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Charcoal and ink, printed as archival giclée.\u003c\/p\u003e","products":[{"product_id":"henrique-alvim-correa-martians-land-1906-science-fiction-illustration-print","title":"Henrique Alvim Corrêa — Martians Land (1906) | Science Fiction Illustration Print","description":"\u003cp\u003eThe first cylinder lies half-sunk in the pit it has dug on open heathland, its lid lifted a hand's breadth and white vapour rolling out from under the rim. Clods and broken stone are thrown in a rough ring around it, sandy banks rise on either side, dark trees close the top corners, and a few tufts of scrub survive in the foreground.\u003c\/p\u003e\u003cp\u003eHenrique Alvim Corrêa (1876–1910) was born in Rio de Janeiro and settled as a young man in Belgium, where he worked at the edge of the Brussels Symbolist circle. He began drawing scenes from H.G. 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Rubble is spread across the pavement, one gas lamp still stands, and the cobbles run away into darkness at the right. Behind it all rises a great dome with a lantern above it, shaded so that two round openings and the shadow beneath read unmistakably as a skull.\u003c\/p\u003e\u003cp\u003eHenrique Alvim Corrêa (1876–1910) was born in Rio de Janeiro and settled as a young man in Belgium, where he worked at the edge of the Brussels Symbolist circle. He began drawing scenes from H.G. Wells's \u003cem\u003eThe War of the Worlds\u003c\/em\u003e on his own initiative, and when Wells saw the portfolio he gave it his blessing — he is said to have remarked that Alvim Corrêa had done more for his book with a brush than he had with a pen. The drawings appeared in the deluxe Brussels edition published by L. Vandamme \u0026amp; Co in 1906: 500 numbered copies, a hundred illustrations in the text and thirty-two full plates. Corrêa died of tuberculosis four years later, at thirty-four. 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A man in a light coat crouches on a step with both hands clamped over his head; another lies on his back on the floor at the left, face up beside a great ovoid Martian body, with segmented feeding tubes uncoiling across the boards between them. A lamp-like apparatus stands on thin legs at the upper left, a second ovoid presses in from the right, and a staircase climbs behind.\u003c\/p\u003e\u003cp\u003eHenrique Alvim Corrêa (1876–1910) was born in Rio de Janeiro and settled as a young man in Belgium, where he worked at the edge of the Brussels Symbolist circle. He began drawing scenes from H.G. Wells's \u003cem\u003eThe War of the Worlds\u003c\/em\u003e on his own initiative, and when Wells saw the portfolio he gave it his blessing — he is said to have remarked that Alvim Corrêa had done more for his book with a brush than he had with a pen. The drawings appeared in the deluxe Brussels edition published by L. 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WELLS in a white panel, LA GUERRE DES MONDES in black on a broad yellow band, and a grey tablet crediting the illustrations to Alvim Corrêa and the translation to H.-D. Davray. At the centre a black fighting machine with two round white eyes works its heat-ray over orange rooftops and great banks of white smoke. The lower third carries the terms in brown letterpress — a grand-luxe quarto from L. Vandamme \u0026amp; Co, 500 numbered copies, 100 illustrations in the text and 32 plates, at 60 francs.\u003c\/p\u003e\u003cp\u003eHenrique Alvim Corrêa (1876–1910) was born in Rio de Janeiro and settled as a young man in Belgium, where he worked at the edge of the Brussels Symbolist circle. He began drawing scenes from H.G. Wells's \u003cem\u003eThe War of the Worlds\u003c\/em\u003e on his own initiative, and when Wells saw the portfolio he gave it his blessing — he is said to have remarked that Alvim Corrêa had done more for his book with a brush than he had with a pen. 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Below, a timber bridge has come down into still water, its beams crossed at broken angles and reflected in the surface. Bare shoots and seed-heads are drawn in fine detail along the right edge, against an empty pale sky.\u003c\/p\u003e\u003cp\u003eHenrique Alvim Corrêa (1876–1910) was born in Rio de Janeiro and settled as a young man in Belgium, where he worked at the edge of the Brussels Symbolist circle. He began drawing scenes from H.G. Wells's \u003cem\u003eThe War of the Worlds\u003c\/em\u003e on his own initiative, and when Wells saw the portfolio he gave it his blessing — he is said to have remarked that Alvim Corrêa had done more for his book with a brush than he had with a pen. The drawings appeared in the deluxe Brussels edition published by L. Vandamme \u0026amp; Co in 1906: 500 numbered copies, a hundred illustrations in the text and thirty-two full plates. Corrêa died of tuberculosis four years later, at thirty-four. 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