Joseph Smit (1836-1929) 
Stegosaurus Ungulatus 
Original Illustration in pen, ink and grey wash, heightened in white. 
c. 1905-1912. 
7 1/4 x 10 5/8 in. sheet 

Original artwork for Henry R. Knipe’s Nebula to Man. Illustrated on page 71: “Stegosaurus, Ungulatus / Top of highest plate, about 11 feet from ground / (Remains found in Jurassic strata of Colorado and Wyoming, U.S.A.)”.

Stegosaurus (from Greek stegos, which means roof, and sauros, which means lizard, is a genus of herbivorous thyreophoran dinosaur. Fossils of this genus date to the Late Jurassic period, where they are found in Kimmeridgian to early Tithonian aged strata, between 155 and 150 million years ago, in the western United States and Portugal. Of the species that have been classified in the upper Morrison Formation of the western US, only three are universally recognized; S. stenops, S. ungulatus and S. sulcatus. The remains of over 80 individual animals of this genus have been found. Stegosaurus would have lived alongside dinosaurs such as Apatosaurus, Diplodocus, Brachiosaurus, Allosaurus, and Ceratosaurus; the latter two may have preyed on it.

Stegosaurus ungulatus, meaning “hoofed roof lizard”, was named by Marsh in 1879, from remains recovered at Como Bluff, Wyoming (Quarry 12, near Robber’s Roost). It might be synonymous with S. stenops. At 9 m (29.5 ft), it was the longest species within the genus Stegosaurus. A fragmentary Stegosaurus specimen discovered in Portugal and dating from the upper Kimmeridgian-lower Tithonian stage has been tentatively assigned to this species. Stegosaurus ungulatus can be distinguished from S. stenops by the presence of longer hind limbs, proportionately smaller, more pointed plates with wide bases and narrow tips, and by several small, flat, spine-like plates just before the spikes on the tail. These spine-like plates appear to have been paired, due to the presence of at least one pair that are identical but mirrored. S. ungulatus also appears to have had longer legs (femora) and hip bones than
other species.

The type specimen of S. ungulatus was discovered with eight spikes, though they were scattered away from their original positions. These have often been interpreted as indicating that the animal had four pairs of tail spikes. No specimens have been found with complete or articulated sets of tail spikes, but no additional specimens have been found that preserve eight spikes together. It is possible the extra pair of spikes came from a different individual, and though no other extra bones were found with the specimen, these may be found if more digging were done at the original site. Specimens from other quarries (such as a tail from Quarry 13, now forming part of the composite skeleton AMNH 650 at the American Museum of Natural History), referred to S. ungulatus on the basis of their notched tail vertebrae, are preserved with only four tail spikes. The type specimen of S. ungulatus (YPM 1853) was incorporated into the first ever mounted skeleton of a stegosaur at the Peabody Museum of Natural History in 1910 by Richard Swann Lull. It was initially mounted with paired plates set wide, above the base of the ribs, but was remounted in 1924 with two staggered rows of plates along the midline of the back. Additional specimens recovered from the same quarry by the United States National Museum of Natural History, including tail vertebrae and an additional large plate (USNM 7414), belong to the same individual as YPM 1853.

Due to the fragmentary nature of most early Stegosaurus fossil finds, it took many years before reasonably accurate restorations of this dinosaur could be produced. The earliest popular image of Stegosaurus was an engraving produced by A. Tobin for the November 1884 issue of Scientific American, which included the dinosaur amid a speculative Morrison age landscape. Tobin restored the Stegosaurus as bipedal and long-necked, with the plates
arranged along the tail and the back covered in spikes. This covering of spikes might have been based on a misinterpretation of the teeth, which Marsh had noted were oddly shaped, cylindrical, and found scattered, such that he thought they might turn out to be small dermal spines.

Marsh published his more accurate skeletal reconstruction of Stegosaurus in 1891, and within a decade Stegosaurus had become among the most-illustrated types of dinosaur. Artist Charles R. Knight published his first illustration of Stegosaurus ungulatus based on Marsh’s skeletal reconstruction in a November 1897 issue of The Century Magazine. This illustration would later go on to form the basis of the stop-motion puppet used in the 1933 film King Kong. Like Marsh’s reconstruction, Knight’s first restoration had a single row of large plates, though he next used a double row for his more well-known 1901 painting, produced under the direction of Frederic Lucas. Again under Lucas, Knight revised his version of Stegosaurus again two years later, producing a model with a staggered double row of plates. Knight would go on to paint a stegosaur with a staggered double plate row in 1927 for the Field Museum of Natural History, and was followed by Rudolph F. Zallinger, who painted Stegosaurus this way in his “Age of Reptiles” mural at the Peabody Museum in 1947.

Stegosaurus made its major public debut as a paper mache model commissioned by the U.S. National Museum of Natural History for the 1904 Louisiana Purchase Exposition. The model was based on Knight’s latest miniature with the double row of staggered plates,[82] and was exhibited in the United States Government Building at the exposition in St. Louis before being relocated to Portland, Oregon for the Lewis and Clark Centennial Exposition in 1905. The model was moved to the Smithsonian National Museum of Natural History (now the Arts and Industries Building) in Washington, D.C. along with other prehistory displays, and to the current National Museum of Natural History building in 1911. Following renovations to the museum in the 2010s, the model was moved once again for display at the Museum of the Earth in Ithaca, New York.

JOSEPH SMIT (1836-1929)

Josef Smit’s dinosaur drawings are a high point in his fine draughtsmanship and unique in his vision to construct an image based on a written description rather than a physical specimen. Knipe’s preface indicates that Smit also learned much from Charles Knight’s drawings at the Museum of Natural History, New York.

Josef Smit was born and raised in Lisse, in southern Holland. Later, in Leiden, his scientific fidelity came to the Natural History Museum of Leiden director Hermann Schlegel’s attention. He presented the artist with his first commission to paint a series of birds from the Dutch East Indies. Smit’s work for Schlegel earned him a significant commission to prepare hundreds of plates for Philip Sclater’s Exotic Ornithology. Once in London, the artist met other like-minded artist-naturalists and developed a reputation for preparing very realistic drawings. Because of his ability to delineate every detail of a specific bird, he was employed by several scientists to illustrate their reports and publications. His work stood apart from his contemporaries in his addition of thorough backgrounds of leaves, vines, and tree branches. Smit eventually became a key contributor to some of the most important natural history publications of the 19th and early-20th centuries. His work graced the tomes by John Gould, Edward Lear, Archibald Thorburn, Henry Constantine Richter, and J.G. Keulemans. His son, Pierre-Jacques Smit was also a skilled watercolorist.

ORIGINAL WATERCOLORS PREPARED FOR HENRY KNIPE’S
NEBULA TO MAN (1905) & EVOLUTION IN THE PAST (1911-1912)

An exceedingly rare collection of original watercolors prepared for Henry Knipe’s Nebula to Man (1905) and Evolution in the Past (1911-1912) by naturalist-artists Alice Woodward, Josef Smit, and Charles Whymper.

Drawings prepared for Knipe’s Nebula to Man (1905) contributed to one of the most important publications on dinosaurs on the heels of the Great Dinosaur Rush or Bone Wars. The Bone Wars occurred between 1877 and 1892 between Edward Drinker Cope, the Academy of Natural Sciences Philadelphia, and Othniel Charles Marsh, the Peabody Museum of Natural History at Yale. These early paleontologists fought ruthlessly to pursue dinosaur fossils, a quest that resulted in an extraordinary period of discovery and the eventual financial ruin of both scientists. Their findings resulted in unearthing 136 new dinosaur species, ushering in a new paleontological research era.

According to Henry Knipe’s obituary, he worked for the British Museum. It was there that he likely met the artists tapped for this project. Knipe chose each illustrator for their reputation for scientific authenticity—namely, those skilled as bird artists, given the many similarities between bird species and dinosaurs.