Print of the Day: Harlequin and Mother Goose, 1811

Click image to see original size.
"Harlequin and Mother Goose"
William West, 1811
The Victoria & Albert Museum

This print from 1811 was produced by William West (?-1854) and was meant to honor the popular play “Harlequin and Mother Goose” or “The Golden Egg” which debuted at Covent Garden Theatre on Christmas of 1806. The play marked the first major appearance of Joseph Grimaldi (Joey the Clown) who premiered his famed “Bang-Up” song.

William West became known as a publisher of prints and sheets depicting theatrical characters. He worked from the “Circulating Library” which was located on Exeter Street near the Strand. By the end of his career, West published over 140 play sheets at an unheard of rate of one every month. His works served to record the most successful plays and theatrical productions of the London stage for a period of 20 years. 

This print from “Mother Goose” was his first offering. Aside from Grimaldi, we also see “Mr Simmons” as “Mother Goose,” a Harlequin representing John Bologna,, and a figure of Mr. Punch with a saltbox and rolling pin. Mr. Punch and his wife, Judy, are also show on the lower left.

Figure of the Day: Mother Goose, 1890

"Mother Goose"
Staffordshire
1890
The Victoria & Albert Museum

From Staffordshire, this figurine represents Mother Goose--the subject of the fairy tale which appeared in a French collection published by Charles Perrault and was translated into English in 1729.

Made in 1890, the figure may have been produced because the fairy tale was a generally popular subject, or, most likely because of a theatrical production which was opening at the time. We should note that much earlier in the Nineteenth Century the clown Grimaldi (who was the model for Mr. Punch’s friend, Joey the Clown) had made his name in the Covent Garden production of Dibdin's pantomime “Mother Goose,” or, “the Golden Egg.”

The figure of Mother Goose is shown on goose-back, on a circular colored base, holding a broom in her right hand. She is wearing a white striped hat, a mauve shawl, a green bodice and an apron over a white shirt.

Antique Image of the Day: Illustration from 'Beauty and the Beast,’ 1910

She found herself face to face with a stately and beautiful lady…

Scene from Beauty and the Beast
Edmund Dulac, 1910
The Victoria & Albert Museum

This watercolor of a blue fairy drawing back a canopy is signed Edmund Dulac (1882-1953).  Created in 1910, the drawing was intended to accompany text from the story of “Beauty and the Beast”to face page 104 of “The Sleeping Beauty and other fairy tales retold by Sir Arthur Quileer-Couch,” which was published by Messrs. Hodder & Stoughton, London.

Drawing of the Day: The Fairy of the Woodland Glades Costume Design, 1945

The Fairy of the Woodland Glades
Costume Design
Oliver Messel, 1946
The Victoria & Albert Museum

The 1946 production of “The Sleeping Beauty” at The Sadler's Wells (now Royal) Ballet is considered the greatest triumph of Britain’s leading theatre designer of the mid-Twentieth Century, Oiliver Messel (1904-1978).

Messel created a feeling of a “real” world for the fantastical production. Instead of focusing on the fairytale elements, Messel depended on visual themes based on the architecture and fashions of Seventeenth to Eighteenth Century English, Spanish and French styles. The clever overall look was one of stepping back in time, but not so otherworldly that the character and action seemed false.

In the production, the good fairies arrive to visit Princess Aurora on the day of her christening. They present her with a variety of gifts. Notable, the character of “The Fairy of the Woodland Glades” offers the little princess the gift of “generosity.”

Here is Messel’s proposed costume for “The Fairy of the Woodland Glades.” This design features a train. We know from photographs of the performance that this is not the costume which was created for the show. Obviously, the design was later rejected. It is noted that Messel decided against this design since he had initially wished for all seven fairies to wear costumes with long trains. The extra fabric proved cumbersome and filled the stage so that the dancers’ movements were hindered.

Still, it’s interesting to see how the production design developed over time.

Unusual Artifacts: A Set Design for the City of Coral, 1903

Click image to enlarge
"The City of Coral"
Set Design
Henry Emden, 1903
This and all related images from:
The Victoria & Albert Museum

Nineteenth and Twentieth Century theatre managers relied on their scene painters to create the sets for their productions in a time before “Set Designer” was a specific profession. Sometimes, leading artists of the day were invited to create scenic paintings for productions—especially for a theatre’s annual pantomime or for a special show.

The Theatre Royal, Drury Lane, was especially known for its fine sets. Under the direction of Augustus Harris, and, later, Arthur Collins, the theatre’s sets became increasingly important to the production, and, sometimes, were just as integral a part of the show as the script itself. Collins (who managed the theatre from 1899 until 1924) was, by far, the greater champion of scenic design and, some would argue, is responsible for the introduction of the role of “Set Designer” into common theatrical practice.

Arthur Collins, in 1903, as the theatre’s manager, wrote a new play with J. Hickory Wood, which was based on the traditional nursery rhyme of “Humpty Dumpty”—developing the story into a grand-scale fairytale pantomime and extravaganza. The story, told in fifteen scenes, was quite successful with critics and audiences alike praising the monumental and beautiful sets and scenery. Each set was made in the style of a picture book with brilliant colors, but the one which stood out for the most kudos was “The City of Coral.” This set had been designed by the scene painter Henry Emden (1852-1930) who also created two other sets. Seven other scene artists created the remainder of the scenery.

The “Illustrated London News” commenting on Emden’s triumphant “City of Coral” set: “With its wonderful effects of light and its brilliant harmonies of colour, is one of the greatest pictorial triumphs of the management.” 

The set was backed by drop curtains and painted gauzes which, when lit from behind, became translucent and revealed more of the beautifully painted scenery upstage.

Above, we see Emden’s model for the “City of Coral” set. A label on the model, written and signed by Emden, details the movements of the gauzes: “the whole a continuous rising movement discovering the scene'.”

Curiously, this celebrated set had no real role in the play. It was not one of the major settings and, in fact, this glorious bit of stage trickery was only used as a transition between scenes upon which, as the sets were changed behind it, a brief, but grand ballet and chorus was staged.

Designed for a raked stage (a stage which slopes upward—traditional to English theatre—and the root of the phrases “upstage” and “downstage”), the model shows us how the scenery worked and looked. Main features are the coral, seaweed, lobster, mermaids and sea creatures which adorn the centerpiece and stage wings.

Print of the Day: Harlequin and Mother Goose, 1811

Click image to see original size.
"Harlequin and Mother Goose"
William West, 1811
The Victoria & Albert Museum

This print from 1811 was produced by William West (?-1854) and was meant to honor the popular play “Harlequin and Mother Goose” or “The Golden Egg” which debuted at Covent Garden Theatre on Christmas of 1806. The play marked the first major appearance of Joseph Grimaldi (Joey the Clown) who premiered his famed “Bang-Up” song.

William West became known as a publisher of prints and sheets depicting theatrical characters. He worked from the “Circulating Library” which was located on Exeter Street near the Strand. By the end of his career, West published over 140 play sheets at an unheard of rate of one every month. His works served to record the most successful plays and theatrical productions of the London stage for a period of 20 years. 

This print from “Mother Goose” was his first offering. Aside from Grimaldi, we also see “Mr Simmons” as “Mother Goose,” a Harlequin representing John Bologna,, and a figure of Mr. Punch with a saltbox and rolling pin. Mr. Punch and his wife, Judy, are also show on the lower left.

Drawing of the Day: You'd Best Go Down to the Gardener, 1916

Scene from "The Widow's Son"
Kay Nielsen, 1916
The Victoria & Albert Museum

The Danish-born illustrator Kay Nielsen had long been inspired by native Scandinavian tales. Even as a child, Nielsen would draw the epic Viking stories which were read aloud to him by his family. This influence naturally led to a career illustrating fairytales and nursery rhymes.

Nielsen’s work hints at the Art Nouveau. He’d studied in Paris during the height of the movement. There, he developed a trademark style which shows elements of the Art Nouveau as well as lines and patterns influenced by Japanese Art.

This 1916 image from the traditional Norse tale, “The Widow’s Son” shows Nielsen’s typical style. A work of pen and ink on paper, the illustration depicts a stylized garden occupied by a bearded man who holds a spade and flowers. He looks over his shoulder to a vision of a female face. I’m not familiar with this story, but, if you are, the inscription must make sense. It reads’ You’d best go down to the gardener.”

Object of the Day, Museum Edition: The Yellow Dwarf, 1820

The Yellow Dwarf
English, 1820
The Victoria & Albert Museum

This hand-colored sketch dates to about 1820 and depicts a character from “The Yellow Dwarf” which ran at the Drury Lane Theatre.

The popular play was based on the French fairytale of the same name. If you’re not familiar with the story of “The Yellow Dwarf,” let me see if I can summarize it for you. Once upon a time, etc., there was a princess who was so beautiful that every king in the land vied for her hand. However, she was so beautiful that each man knew he’d never have her, and, they gave up. The princess’ mother feared her daughter would never marry. Since this seemed to be an unacceptable thing at the time, the Queen went to see “The Fairy of the Desert” in order to arrange for a groom for her daughter.

The Fairy of the Desert was guarded by lions. The Queen, fearing, she’d be torn apart by the giant cats, allowed The Yellow Dwarf (named Gam-Bogie) to protect her. In exchange, she agreed to let the dwarf marry her daughter. The Queen was lying, however, just to keep from being killed by lions, and was, oddly enough, shocked when The Yellow Dwarf showed up looking for his new bride. To make matters worse, while her mother was out bothering fairies, the princess found a husband in the form of the King of the Gold Mines. The Queen tried to send the dwarf away, but, the dwarf was understandably annoyed, so, he went to get the Fairy of the Desert to help him. The dwarf took the princess. The fairy took the King. Everyone cried. Lots of weird stuff happened. The King finally escaped, but the dwarf killed him and the princess died of grief. A mermaid turned them both into trees—as one does.

And, the moral of the story is: Don’t tick off a magic dwarf.

I imagine that the play was quite a lot like that. This promotional image was intended for use on posters and is the work of one H. Brown. 

Painting of the Day: Frederick Robson as Gam-Bogie, The Yellow Dwarf, 1856

The Yellow Dwarf
English, 1856
The Victoria & Albert Museum

This 1856 painting by R. Emery depicts the Victorian actor Frederick Robson in character as Gam-Bogie, the Yellow Dwarf . Robson starred in the second London theatrical production which was based on the French fairytale. The first, produced in 1820, is mentioned in the previous post. This retelling of the story was written by James Robinson Planché, and, was met with much acclaim and favorable critical reception, especially for Robson’s performance. 

Antique Image of the Day: Illustration from 'Beauty and the Beast,’ 1910

She found herself face to face with a stately and beautiful lady…

Scene from Beauty and the Beast
Edmund Dulac, 1910
The Victoria & Albert Museum

This watercolor of a blue fairy drawing back a canopy is signed Edmund Dulac (1882-1953).  Created in 1910, the drawing was intended to accompany text from the story of “Beauty and the Beast”to face page 104 of “The Sleeping Beauty and other fairy tales retold by Sir Arthur Quileer-Couch,” which was published by Messrs. Hodder & Stoughton, London.

Drawing of the Day: You'd Best Go Down to the Gardener, 1916

Scene from "The Widow's Son"
Kay Nielsen, 1916
The Victoria & Albert Museum

The Danish-born illustrator Kay Nielsen had long been inspired by native Scandinavian tales. Even as a child, Nielsen would draw the epic Viking stories which were read aloud to him by his family. This influence naturally led to a career illustrating fairytales and nursery rhymes.

Nielsen’s work hints at the Art Nouveau. He’d studied in Paris during the height of the movement. There, he developed a trademark style which shows elements of the Art Nouveau as well as lines and patterns influenced by Japanese Art.

This 1916 image from the traditional Norse tale, “The Widow’s Son” shows Nielsen’s typical style. A work of pen and ink on paper, the illustration depicts a stylized garden occupied by a bearded man who holds a spade and flowers. He looks over his shoulder to a vision of a female face. I’m not familiar with this story, but, if you are, the inscription must make sense. It reads’ You’d best go down to the gardener.”

Unusual Artifacts: A Set Design for the City of Coral, 1903

Click image to enlarge
"The City of Coral"
Set Design
Henry Emden, 1903
This and all related images from:
The Victoria & Albert Museum

Nineteenth and Twentieth Century theatre managers relied on their scene painters to create the sets for their productions in a time before “Set Designer” was a specific profession. Sometimes, leading artists of the day were invited to create scenic paintings for productions—especially for a theatre’s annual pantomime or for a special show.

The Theatre Royal, Drury Lane, was especially known for its fine sets. Under the direction of Augustus Harris, and, later, Arthur Collins, the theatre’s sets became increasingly important to the production, and, sometimes, were just as integral a part of the show as the script itself. Collins (who managed the theatre from 1899 until 1824) was, by far, the greater champion of scenic design and, some would argue, is responsible for the introduction of the role of “Set Designer” into common theatrical practice.

Arthur Collins, in 1903, as the theatre’s manager, wrote a new play with J. Hickory Wood, which was based on the traditional nursery rhyme of “Humpty Dumpty”—developing the story into a grand-scale fairytale pantomime and extravaganza. The story, told in fifteen scenes, was quite successful with critics and audiences alike praising the monumental and beautiful sets and scenery. Each set was made in the style of a picture book with brilliant colors, but the one which stood out for the most kudos was “The City of Coral.” This set had been designed by the scene painter Henry Emden (1852-1930) who also created two other sets. Seven other scene artists created the remainder of the scenery.

The “Illustrated London News” commenting on Emden’s triumphant “City of Coral” set: “With its wonderful effects of light and its brilliant harmonies of colour, is one of the greatest pictorial triumphs of the management.” 

The set was backed by drop curtains and painted gauzes which, when lit from behind, became translucent and revealed more of the beautifully painted scenery upstage.

Above, we see Emden’s model for the “City of Coral” set. A label on the model, written and signed by Emden, details the movements of the gauzes: “the whole a continuous rising movement discovering the scene'.”

Curiously, this celebrated set had no real role in the play. It was not one of the major settings and, in fact, this glorious bit of stage trickery was only used as a transition between scenes upon which, as the sets were changed behind it, a brief, but grand ballet and chorus was staged.

Designed for a raked stage (a stage which slopes upward—traditional to English theatre—and the root of the phrases “upstage” and “downstage”), the model shows us how the scenery worked and looked. Main features are the coral, seaweed, lobster, mermaids and sea creatures which adorn the centerpiece and stage wings.

Print of the Day: Harlequin and Mother Goose, 1811

Click image to see original size.
"Harlequin and Mother Goose"
William West, 1811
The Victoria & Albert Museum

This print from 1811 was produced by William West (?-1854) and was meant to honor the popular play “Harlequin and Mother Goose” or “The Golden Egg” which debuted at Covent Garden Theatre on Christmas of 1806. The play marked the first major appearance of Joseph Grimaldi (Joey the Clown) who premiered his famed “Bang-Up” song.

William West became known as a publisher of prints and sheets depicting theatrical characters. He worked from the “Circulating Library” which was located on Exeter Street near the Strand. By the end of his career, West published over 140 play sheets at an unheard of rate of one every month. His works served to record the most successful plays and theatrical productions of the London stage for a period of 20 years. 

This print from “Mother Goose” was his first offering. Aside from Grimaldi, we also see “Mr Simmons” as “Mother Goose,” a Harlequin representing John Bologna,, and a figure of Mr. Punch with a saltbox and rolling pin. Mr. Punch and his wife, Judy, are also show on the lower left.

Painting of the Day: Frederick Robson as Gam-Bogie, The Yellow Dwarf, 1856

The Yellow Dwarf
English, 1856
The Victoria & Albert Museum

This 1856 painting by R. Emery depicts the Victorian actor Frederick Robson in character as Gam-Bogie, the Yellow Dwarf . Robson starred in the second London theatrical production which was based on the French fairytale. The first, produced in 1820, is mentioned in the previous post. This retelling of the story was written by James Robinson Planché, and, was met with much acclaim and favorable critical reception, especially for Robson’s performance. 

Drawing of the Day: The Yellow Dwarf, 1820

The Yellow Dwarf
English, 1820
The Victoria & Albert Museum

This hand-colored sketch dates to about 1820 and depicts a character from “The Yellow Dwarf” which ran at the Drury Lane Theatre.

The popular play was based on the French fairytale of the same name. If you’re not familiar with the story of “The Yellow Dwarf,” let me see if I can summarize it for you. Once upon a time, etc., there was a princess who was so beautiful that every king in the land vied for her hand. However, she was so beautiful that each man knew he’d never have her, and, they gave up. The princess’ mother feared her daughter would never marry. Since this seemed to be an unacceptable thing at the time, the Queen went to see “The Fairy of the Desert” in order to arrange for a groom for her daughter.

The Fairy of the Desert was guarded by lions. The Queen, fearing, she’d be torn apart by the giant cats, allowed The Yellow Dwarf (named Gam-Bogie) to protect her. In exchange, she agreed to let the dwarf marry her daughter. The Queen was lying, however, just to keep from being killed by lions, and was, oddly enough, shocked when The Yellow Dwarf showed up looking for his new bride. To make matters worse, while her mother was out bothering fairies, the princess found a husband in the form of the King of the Gold Mines. The Queen tried to send the dwarf away, but, the dwarf was understandably annoyed, so, he went to get the Fairy of the Desert to help him. The dwarf took the princess. The fairy took the King. Everyone cried. Lots of weird stuff happened. The King finally escaped, but the dwarf killed him and the princess died of grief. A mermaid turned them both into trees—as one does.

And, the moral of the story is: Don’t tick off a magic dwarf.

I imagine that the play was quite a lot like that. This promotional image was intended for use on posters and is the work of one H. Brown. 

Drawing of the Day: The Fairy of the Woodland Glades Costume Design, 1945

The Fairy of the Woodland Glades
Costume Design
Oliver Messel, 1946
The Victoria & Albert Museum

The 1946 production of “The Sleeping Beauty” at The Sadler's Wells (now Royal) Ballet is considered the greatest triumph of Britain’s leading theatre designer of the mid-Twentieth Century, Oiliver Messel (1904-1978).

Messel created a feeling of a “real” world for the fantastical production. Instead of focusing on the fairytale elements, Messel depended on visual themes based on the architecture and fashions of Seventeenth to Eighteenth Century English, Spanish and French styles. The clever overall look was one of stepping back in time, but not so otherworldly that the character and action seemed false.

In the production, the good fairies arrive to visit Princess Aurora on the day of her christening. They present her with a variety of gifts. Notable, the character of “The Fairy of the Woodland Glades” offers the little princess the gift of “generosity.”

Here is Messel’s proposed costume for “The Fairy of the Woodland Glades.” This design features a train. We know from photographs of the performance that this is not the costume which was created for the show. Obviously, the design was later rejected. It is noted that Messel decided against this design since he had initially wished for all seven fairies to wear costumes with long trains. The extra fabric proved cumbersome and filled the stage so that the dancers’ movements were hindered.

Still, it’s interesting to see how the production design developed over time.

Figure of the Day: Mother Goose, 1890

"Mother Goose"
Staffordshire
1890
The Victoria & Albert Museum

From Staffordshire, this figurine represents Mother Goose--the subject of the fairy tale which appeared in a French collection published by Charles Perrault and was  translated into English in 1729.

Made in 1890, the figure may have been produced because the fairy tale was a generally popular subject, or, most likely because of a theatrical production which was opening at the time.  We should note that much earlier in the Nineteenth Century the clown Grimaldi (who was the model for Mr. Punch’s friend, Joey the Clown) had made his name in the Covent Garden production of Dibdin's pantomime “Mother Goose,” or, “the Golden Egg.”

The figure of Mother Goose  is shown on goose-back, on a circular colored base, holding a broom in her right hand.  She is wearing a white striped hat, a mauve shawl, a green bodice and an apron over a white shirt.

Antique Image of the Day: Illustration from 'Beauty and the Beast,’ 1910

She found herself face to face with a stately and beautiful lady…

Scene from Beauty and the Beast
Edmund Dulac, 1910
The Victoria & Albert Museum

This watercolor of a blue fairy drawing back a canopy is signed Edmund Dulac (1882-1953).  Created in 1910, the drawing was intended to accompany text from the story of “Beauty and the Beast”to face page 104 of “The Sleeping Beauty and other fairy tales retold by Sir Arthur Quileer-Couch,” which was published by Messrs. Hodder & Stoughton, London.

Painting of the Day: Head of Sleeping Attendant from Briar Rose, 1881-1886

Study of a Sleeping Attendant from "Sleeping Beauty"
Edward Burne-Jones, c. 1881
The Victoria & Albert Museum

This monochrome study by the famed Pre-Raphaelite painter, Edward Burne-Jones demonstrates his curious ability to draw in detail using only a paintbrush. This head-study is for a female sleeping attendant in one of a series of four paintings on the theme of the fairy tale Sleeping Beauty.

Burne-Jones has frozen the scene at a moment before the princess is awakened by the prince's kiss.  

While the series, at face value, is an innocent exploration on the theme, making a good use of the Pre-Raphaelite sensibilities, art historians suggest that there’s something else lurking beneath.  According to the V&A, “One theory is that the series refers to Burne-Jones's disquiet at the impending marriage of his daughter, Margaret, wishing her to remain untouched for ever. “

Hmmm…a look at the series reveals that the sleeping girls, all of whom share the features of the figure in this study, resemble the artist’s daughter, Margaret, and he gave his daughter a gouache version of the sleeping princess as a wedding present. “Thanks, Dad!  That’s not creepy at all.”

The finished paintings are in the Faringdon Collection at Buscot Park in Berkshire.  These studies live  in the V&A.