet, Jim 
Roan, Martha Rosen, Erin C. Rushing, 
Scott Scholz, David Steere, Kirsten van 
der Veen, Wanda West, Daria Wingreen- 
Mason. Smithsonian Archives: Ellen 
Allers, Pamela Henson, Mary Markey. 
Anthropological Archives: Catharine 
O?Sullivan. Museum of American 
History: Paula Johnson and Paul John-
ston. Photographic services: Donald 
Hurlbert. Natural History Museum, 
Division of Fishes: Julie Mounts, 
Lisa Palmer, Lynne R. Parenti, Sandra 
Raredon, Jeffrey T. Williams. OUSS: 
Rebecca Snyder. General Counsel?s 
Of?ce: Rachelle V. Browne; Depart-
ment of Vertebrate Zoology: Carol 
Youmans.
Academy of Natural Sciences of 
Philadelphia: Mark Sabaj.
American Museum of Natural His-
tory: Barbara Brown.
Art Students League of New York: 
Stephanie Cassidy.
Annapolis, Md.: Adrienne Bales.
Bernice P. Bishop Museum: Loreen 
R. O?Hara, John E. Randall, B. J. 
Short, Arnold Suzumoto.
Boston Museum of Fine Art: Stepha-
nie Stepanek.
California Academy of Sciences: 
Danielle Castronovo, Larry Currie, 
Karren Elsbernd, Tomio Iwamoto, 
Alan Leviton, Daniel Matsumoto, 
John E. McCosker.
California Department of Fish and 
Game: Ken Hashagen.
Carmel, Calif.: John and Monica 
Hudson.
Colorado State University: Robert J. 
Behnke.
Columbia University: David H. Mor-
timer, Sarah Elliston Weiner.
Duke University Library, Special 
Collections: Eleanor Mills, Janie 
C. Morris.
Georgia Aquarium, Atlanta: Bruce 
Carlson.
Harvard University: Karsten Hartel, 
Robert Young.
Leawood,  Kansas:  Joseph R. 
Tomelleri.
Luther Burbank Home and Gardens 
(Santa Rosa, Calif.): Rebecca 
Baker, Linda Hall.
Montalvo Arts Center, Saratoga, 
Calif.: Babette McKay.
National Museum of Fine Arts, Stock-
holm: Isabelle Si?str?m, S?dra 
Blasieholmshamnen.
National Museum of New Zealand: 
Clive Roberts, Victoria Robson.
114 Marine Fisheries Review
National Oceanic and Atmospheric 
Administration, NMFS, SPO: Se-
attle, Wash., Jacki Strader, Willis 
Hobart; Washington, D.C., Bruce 
B. Collette.
National Park Service, California: 
Teresa Griggs, Susan E. Haley, 
Terry Kriedler, Diane Nicholson.
National Personnel Records Center, 
St. Louis: William Seibert, Stephen 
A. Smith.
Neville-Strass Collection (Sanford, 
Fla.): Carlton Neville, Stephanie 
Strass. 
New Hartford, Conn.: Neal Yates.
Pace University: Susan R. Gannon.
Paci?c Grove, Calif.: Nan and Jeff 
Barnard-Jorgensen; Public Li-
brary: Pamela Jungerberg; Heri-
tage Society of Pacific Grove: 
Betty Aickelin.
Royal Collections, Stockholm: Ker-
stin Hagsg?rd.
Smith College: Thomas S. Litwin.
Stanford University Special Col-
lections: Pat E. White and Polly 
Armstrong.
Stockholm University Bibliotek: 
Clas-Ove Strandberg.
United States Army Center of Mili-
tary History: Renee Kli.
United States Geological Survey 
(Gainesville, Fla.): William F. 
Smith-Vaniz; James D. Williams.
University of Oklahoma, Library: 
Molly Murphy.
Waikiki Aquarium: Mark Heckman.
Special appreciation is extended to 
William D. Anderson, Jr., Grice Marine 
Laboratory, an anonymous reviewer, and 
MFR editor Willis Hobart, who each 
critiqued a pre?nal copy of the entire 
manuscript, making numerous sugges-
tions for its improvement.
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________ and ________ . 1903b. A review of the 
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________ and ________ . 1902b. A review of 
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________ and ________ . 1902c. A review of the 
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________ and ________ . 1902d. On certain 
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