Drawing of the Day: Punchinellos with Monkey and a Dead Chicken, c. 1795

Click image to enlarge.

Punchinellos with a Monkey on a Donkey Holding a Dead Chicken
Domenico Tiepolo, 1791-1804
The British Museum

We’ve seen the works of Giovanni Battista Tiepolo before and I much enjoy his Punchinello scenes.  But, we've not looked at the work of Domenico Tiepolo previously.  Domenico was the son of Giovanni Battista, and, like his father, the younger Tiepolo gave us many drawings of Punchinellos, often in groups, and often, as a Punchinello is wont to do, up to mischief.

This drawing from 1791 to 1804 depicts a group of Punchinellos with a monkey who’s holding a dead chicken on a donkey. 

I want to reinforce how wonderful this is...

It's PUNCHINELLOS with a MONKEY on a DONKEY and the monkey on the donkey is holding a DEAD CHICKEN.

It's as if all my dreams came true.

I confess, I initially read the title of the drawing as being “Punchinellos with a Dead Monkey.” This is, however, just as intriguing. 

In true Venetian style, beyond the figures, we see a view of a town. Like most of  the Tiepolos' Punchinello drawings, this one is created in pen and brown ink with ochre wash, over black chalk.

Was this a study for a painting? Perhaps. Tiepolo, in this work, shows that he was influenced by German artist Johann Elias Ridinger and his “Paradeis” series. Tiepolo often borrowed figures of animals from Ridinger’s works. If this was intended as a study for a painting, there’s no evidence of the finished product. The British Museum acquired this piece in 1925.

Drawing of the Day, Part II: The Discovery of the Tomb of Punchinello, 18th C.

Clock image to enlarge
The Discovery of the Tomb of Punchinello
Giovanni Battista Tiepolo, Eighteenth Century
The Victoria & Albert Museum

This Eighteenth Century drawing by Giovanni Battista Tiepolo (1696-1770) is something of a mystery. We’ve examined several drawings by Tiepolo previously. He often found inspiration in the characters from the Commedia dell’Arte, especially Pulcinella (Punchinello) and frequently depicted Mr. Punch’s ancestors in multiples and family groups.

This work of pen over red chalk has long been referred to as “The Discovery of the Tomb of Punchinello”—an English attribution, after-the-fact, based on Tiepolo’s other works more so than any context given in the piece itself.

The front of the drawing depicts a group of four men watching three others raising the slab of a tomb. The recto depicts Death giving audience.

Obviously, this is a study for a painting. Curators at the V&A--where this lives—have long thought that the piece was an early idea for Tiepolo’s “Scherzo No. 17” which was officially entitled “The discovery of the tomb of Punchinello.” The central figure is shown in a Franciscan habit, suggesting that, perhaps, a miracle of St Anthony of Padua was the inspiration for the scene.

Drawing of the Day: The Discovery of the Tomb of Punchinello, 18th C.

Click image to enlarge
The Discovery of the Tomb of Punchinello
Giovanni Battista Tiepolo, Eighteenth Century
The Victoria & Albert Museum

This Eighteenth Century drawing by Giovanni Battista Tiepolo (1696-1770) is something of a mystery. We’ve examined several drawings by Tiepolo previously. He often found inspiration in the characters from the Commedia dell’Arte, especially Pulcinella (Punchinello) and frequently depicted Mr. Punch’s ancestors in multiples and family groups.

This work of pen over red chalk has long been referred to as “The Discovery of the Tomb of Punchinello”—an English attribution, after-the-fact, based on Tiepolo’s other works more so than any context given in the piece itself.

The front of the drawing depicts a group of four men watching three others raising the slab of a tomb. The recto depicts Death giving audience.

Obviously, this is a study for a painting. Curators at the V&A--where this lives—have long thought that the piece was an early idea for Tiepolo’s “Scherzo No. 17” which was officially entitled “The discovery of the tomb of Punchinello.” The central figure is shown in a Franciscan habit, suggesting that, perhaps, a miracle of St Anthony of Padua was the inspiration for the scene.

Drawing of the Day: A Tiepolo Punchinello, c. 1750

Click the image to look up his Punchy nose.
View of a Punchinello
Giovanni Battista Tiepolo
c. 1750
The Victoria & Albert Museum

I much enjoy the work of Giovanni Battista Tiepolo who frequently depicted Punchinelli engaged in various activities. In fact, we’ve looked at several examples of his work and seen many a Pulcinella involved in his daily routine.

This sketch has been attributed to Tiepolo and dates to about 1750. The recto of the page depicts a bearded old man while this, the verso, shows this Puchinello who is clearly struggling to lift a wine skin. Faint traces of another sketch can be seen on the right of the page. You can make out the hat nose and ear of another Punchinello which has been lightly drawn beneath.

If this was a study for a painting, I’m not sure. However, on its own it’s a clever work and gives us a look at a Punchinello at an angle few get to see.

I’m quite fortunate. Seated next to me for most of the day is a very large Punchinello and I get to look up his nose all day, every day, but, for most of you, it’s a rare treat indeed. 

Print of the Day: Four Punchinellos Embracing a Female

Four Punchinellos Embracing a Female
Reproduction, 1953 of an original by Giovanni Battista Tiepolo
The Harry Beard Collection at:
The Victoria & Albert Museum

We have looked at several drawings by Giovanni Battista Tiepolo and his family in the past. These drawings depicted one of Tiepolo’s favorite subjects—Punchinello. To be exact…Punchinellos, many, humpy-backed Punchinellos--up to no good.

Here, dating to 1953 (the year of the coronation of Queen Elizabeth II), we see a reproduction of a pen and grey wash image in which four Punchinellos are embracing a female. Clearly this is a reproduction of one of the Eighteenth Century words of Tiepolo.

All of the plucky Punchinellos are dressed identically in tall, conical hats and loose fitting tunics and trousers which are belted at the waist. The object of their ominous affections wears an equally tall hat trimmed with lace at the brim and a loose belted dress with collar.

We all know how much I like Punchinellos. Many live here with me. However, I don’t really think I’d like to be embraced by them. Who knows what they'd do to a person?

Print of the Day: Four Punchinellos Embracing a Female

Four Punchinellos Embracing a Female
Reproduction, 1953 of an original by Giovanni Battista Tiepolo
The Harry Beard Collection at:
The Victoria & Albert Museum

We have looked at two drawings by Giovanni Battista Tiepolo which dated to 1751. These drawings depicted one of Tiepolo’s favorite subjects—Punchinello. To be exact…Punchinellos, many, hump-backed Punchinellos up to no good.

Here, dating to 1953 (the year of the coronation of Queen Elizabeth II who celebrates her Diamond Jubilee in coming days), we see a reproduction of a pen and grey wash image in which four Punchinellos are embracing a female. Clearly this is a reproduction of one of the Eighteenth Century words of Tiepolo.

All of the plucky Punchinellos are dressed identically in tall, conical hats and loose fitting tunics and trousers which are belted at the waist. The object of their ominous affections wears an equally tall hat trimmed with lace at the brim and a loose belted dress with collar. 


We all know how much I like Punchinellos. Many live here with me. However, I don’t really think I’d like to be embraced by them. No. In fact, I know that I would not.

Drawing of the Day: Punchinello with Dumpling or Fritter, c. 1796-1770

The Metropolitan Museum of Art, New York

From the Metropolitan Museum of Art in New York, this drawing of pen and brown ink has been accented with a sepia wash.  Beneath this, traces of the original sketch of pencil and black chalk can be seen.  

Dating to about 1796-1770, this is the work of a member of  the Circle of famed Italian artist  Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid).  Entitled "Punchinello with Dumpling or Fritter."  I think that's a lovely idea.

Tiepolo and his followers often depicted Punchinello in various situations, often showing multiple Punchinellos or whole families of them at a time.

Antique Image of the Day: Four Punchinellos, 1751

Four Punchinellos
Giovanni Battista Tiepolo
1751
The Harry Beard Collection
The Victoria & Albert Museum

Earlier today, we looked at a scene of three Punchinellos.  Now, from the same artist, the same engraver and the same year, we look at the next in the series—four Punchinellos.


Perhaps this one precedes, in story, the scene we saw this morning (see the bottom of the page) wherein two Punchs were stealing the lunch of another Punchinello.  Perhaps not, since Punchs like to eat.  Nevertheless, we see here four Punchinellos cooking. Three of them have  gathered around a pot which is boiling on an open fire. The final figure is--facing away from the others—stands next to a metal jug. I wonder what he’s up to.


In the background, we can pick out a ruined building with a shadowy figure inside.   It’s a delightfully odd picture.  


Also from the Harry Beard Collection, this, too, is the work of Giovanni Battista Tiepolo.

Drawing of the Day: Punchinello with Dumpling or Fritter, c. 1796-1770

The Metropolitan Museum of Art, New York

From the Metropolitan Museum of Art in New York, this drawing of pen and brown ink has been accented with a sepia wash.  Beneath this, traces of the original sketch of pencil and black chalk can be seen.  

Dating to about 1796-1770, this is the work of a member of  the Circle of famed Italian artist  Giovanni Battista Tiepolo (Italian, Venice 1696–1770 Madrid).  Entitled "Punchinello with Dumpling or Fritter."  I think that's a lovely idea.

Tiepolo and his followers often depicted Punchinello in various situations, often showing multiple Punchinellos or whole families of them at a time.

Print of the Day: Three Punchinellos, 1751

Three Punchinellos
Giovanni Battista Tiepolo, 1751
The Harry Beard Collection
The Victoria & Albert Museum

Here, we see an etching of three Punchinellos which dates to  1751.  Can you imagine how a trio of Mr. Punch’s might sound, look and smell?  I think it would be simultaneously delightful and frightening. 

One Punch sits sleeping on a stone—still clutching his cudgel--while the two others stand watching. Now, let’s remember these are Punchinellos.  They’re not just watching their companion Mr. Punch.  They’re clearly plotting something—as one might expect from a band of Punchs.  But, what are they about? The two which remain awake are approaching with a conspiritorial air, one with his arm round his companion's shoulder while he uses a large, pronged fork to steal the unsuspecting sleeper's dinner.  I can only assume that it’s a big, boiling pot of sausages. 

That’s the way to do it.

Printed in 1751, the print was engraved by F.C. Schmidt after a drawing by Giovanni Battista Tiepolo (1696-1770).