Painting of the Day: Matthew Prior, c. 1700

Matthew Prior
Sir Godfrey Kneller, 1700
The Victoria & Albert Museum

Well, well, here’s a fella who looks like he’s trouble. He also looks like he’d benefit from a good sandwich. Mmmm…sandwich. But, I digress. Who is this impish bloke?

He’s Matthew Prior (1664-1721). You’ve heard the name, I’m sure. Or, not.  I don't know what you have heard and haven't.  Prior was a celebrated poet, diplomat and politician, as well as a fellow of St. John’s College Cambridge. Most likely, you know his name from reading his translations from Horace and Ovid, or, perhaps you’re familiar with his poetry. Prior is also known to museum-types like me for his collection of important paintings and prints.

A chum of King William and Queen Mary, Prior was considered a superb diplomat. He’s buried in Poet’s Corner in Westminster Abbey. I remember seeing his monument which features a rather startlingly descriptive inscription:

"Matthew Prior Esq. A fever, gradually creeping up on him, as he meditated upon the history of his times, broke together the thread of his life and of his labours on Sept.18th A.D.1721 in the 57th year of his age.”

This painting was executed in 1700 by Sir Godfrey Kneller (1646-1723) during a time when portraits of literary types were quite popular.

The painter, Sir Godfrey, was born in Germany where he studied mathematics and military fortification (yawn), and, then, at some point, for some unknown reason, he was apprenticed to Rembrandt and began to travel to Rome and Venice. By 1676, Kneller secured Royal patronage to King William III, and, of course, settled in England. He was knighted in 1692 and was considered one of the most fashionable of portrait painters. He was especially known for his series of portraits of ladies at the Royal Court which is known now as “The Hampton Court Beauties” (which for some reason reminds me of Kathie Lee Gifford who, early in her career was a Hee-Haw Honey). He’s also the artist of the “Kit-cat Portraits” of members of the famed “Kit-cat Club.” Lest you think that’s more portraits of “beauties,” I should tell you that they’re gents—none of whom are particularly attractive, sadly. The Kit-cat Club was a group of Eighteenth Century Whigs who gathered at Christopher Catling’s Inn and feasted on the innkeeper’s famous mutton pies which he had playfully called “Kit-Cats.”

And, now, you can say that you read about mutton pies today. I’ll bet it’s the only time.

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. 

Mr. Punch in the Arts: Mr. Punch Meets Mr. Dickens

Charles Dickens is the first name many people think of when recalling Victorian England. Of course, that makes sense. Dickens was one of the most prolific writers of the era. As Punch & Judy shows were one of the major forms of entertainment available to everyone, Dickens would have encountered the fabulous Mr. Punch many a time. It only stands to reason that among Dickens’ colorful cast of characters would be some Punch & Judy men. In The Old Curiosity shop, Little Nell and her grandfather stumble across a couple of Punch & Judy men during their journey. Here, in this lovely illustration from the original printing of The Old Curiosity Shop, we see this encounter as rendered by Dickens’ long-time friend and illustrator, Daniel Maclise. Maclise also provided the illustrations for Nicholas Nickleby and several of Dickens’ Christmas-themed stories.


I love this image. It truly captures a moment in time. I think it’s grand that Mr. Punch is draped over a tombstone as the men inventory their tools. You can see Judy still in the suitcase. Mr. Punch has had a significant influence on all forms of art. Here’s hoping that he continues to do so for centuries to come.

Painting of the Day: Matthew Prior, c. 1700

Matthew Prior
Sir Godfrey Kneller, 1700
The Victoria & Albert Museum

Well, well, here’s a fella who looks like he’s trouble. He also looks like he’d benefit from a good sandwich. Mmmm…sandwich. But, I digress. Who is this impish bloke?

He’s Matthew Prior (1664-1721). You’ve heard the name, I’m sure. Prior was a celebrated poet, diplomat and politician, as well as a fellow of St. John’s College Cambridge. Most likely, you know his name from reading his translations from Horace and Ovid, or, perhaps you’re familiar with his poetry. Prior is also known to museum-types like me for his collection of important paintings and prints.

A chum of King William and Queen Mary, Prior was considered a superb diplomat. He’s buried in Poet’s Corner in Westminster Abbey. I remember seeing his monument which features a rather startlingly descriptive inscription:

"Matthew Prior Esq. A fever, gradually creeping up on him, as he meditated upon the history of his times, broke together the thread of his life and of his labours on Sept.18th A.D.1721 in the 57th year of his age.”

This painting was executed in 1700 by Sir Godfrey Kneller (1646-1723) during a time when portraits of literary types were quite popular.

The painter, Sir Godfrey, was born in Germany where he studied mathematics and military fortification (yawn), and, then, at some point, for some unknown reason, he was apprenticed to Rembrandt and began to travel to Rome and Venice. By 1676, Kneller secured Royal patronage to King William III, and, of course, settled in England. He was knighted in 1692 and was considered one of the most fashionable of portrait painters. He was especially known for his series of portraits of ladies at the Royal Court which is known now as “The Hampton Court Beauties” (which for some reason reminds me of Kathie Lee Gifford who, early in her career was a Hee-Haw Honey). He’s also the artist of the “Kit-cat Portraits” of members of the famed “Kit-cat Club.” Lest you think that’s more portraits of “beauties,” I should tell you that they’re gents—none of whom are particularly attractive, sadly. The Kit-cat Club was a group of Eighteenth Century Whigs who gathered at Christopher Catling’s Inn and feasted on the innkeeper’s famous mutton pies which he had playfully called “Kit-Cats.”

And, now, you can say that you read about mutton pies today. I’ll bet it’s the only time.

Print of the Day: Gulliver's Travels, 1798

Page from "Gulliver's Travels"
England, 1798
The British Museum

Charles Cooke published this print in 1798. The image is based on artwork by Richard Corbould and the print was made by Charles Warren for “Cooke’s Pocket Edition of Select Novels.” The illustration is for “Gulliver’s Travels” and depicts the tiny figure of Gulliver in the middle of a gathering of farmers in a field.

The illustration is framed in an oval with a decorative border surmounted by flanking figures of Mr. Punch and Judy, and a mouse. The rodent is framed by the arcs of the sickles held by our puppet friends.

Sunday Morning Special: Popeye in "Aladdin and his Wonderful Lamp," 1939

Further proof that 1939 was the greatest year in cinematic history, this needs no explanation.

Drawing of the Day: “O was an Oyster,” c. 1880

O was an Oyster
Lear, 1880
The Victoria & Albert Museum

Poet, author, artist and illustrator Edward Lear is best remembered for his “nonsense” literature including his celebrated “The Owl and the Pussycat,” and his lesser-known but equally delightful “Nonsense Alphabet.”

Here, we have an original drawing by Lear which was a study for a page in his “Nonsense Alphabet.” Dating to about 1880, the page is inscribed:

O was an oyster
Who lived by the sea
And he opened his mouth
As wide as could be.

Object of the Day: 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.