Friday, January 6, 2012

Antique Image of the Day: A Crowd Watching a Punch & Judy Show, 1801

The Victoria & Albert Museum
Click to Enlarge



This hand-colored etching and aquatint from 1801 depicts a familiar scene of a crowd of people watching a Punch and Judy puppet show.  Published in London, the drawing is the work of Ann Dibdin.  John Hill acted as the aquatinter.  Charles Dibdin was the publisher. 



Aquatint is an engraving process by which a print is created by transferring a drawing to a copper plate.  The drawing is incised into the plate using acid, then, the plate is used to make multiple prints.  In this case, Mrs. Dibdin created the drawing which was transferred to the printing plate by John Hill so that Mr. Dibdin could produce multiple copies of the image. 

Not surprisingly, this is part of the V&A’s George Speaight Punch & Judy Collection.  

Punch’s Cousin, Chapter 429

Mr. Punch snorted as Robert pulled him away from Ty Odo.

“Now, Chum,”  Punch sighed.  “I know what you’re gonna say.”

“Do you?”  Robert raised his eyebrows in an effort to hide the affectionate grin that passed his lips.  “I’m not quite sure that I know where to begin.”

“Well,”  Punch muttered, “See, you’re gonna tell me that this man ain’t the sort what we ought to trust.  I know it’s true, and I don’t trust him at all, I don’t.”

“Good to know.”  Robert nodded.

“And, I don’t want him near us—neither.  Sure I don’t want him to come on the ship with us only I don’t see as we got no other choice.  After all, he bring the baby to us what the law says should have gone back to his master, he did.  Now, I also know that I—what ya call it?—implied…that’s it…that I’d toss him overboard.  I only done that for you.  He don’t know what I were sayin.”

“I realized that.”

“I don’t gotta throw him overboard though I’d like to watch him punge into the icy sea—I ain’t gonna lie ‘bout it.  But, I know how you feel ‘bout those sorts of things, bein’ a doctor and all.”

“Surprisingly, I’m not against the idea of throwing Odo into the ocean.”  Robert winked.  “I seem to have changed my opinion on such actions.  However, I don’t think you have it in you to do that anymore.  You’ve rather mellowed.”

“I ain’t mellowed so much!” Punch snapped.  “I am Mr. Punch, still, I am.  Remember, I struck that officer with a figurine.  That ain’t the sort of thing what a mellow man does, is it?”

“Well, no.”  Robert responded, biting his cheeks to keep from laughing.

“Still, you’re right, I ‘spose.  Knockin’ a fella out is different that tossin’ ‘im into the sea to drown and die and such.”  Punch frowned.  “Still, it ain’t a bad idea.”

“I don’t disagree.”  Robert nodded.  “If not a lot of trouble.”

“True.”  Punch squinted.

“Since you seem to know my thoughts before I do, what else do I wish to say to you?”  Robert teased.

“That you’re not gonna let me go with Odo to make sure Mama Routhe is safe.  You’re gonna say we come too far to leave the docks now and we can’t trust Odo to bring us back on time.”

“You’re correct.”  Robert nodded.

“But, Chum,”  Punch protested.  “Mama’s been so kind to us, she has.  She risked her life and all just to make sure we got Colin back.  Not to mention that she put her family in danger, too.  Now, we owe it to her to see that she ain’t in wicked hands.”

“You don’t have to tell me.”  Robert patted Punch on the shoulder.  “I agree that we should see to it that she’s out of harm’s way.”

“Well, blood hell!”  Punch grumbled.  “What’d you want to talk with me ‘bout if you’re so agreeable?”

“I would prefer that you let me accompany Odo while you stay here with the others and wait for the ship.”

“No.”  Punch said.

“On this I will not be swayed.”  Robert shook his head.

“What if you don’t make it back?”

“I’ll take another ship.”

“No.  You’re too important.  We need you.”  Punch said.

“While I appreciate that you feel that way.”  Robert smiled.  “That fact is that there’s no traveling without you.”

“Here, what for?”

“Though you are Mr. Punch inside—on the outside, you’re the Duke of Fallbridge.  Since everything we have planned for the future hinges on that fact, we rather need you to be with our party aboard the ship.”

“But, we’re traveling—what’s it?—incontinently.”

“Incognito.”  Robert corrected Punch with a chuckle.  “Nevertheless, when we arrive in England, it’s the Duke of Fallbridge we need.  What would I do?  Walk up to Fallbridge Hall or even the house in Belgravia and say, ‘the Duke of Fallbridge sent me with these people, these children and these servants, so open the house and let us in?’”

“Oh.”  Punch nodded.  “That would be a kerfuffle.”

“Furthermore, you’re Colin’s blood relative and ergo his guardian.  When we arrive in England, how would I account for my relationship to the child?”

“But, I need you here.”

“And, I need you.”  Robert replied firmly.  “So, just let me go with Odo.  I’ll see to it that we get back in time.  But, if we don’t for some reason—my absence would not be as damaging to the safety of everyone than would yours.”

“Here,”  Punch said slyly.  “Let’s send Cecil.”

“And potentially deprive my nephew of his father and Adrienne of her husband?”  Robert shook his head.

“Fine.”  Punch mumbled.

A look of inspiration crossed Robert’s face—a look that did not go unnoticed by Mr. Punch.
“What?”

“Why not send Gerry?”  Robert brightened.

“Sure!”  Punch whooped.  “We can trust him.  He can go with Odo and make sure that Mama Routhe is not in danger.  And, he’s fast.  He’ll make it back in time.  Maybe he can even somehow lose Odo along the way and we wouldn’t have to worry ‘bout him no more, nor even have to mess with drownin’ him!”

“We’re not going to drown him either way.”  Robert scolded.

“Can’t be sure of that.”  Punch shrugged.  “Things happen.”

“I said, no.”  Robert clucked his tongue.

“You’re no fun.”  Punch grumbled.

Robert signaled to Gerry who watched from a distance with the rest of the group.

“Think he’ll do it?”  Punch asked, glancing at Odo who watched anxiously from his lone spot at the end of the docks.

“Which one?  Gerry or Odo?”

“Odo.”  Punch sniffed.  “I don’t trust him.”

“Nor do I.”  Robert sighed.  “But, Gerry has a way with these people.  After all, he managed Arthur well enough.”

“Did he?”  Punch grumbled.  “Seems to be the Yellow Fever had a better way with Arthur than did Gerard.”

Gerard eagerly joined Punch and Robert.

“We have a job for you, Gerry.”  Robert said.  “You’ll have to be quick about it.  We need you to go with Odo and make sure that Mama Routhe is safe.”

“Sure, Sir.”  Gerard nodded.  “Only, you ain’t gonna leave me behind are ya?”

“No.”  Robert smiled reassuringly.  “That’s the last thing we want.”

“Where is Mrs. Routhe?”

“Odo says she’s with Marie Laveau,”  Robert frowned.

“Oh, that rather makes it worse, don’t it?”  Gerard sighed.

“It does.”  Robert nodded.  “Are you willing to help us?”    

"Sure, I am."  Gerard smiled.

"Thank you,"  Robert replied.  "Odo!"  He waved for the trembling man.  "Come here, please."

Odo cautiously joined the three me.  "Yes, Sir?"

"Gerard will accompany you to the spot where Mrs. Routhe is being held.  You will show him that she is safe, and if possible, accompany here home, then, you'll rejoin us here."

"I can't, Sir."

"Here, you swore you'd prove to us that our chum ain't in no danger!"  Punch shouted.

"Oh, I will.  I will."  Odo yelped.  "But, I can't go with no servant.  It's gotta be the Duke."

"Why?"  Robert asked.

"It's just gotta be."  Odo trembled.  


Did you miss Chapters 1-428?  If so, you can read them here.


Drawing of the Day: A Costume Design for Judy, 1861-1934

The Victoria & Albert Museum



What might Judy (Mr. Punch’s lovely bride) look like were she a human lady?  Well, here’s your answer.  She’s stunning, yes? 

Here, from the beautiful George Speaight Punch and Judy Archive at the V&A, we see a costume design for an actor playing Judy.  Why?  No one knows anymore.  The only explanation for this drawing of pencil and watercolor on card is an inscription  stating that it was designed by Clarkson Costumes ca. 1861 to 1934.  Hmmm…  That’s rather a large time range there. 



We see that Judy is carrying a stick in her left hand (as one does when married to Mr. Punch) and dragging a doll with her right hand.  I would like to interject that the “doll” is actually meant to represent the famed, embattled baby in whatever human version of the Comical Tragedy (or Tragical Comedy) of Mr. Punch for which this costume was designed.   It’s all very mysterious.  But, that’s the way to do it.  



Object of the Day: A Victorian Trade Card with Mr. Punch





This handsome trade card was found a few days ago at a local antique store.  My mother, father, Bertie and I (well, not so much Bertie—he just sort of watched) sorted through several bins of antique and vintage scraps and cards in search of interesting finds, and this one popped up. 


On the reverse, it’s an advertisement for a hotel in Ohio.  The ad is actually very hard to see since it’s been damaged after having been glued into a scrapbook a century ago and then, recently ripped out of said scrap book by the seller.  I must confess that I have mixed feelings about this.  I, personally, would not have had the heart to tear apart  a Victorian scrapbook.  However, I understand why it was done—so that the individual parts could be sold to people like me who were in the market for specific things. 


You can see why I wanted this trade card.  There’s Mr. Punch.  He’s seated on the lap of a young girl who seems quite taken with him.  He’s not in his usual red ensemble, but, instead wears a handsome striped cap and suit of cerulean.


This image—not only the pose, but the costume of the girl—reminds me of a pair of photographs in the V&A—“Joy and Grief” which shows a similar scene.  Which came first—who knows?  They’re very close in age, and pinning a exact year on the card is impossible since the reverse is unreadable.  


The Victoria & Albert Museum




Nevertheless, just the sight of it pleases me.  Look at Punch’s face.  He looks so kind, and not at all as if he’s thinking about hitting that girl with a stick.  No, no, there’s not a trace of plotting in his expression at all.  



Thursday, January 5, 2012

Gratuitous Bertie Dog Picture:  La Halte du Bertie

"Well, I can do tricks, too, Little Miss Balance-Head."



Image:  The Resting Horseman; La Halte du Cavalier; Landscape with Figures, 1640s, Louis Le Nain, The Victoria & Albert Museum.



Show your love of Bertie with our exclusive line of Gratuitous Bertie Dog products available only in our online shop.

Mastery of Design:  The Dame Joan Evans Diamond Cross, 1650-1700

The Victoria & Albert Museum






From the collection of Dame Joan Evans, this silver cross is set with rose-cut diamonds, and features a gold back with painted enamel tulips.

This impressive pendant was made in Western Europe between 1650 and 1700.

Unusual Artifacts:  A Silver Chamber Candlestick, 1744-45

The Victoria & Albert Museum




For use at and in transit to the bedside, chamber candlesticks usually feature a short stem and small nozzle, and a handle attached to the drip pan, enabling them to be easily portable.

Thus example is unusual for its grandeur and sophistication.   The fact that it was originally gilt, suggests that  it was commissioned for a noble, aristocratic or royal household.   Paul Crespin (1694-1770), the maker, supplied items to patrons of such households.

The object depicts a cupid near the flower-shaped nozzle and twisted stem.  The whole of the piece is adorned with chased ornament. Crespin was clearly influenced by French ornamental designs. He worked closely with other French emigre silversmiths including Paul de Lamerie and Nicholas Sprimont.