Painting of the Day: A Portrait by Frederick Cruickshank

Portrait of a Lady Seated in an Armchair
Frederick Cruickshank
England, 1830
The Victoria & Albert Museum

Frederick Cruickshank (1800-1868) was an English painter who is often confused with the other notable Cruikshanks (George, Isaac and Isaac Robert), however, there’s no obvious relationship and the names are spelled differently.

While the “K with no C” Cruikshanks are best known for their sociopolitical, satirical and theatrical drawings, Cruickshank (with an extra C) was known for his portraiture. This portrait of an anonymous subject is an excellent example of Frederick Cruickshank’s work. Here, we see a rather morose woman in a room adorned with musical accoutrement. The sitter’s identity has never been deduced, but there are some curious clues in the composition which hint to her situation. There’s an abandoned pair of men’s gloves on the floor—perhaps a suggestion that she has been cast aside by a husband or lover. Furthermore, a prominent bust on a pedestal resembles any of a series of busts made by Sir Francis Chantrey of engineer and steam engine innovator, James Watt. Does this mean that this woman is a member of the Watt family? Is she a relative from the Campbell family?

We will never know who she is. We know only that she is surrounded by beautiful things arranged in an intentionally peculiar way. An expensive guitar and piano indicate wealth, while the cut flowers on the mantel are arranged in an ice-bucket—a signature of an individual style.

And, that’s the beauty of this Cruickshank’s work. He was known to be able to say quite a lot about his sitters without identifying them by name and by only including unique attributes.

This work of watercolor and body color was painted in 183o and exhibited at the Royal Academy in 1831 and Cruickshank was careful not to reveal the identity of the sitter by calling the picture simply, “Portrait of a Lady Seated in an Armchair.” 

Object of the Day, Museum Edition: Cruikshank's "Punch and the Cat," 19th C.

Engraving depicting "Punch and the Cat"
George Cruikshank
The Victoria & Albert Museum

Some of the earliest, most accurate and famous drawings we have of the Nineteenth Century Punch & Judy shows in Britain are those created by the celebrated illustrator George Cruikshank (1792-1878).

Here, we see an engraving after one of Cruikshank’s renowned drawings.  The print crisply depicts not only the Punch & Judy performance, but also, the audience.  Here, we see Punch and the Cat in a booth in the upper center. Some Punch & Judy Professors in the Nineteenth Century used a cat in lieu of the Dog Toby.  At the time, many Punch & Judy men still employed real animals as Punch’s companion as opposed to puppet counterparts.  If a dog was unavailable, Mr. Punch was joined by a cat. 

This trimmed piece of paper has, on the reverse, part of a music score entitled “The Magistrate.” “Old G. Cruickshank” is inscribed in pencil on the upper left center.

Friday Fun: Mr. Punch and Scaramouche

Mr. Punch and Scaramouche
George Cruikshank, 1827
From the George Speaight Punch and Judy Archive
at The Victoria and Albert Museum

We have previously enjoyed a video by Australian Punch and Judy Man, Chris van der Craats which showed us a recent recreation of some of George Cruikshank’s 1827-era drawings of the “Comical Tragedy or Tragical Comedy of Mr. Punch.” Here’s another recreation—complete with Piccini Punch. This one shows Mr. Punch and Scaramouche.

In the early Nineteenth Century version of the puppet show, Mr. Scaramouche was Mr. Punch’s neighbor and the original owner of Dog Toby. Punch encounters Dog Toby who bites his “beautiful nose,” and, then, Scaramouche confronts Punch about harassing his terrier. Punch confused Scaramouche by dancing with him, and, then beating him with his cudgel—eventually, taking Dog Toby as his own companion. This video begins just after Punch has had his first meeting with Dog Toby.  

Print of the Day: Cruikshank's "Punch and the Cat," 19th C.

Engraving depicting "Punch and the Cat"
George Cruikshank
The Victoria & Albert Museum

Some of the earliest, most accurate and famous drawings we have of the Nineteenth Century Punch & Judy shows in Britain are those created by the celebrated illustrator George Cruikshank (1792-1878).

Here, we see an engraving after one of Cruikshank’s renowned drawings.  The print crisply depicts not only the Punch & Judy performance, but also, the audience.  Here, we see Punch and the Cat in a booth in the upper center. Some Punch & Judy Professors in the Nineteenth Century used a cat in lieu of the Dog Toby.  At the time, many Punch & Judy men still employed real animals as Punch’s companion as opposed to puppet counterparts.  If a dog was unavailable, Mr. Punch was joined by a cat. 

This trimmed piece of paper has, on the reverse, part of a music score entitled “The Magistrate.” “Old G. Cruickshank” is inscribed in pencil on the upper left center.

Friday Fun: Mr. Punch and the Devil

Drawings by George Cruikshank, 1828

This video clip from 2012’s May Fayre and Mr. Punch’s 350th birthday was filmed by Australia’s Chris van der Craats. I’m not sure who the professor is, but he has given us a wonderful recreation of one of George Cruikshank’s famous 1820s illustrations of Mr. Punch. In this scene, Punch is defeating the Devil. That’s the way to do it!

Mr. Punch in the Arts: Punch Hangs the Hangman, 1854

Punch hangs the Hangman—serve him right;
I’ve no compassion for the Fellows
Who ‘stead of the way from, delight
In showing folks that to the gallows.
(“Fellows” and “gallows” don’t exactly rhyme,
But you shall have a better one next time.)

So states the caption of this 1854 engraving from the book, The Wonderful Drama of Punch and Judy by “Papernose Woodensconce, Esq.” The title of the drawing is “Punch Profits from the Introduction He Has Made and Hangs the Hangman.” Papernose Woodensconce was the whimsical penname of author Robert Brough who often wrote about Mr. Punch and his family as illustrated by the renowned George Cruikshank.

Painting of the Day: A Portrait by Frederick Cruickshank

Portrait of a Lady Seated in an ArmchairFrederick Cruickshank
England, 1830
The Victoria & Albert Museum

Frederick Cruickshank (1800-1868) was an English painter who is often confused with the other notable Cruikshanks (George, Isaac and Isaac Robert), however, there’s no obvious relationship and the names are spelled differently.

While the “K with no C” Cruikshanks are best known for their sociopolitical, satirical and theatrical drawings, Cruickshank (with an extra C) was known for his portraiture. This portrait of an anonymous subject is an excellent example of Frederick Cruickshank’s work. Here, we see a rather morose woman in a room adorned with musical accoutrement. The sitter’s identity has never been deduced, but there are some curious clues in the composition which hint to her situation. There’s an abandoned pair of men’s gloves on the floor—perhaps a suggestion that she has been cast aside by a husband or lover. Furthermore, a prominent bust on a pedestal resembles any of a series of busts made by Sir Francis Chantrey of engineer and steam engine innovator, James Watt. Does this mean that this woman is a member of the Watt family? Is she a relative from the Campbell family?

We will never know who she is. We know only that she is surrounded by beautiful things arranged in an intentionally peculiar way. An expensive guitar and piano indicate wealth, while the cut flowers on the mantel are arranged in an ice-bucket—a signature of an individual style.

And, that’s the beauty of this Cruickshank’s work. He was known to be able to say quite a lot about his sitters without identifying them by name and by only including unique attributes.

This work of watercolor and body color was painted in 183o and exhibited at the Royal Academy in 1831 and Cruickshank was careful not to reveal the identity of the sitter by calling the picture simply, “Portrait of a Lady Seated in an Armchair.” 

Friday Fun: Mr. Punch and Scaramouche

Mr. Punch and Scaramouche
George Cruikshank, 1827
From the George Speaight Punch and Judy Archive
at The Victoria and Albert Museum

In the early Nineteenth Century version of the puppet show, Mr. Scaramouche was Mr. Punch’s neighbor and the original owner of Dog Toby. Punch encounters Dog Toby who bites his “beautiful nose,” and, then, Scaramouche confronts Punch about harassing his terrier. Punch confused Scaramouche by dancing with him, and, then beating him with his cudgel—eventually, taking Dog Toby as his own companion. This video begins just after Punch has had his first meeting with Dog Toby.  

Print of the Day: The Three Graces; or the three Bums !!of the O!P!ra, 1810

Click image to get bummed

"Three Graces; or the Three Bums !!of the O!P!ra."
Unknown, 1810
The Beard Collection at
The Victoria & Albert Museum

To be honest, I’ve looked and looked, and can find little explanation as to the meaning of this print. Obviously, it’s a political or social commentary. It’s long associated with similar works by Isaac Cruikshank (ancestor of George) and is often included in published groupings with other satirical drawings of 1790-1810, most of them addressing spies and the foibles of the upper class and those termed macaroni.

Entitled “Three Graces; or the three Bums !!of the O!P!ra,” the etching is hand colored with watercolor and dates 15th February 1810. The publisher is listed as D.C.M. (1700-1900).

Object of the Day, Museum Edition: Cruikshank's "Punch and the Cat," 19th C.

Engraving depicting "Punch and the Cat"
George Cruikshank
The Victoria & Albert Museum

Some of the earliest, most accurate and famous drawings we have of the Nineteenth Century Punch & Judy shows in Britain are those created by the celebrated illustrator George Cruikshank (1792-1878).

Here, we see an engraving after one of Cruikshank’s renowned drawings.  The print crisply depicts not only the Punch & Judy performance, but also, the audience.  Here, we see Punch and the Cat in a booth in the upper center. Some Punch & Judy Professors in the Nineteenth Century used a cat in lieu of the Dog Toby.  At the time, many Punch & Judy men still employed real animals as Punch’s companion as opposed to puppet counterparts.  If a dog was unavailable, Mr. Punch was joined by a cat. 

This trimmed piece of paper has, on the reverse, part of a music score entitled “The Magistrate.” “Old G. Cruickshank” is inscribed in pencil on the upper left center.

Friday Fun: Mr. Punch and Scaramouche

Mr. Punch and Scaramouche
George Cruikshank, 1827
From the George Speaight Punch and Judy Archive
at The Victoria and Albert Museum

Here’s another recreation of George Cruikshank’s 1827-era drawings of the “Comical Tragedy or Tragical Comedy of Mr. Punch"--complete with Piccini Punch. This one shows Mr. Punch and Scaramouche.

In the early Nineteenth Century version of the puppet show, Mr. Scaramouche was Mr. Punch’s neighbor and the original owner of Dog Toby. Punch encounters Dog Toby who bites his “beautiful nose,” and, then, Scaramouche confronts Punch about harassing his terrier. Punch confused Scaramouche by dancing with him, and, then beating him with his cudgel—eventually, taking Dog Toby as his own companion. This video begins just after Punch has had his first meeting with Dog Toby.  

Object of the Day, Museum Edition: One of Cruikshank's Punch Drawings, 1828

Mr Punch with Jim Crow and the Blind Man
George Cruikshank, 1828
Engraving, 1859
Lacy & Larker, Ltd.
The George Speaight Archive
The Victoria & Albert Museum

The great George Cruikshank (1792-1859) created some of the most enduring images of Mr. Punch. In fact, Cruikshank’s illustrations of the traditional puppet show remain the benchmark for the look of Punch and his puppet friends.

Here, we see some illustration proofs (nos. 1437-1438) for the fourth edition of “Punch & Judy” which was first published by the firm of Lacy and Parker. This work contained the famed play “The Tragical Comedy or Comical Tragedy of Punch and Judy” which was famously illustrated by George Cruikshank in 1828.

The two etchings are printed in black ink on India paper and both depict scenes from the traditional “Punch & Judy” show as performed in a puppet theatre or “fit-up.”

The top etching shows Jim Crow--Punch's servant—who has been defeated, killed and thrown off the stage by Punch. The etching below this shows Mr. Punch taking the Blind Man's staff prior to knocking him off the stage too.

This Mr. Punch hasn’t been civilized yet. But, that what makes him so lovable. 

These particular etchings, being from the fourth edition of “The Tragical Comedy or Comical Tragedy,” were produced in 1859 based on Cruikshank’s 1828 illustrations. 

Painting of the Day, "The Dame School," Isaac Cruikshank, 1790-1810

The Dame School
Isaac Cruikshank
1790-1810
The Victoria & Albert Museum

Isaac Cruikshank, the famed caricaturist, always had a keen interest in social and political issues. This interest was instilled into his son, George Cruikshank who offered us some of the earliest drawings of Mr. Punch.

Cruikshank, here, shows the world of education prior to The Education Act of 1870 which was the first measure in Britain aimed at providing a universal state system of elementary schools. Prior to the Act of 1870, most children, especially those from lower class families, learned the fundamentals of literacy in “Dame Schools. These school were so-called because they were run by unmarried, often elderly, women.

In Cruickshank's sketch, the teacher listens to a child reading aloud. His point was to show that clearly her pupils were learning something. Critics often dismissed the Dame, equating them to nothing more than a child-care service for working parents.

In this scene, the schoolroom was the old woman's kitchen—as was often the case. Though the scene looks to be awash in warm domesticity, there is one sinister detail—the inclusion of a bundle of birch twigs on the table which would have been used by the teacher to beat a slow or naughty child.

Object of the Day, Museum Edition: A Tail Piece from “Points of Humour”

Tail Piece from "Points of Humour"
George Cruikshank, 1824
The British Museum

Good morning, all! I’m a bit under-the-weather again today, so, I’m all the happier that it’s a “Punch” Friday. I thought we would begin our puppet-fest with a look at piece that I’ve not seen before. It’s been tucked away in the British Museum for quite some time, and I find it quite charming.

Another of Cruikshank’s drawings for the 1824 publication of “Points of Humour,” we see here a very simple, but dynamic image of Londoners watching a Punch & Judy show. Gathered around the fit-up, we see a guardsman, a butcher boy and several children.

Print of the Day: Points of Humour, 1824

Click Image to Enlarge

Points of Humour
After George Cruikshank, 1824
The Victoria & Albert Museum

Published by Charles Baldwyn after George Cruikshank, this wood-engraving dates to 1824 and depicts six proofs of vignettes to different “Points of Humour.”

As you can see, Cruikshank’s experience with Mr. Punch and his wife Judy has served him well in this instance.

Print of the Day: Twelfth Night, 1843

Twelfth Night Characters
George Cruikshank, 1843
The Victoria & Albert Museum

Here’s another wonderful illustration by the brilliant George Cruikshank (1792-1878). This one portrays twelve characters, including Mr. Punch. Published by the Illustrated London News on December 30, 1843, the print is entitled “Twelfth Night Characters.” The reverse shows a poem wherein each character is described. 

Painting of the Day: A Portrait by Frederick Cruickshank

Portrait of a Lady Seated in an ArmchairFrederick Cruickshank
England, 1830
The Victoria & Albert Museum

Frederick Cruickshank (1800-1868) was an English painter who is often confused with the other notable Cruikshanks (George, Isaac and Isaac Robert), however, there’s no obvious relationship and the names are spelled differently.

While the “K with no C” Cruikshanks are best known for their sociopolitical, satirical and theatrical drawings, Cruickshank (with an extra C) was known for his portraiture. This portrait of an anonymous subject is an excellent example of Frederick Cruickshank’s work. Here, we see a rather morose woman in a room adorned with musical accoutrement. The sitter’s identity has never been deduced, but there are some curious clues in the composition which hint to her situation. There’s an abandoned pair of men’s gloves on the floor—perhaps a suggestion that she has been cast aside by a husband or lover. Furthermore, a prominent bust on a pedestal resembles any of a series of busts made by Sir Francis Chantrey of engineer and steam engine innovator, James Watt. Does this mean that this woman is a member of the Watt family? Is she a relative from the Campbell family?

We will never know who she is. We know only that she is surrounded by beautiful things arranged in an intentionally peculiar way. An expensive guitar and piano indicate wealth, while the cut flowers on the mantel are arranged in an ice-bucket—a signature of an individual style.

And, that’s the beauty of this Cruickshank’s work. He was known to be able to say quite a lot about his sitters without identifying them by name and by only including unique attributes.

This work of watercolor and body color was painted in 183o and exhibited at the Royal Academy in 1831 and Cruickshank was careful not to reveal the identity of the sitter by calling the picture simply, “Portrait of a Lady Seated in an Armchair.” 

Print of the Day: The Three Graces; or the three Bums !!of the O!P!ra, 1810

Click image to get bummed

"Three Graces; or the Three Bums !!of the O!P!ra."
Unknown, 1810
The Beard Collection at
The Victoria & Albert Museum

To be honest, I’ve looked and looked, and can find little explanation as to the meaning of this print. Obviously, it’s a political or social commentary. It’s long associated with similar works by Isaac Cruikshank (ancestor of George) and is often included in published groupings with other satirical drawings of 1790-1810, most of them addressing spies and the foibles of the upper class and those termed macaroni.

Entitled “Three Graces; or the three Bums !!of the O!P!ra,” the etching is hand colored with watercolor and dates 15th February 1810. The publisher is listed as D.C.M. (1700-1900).

Print of the Day: Smoking a Parson, 1807

Click image to enlarge
"Smoking a Parson"
London, 1807
The Victoria & Albert Museum

Isaac Cruikshank (1764-1811, relative of Mr. Punch’s pal, George Cruikshank) acted as engraver on this satirical print which was drawn by a man identified as “Woodward” (1755-1809). The print shows a then-shocking flouting of male authority by a woman.

Depicted here, we have a gin-drinking, pipe-smoking woman who counters the criticisms of a minister by speaking her mind. The woman’s proclivities are indicated by the advertisements which Woodward included in the scene—Rich Cordial Gin and Old Tom Tobacco. The print was published in 1807 in London.

Friday Fun: Piccini's Punch with Hector the Horse

Mr. Punch and Hector the Horse
George Cruikshank, 1827
The Victoria & Albert Museum

The previous two Fridays, we have looked at a recent production which successfully recreated the Tragical Comedy (or Comical Tragedy) of Mr. Punch as performed by Piccini and as recorded in the 1827 illustrations of George Cruikshank.

This video by Australia's Chris van der Craats, shows the portion of the show wherein our Mr. punch attempts to ride Hector the Horse. His attempts don't go well and, of course, he falls off--declaring for all the world, and the doctor, to hear that he is dead.