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.” 

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.  

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.  

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: 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: 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: Mr. Punch and Pretty Polly

1859 Proofs for prints of George Cruikshank's Punch & Judy Series of 1827
This pair of images shows courtly dances including the dance with Pretty Polly
as performed by Piccini.
Images from the Victoria & Albert Museum.

Another scene from a recent Punchinello show which replicates the 1827 drawings of Mr. Punch by George Cruikshank, here we see Mr. Punch courting Pretty Polly with a dance. I wish I knew who the professor was here. He’s used “The Beggar’s Opera” by John Gay as the dance music.

The video, again is by Chris van der Craats.

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.

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

Last Friday, we 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.