Unusual Artifacts: A Victorian Clown Costume, c.1878

Click image to enlarge.
Charlie Keith's Costume
c. 1870
This and all related images from:The Victoria & Albert Museum

By the very nature of the job, a clown’s costumes are quickly consumed. So, finding an example of a Nineteenth Century clown’s costume, especially one in good condition, is quite a rare event indeed. The one pictured above is a remarkable example, and, one of only a few such costumes which survive.

Both printed and embroidered, this fine costume belonged to Charlie Keith (1836-1895)—a popular and celebrated clown who was also responsible for managing his own touring circus. The curators of the V&A found an advertisement for Charlie Keith's Circus in The Southport Critic. Dated June 15, 1878, the ad features an engraving of Keith wearing a costume very much like this one. And, here’s a photo from around the same time of Charlie wearing this very costume. 

The costume consists of a back-fastening, waist-length jerkin of heavy white cotton. A scalloped frill adorns the neck. The jerkin features short, puffed sleeves which are also edged with a similar frill. Upon the front is appliquéd a large satin circle printed with an image of Charlie Keith in his clown makeup and costume with his surname “Keith” printed on his neck frill. On his cheeks, red wool hearts have been appliquéd with similar patterns on his cheeks and forehead. The back is similarly adorned with the wearer’s first name. 

Print of the Day: Grimaldi and the Alpaca, 1813

Click on image to try to get your own alpaca.

"Grimaldi and the Alpaca"
London, 1813
The Victoria & Albert Museum

Dated 11 January, 1813, this chromolithograph published by Rudolph Ackermann depicts a scene from the Popular Pantomime of The Red Dwarf which was performed at the Theatre Royal Covent Garden. The panto starred Joseph Grimaldi as “Joey the Clown.

Part of Grimaldi’s routine at this 1813 show involved “Joey’s” interaction with a man attired as an Aztec. The clown would try to trick the Aztec into giving away his Alpaca. I must confess, I never thought I’d be typing the words “Grimaldi and the Alpaca” together. But, that’s what the print is entitled. The image was drawn by one R. Norman. 

Figure of the Day: Charlie Keith, 19th C.

Bronze Candlestick
Presented to Charlie Keith
London, Nineteenth Century
The Victoria & Albert Museum

You may remember Charlie Keith (1835-1895) from our previous look at one of his costumes. This London clown was billed as “the Favourite Clown, Tumbler, Chair and Original Performer,” following in the footsteps of Joseph Grimaldi and his son. In fact, Keith based his white-faced look on Grimaldi’s, even adapting Grimadli’s wig-style, the “three bobble coiffure.” He was so successful that by 1868, he’d opened his own traveling circus. This figural bronze candlestick was presented to Keith in the late Nineteenth Century. The clown figure is likely based on Keith himself. The modeler is unknown.

The bronze is thought to have been given to Keith before his death in 1896. He died in Bury and was buried in Southport. I wonder why he wasn't buried in Bury.  That would have suited him better.

Figure of the Day: Charlie Keith, 19th C.

Bronze Candlestick
Presented to Charlie Keith
London, Nineteenth Century
The Victoria & Albert Museum

You may remember Charlie Keith’s (1835-1895) from our September look at one of his costumes. This London clown was billed as “the Favourite Clown, Tumbler, Chair and Original Performer,” following in the footsteps of Joseph Grimaldi and his son. In fact, Keith based his white-faced look on Grimaldi’s, even adapting Grimadli’s wig-style, the “three bobble coiffure.” He was so successful that by 1868, he’d opened his own traveling circus. This figural bronze candlestick was presented to Keith in the late Nineteenth Century. The clown figure is likely based on Keith himself. The modeler is unknown.

The bronze is thought to have been given to Keith before his death in 1896. He died in Bury and was buried in Southport. I wonder why he wasn't buried in Bury.  That would have suited him better.

Print of the Day: Grimaldi and the Alpaca, 1813

Click on image to try to get your own alpaca.

"Grimaldi and the Alpaca"
London, 1813
The Victoria & Albert Museum

Dated 11 January, 1813, this chromolithograph published by Rudolph Ackermann depicts a scene from the Popular Pantomime of The Red Dwarf which was performed at the Theatre Royal Covent Garden. The panto starred Joseph Grimaldi as “Joey the Clown.

Part of Grimaldi’s routine at this 1813 show involved “Joey’s” interaction with a man attired as an Aztec. The clown would try to trick the Aztec into giving away his Alpaca. I must confess, I never thought I’d be typing the words “Grimaldi and the Alpaca” together. But, that’s what the print is entitled. The image was drawn by one R. Norman. 

Object of the Day: Grimaldi or Joey the Clown or...

Click on image to feed the baby.

Joseph Grimaldi (known as “Joey the Clown”), credited as the original white-faced clown, was mimicked and copied by many of his contemporaries. His then-unsual makeup and wig are no considered standard clowning attire, but, then, he was all new. The image of the white-faced clown quickly became a popular artistic theme during Grimaldi’s day. Unless specifically indicated, it’s difficult to tell if these images are actually of Grimaldi or of his many imitators.

For example, I recently came across this antique scrap amongst a lot of trade cards in my collection. If this isn’t Grimaldi, he’s a pretty close approximation. He even appears to be wearing “Joey’s” specific costume.

My question is this, however—Why the baby? Who gives their baby to a clown to be fed with a giant, comic spoon? It troubles me, especially when you consider that “Joey the Clown” became a character in the Punch and Judy tradition. We know how well it turns out for babies there.

Unusual Artifacts: A Victorian Clown Costume, c.1878

Click image to enlarge.
Charlie Keith's Costume
c. 1870
This and all related images from:
The Victoria & Albert Museum

By the very nature of the job, a clown’s costumes are quickly consumed. So, finding an example of a Nineteenth Century clown’s costume, especially one in good condition, is quite a rare event indeed. The one pictured above is a remarkable example, and, one of only a few such costumes which survive.

Both printed and embroidered, this fine costume belonged to Charlie Keith (1836-1895)—a popular and celebrated clown who was also responsible for managing his own touring circus. The curators of the V&A found an advertisement for Charlie Keith's Circus in The Southport Critic. Dated June 15, 1878, the ad features an engraving of Keith wearing a costume very much like this one. And, here’s a photo from around the same time of Charlie wearing this very costume. 

The costume consists of a back-fastening, waist-length jerkin of heavy white cotton. A scalloped frill adorns the neck. The jerkin features short, puffed sleeves which are also edged with a similar frill. Upon the front is appliquéd a large satin circle printed with an image of Charlie Keith in his clown makeup and costume with his surname “Keith” printed on his neck frill. On his cheeks, red wool hearts have been appliquéd with similar patterns on his cheeks and forehead. The back is similarly adorned with the wearer’s first name.