Painting of the Day: The Misers, 1548-1551

The Misers
A Follower of Marinus can Reymerswaele
c. 1550
Acquired by Queen Anne
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Historians believe that Queen Anne (the second daughter of King James II) added this handsome and strange painting to the Royal Collection. The scene was painted between 1548 and 1551 by an unknown student artist who is believed to have been a follower of Marinus van Reymerswaele (c. 1490/95-c. 1567). Painted on board, the painting also mimics a 1440 work by Jan van Eyck which depicted a banker in conference with his client. While this painting by van Eyck is believed lost, it is credited as having launched a genre of works which showed businessmen in Fifteenth Century dress engaged in money matters. Of the sixty variations of the scene, most of them are composed in a style which hints at a strong Dutch influence. Most of these compositions can trace their stylistic roots to the works of van Eyck. Still, others are clearly inspired by the paintings of van Reymerswaele and, also, another Dutch master Quinten Massys.

Let’s take a closer look at this piece which is entitled, “The Misers.” This follower of van Reymerswael has taken great pains to show the nature of the men. Their faces are masks of avarice and greed and their claw-like hands nod at the common conception of those involved in the changing of money. The scene is meant to be amusing and the visages of the men purposefully lean toward caricature. Despite the piles of coins in front of them, we’re reminded that this wealth will not aid them for long. The brevity of life is suggested by the candle which burns near them—it is almost spent, just as their lives are. 

What I find most interesting about this work is that the ledger on the table has been inscribed in French, indicating that this piece was likely a copy by a student—commissioned by a French patron who much admired the original by van Reymerswaele.

Print of the Day: Aérostier; Souvenirs Du Siége De Paris, 1870-1871

Satirical Lithograph
France, 1870-1871
The Victoria & Albert Museum

This satirical print depicts two men in the basket of a hot air balloon. One of the two men thumbs his nose at a Prussian soldier who is attempting to shoot them down. The basket of the balloon is hung with a bird cage containing pigeons.

Printed in France between 1870 and 1871, this print is from a set of caricatures, broadsheets and illustrations by caricaturist Jules Renard (1833-?) which have been bound in ten volumes.  This one, like many of the others in these volumes, has been hand-colored with watercolors.  

Drawing of the Day: The Freak's Revenge, 1907

Fred Conquest in costume
Performing "The Freak's Revenge" from "For Ever."
George Cooke, 1907
The Victoria & Albert Museum

This caricature of Edwardian Music Hall performer Fred Conquest depicts the performer starring in “The Freak’s Revenge” at the Grand Theatre of Varieties, Hanley, during the week of April 22, 1907.

This drawing is one of the collection of many superb caricatures of Edwardian music hall performers that were drawn by the artist George Cooke who would later compile these sketches in a series of albums which now reside at the V&A.

Fred Conquest (1870-1941) made his first pantomime appearance at the age of four at the Grecian Theatre in London when the venue was still managed by his father, George Conquest.  As an adult, Conquest made his first appearance at the Surrey Theatre in 1889 and achieved his most profound success in his father’s famous role of “Zacky the Monkey” in “For Ever.   In 1901, Conquest, managed the Surrey Theatre briefly upon the death of his father.  There, he continued to appear in pantomime and music hall sketches.

“For Ever” also known as “The Freak’s Revenge” was the story of the revenge of a side show performer, Zacky, who was billed as a “man-monkey.”  The “freak” wished to exact revenge upon the captain who ran away with his wife and daughter. The show’s climax was recorded as “the struggle to death” between the man-monkey and the savage gorilla, which he had mistakenly sent into the room of his own daughter.

Cooke, using pen, ink and wash, shows Conquest full-length, standing dressed in a red shirt and black trousers with the wild mane of hair and long sideburns which he wore in the role.  This image is taken from the show’s gripping climax as the man-monkey is looking madly at a bottle of brandy which he is clutching with both hands.

The performance was billed as “The most Original and Sensational Sketch now on the Variety Stage” and audiences were enticed to “See the Struggle to Death between the Man-Monkey and the Gorilla.”

Object of the Day, Museum Edition: The Misers, 1548-1551

The Misers
A Follower of Marinus can Reymerswaele
c. 1550
Acquired by Queen Anne
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Historians believe that Queen Anne (the second daughter of King James II) added this handsome and strange painting to the Royal Collection. The scene was painted between 1548 and 1551 by an unknown student artist who is believed to have been a follower of Marinus van Reymerswaele (c. 1490/95-c. 1567). Painted on board, the painting also mimics a 1440 work by Jan van Eyck which depicted a banker in conference with his client. While this painting by van Eyck is believed lost, it is credited as having launched a genre of works which showed businessmen in Fifteenth Century dress engaged in money matters. Of the sixty variations of the scene, most of them are composed in a style which hints at a strong Dutch influence. Most of these compositions can trace their stylistic roots to the works of van Eyck. Still, others are clearly inspired by the paintings of van Reymerswaele and, also, another Dutch master Quinten Massys.

Let’s take a closer look at this piece which is entitled, “The Misers.” This follower of van Reymerswael has taken great pains to show the nature of the men. Their faces are masks of avarice and greed and their claw-like hands nod at the common conception of those involved in the changing of money. The scene is meant to be amusing and the visages of the men purposefully lean toward caricature. Despite the piles of coins in front of them, we’re reminded that this wealth will not aid them for long. The brevity of life is suggested by the candle which burns near them—it is almost spent, just as their lives are. 

What I find most interesting about this work is that the ledger on the table has been inscribed in French, indicating that this piece was likely a copy by a student—commissioned by a French patron who much admired the original by van Reymerswaele.

Drawing of the Day: George Cooke's Carl Hertz Caricature, 1905

Carl Hertz
George Cooke, 1905
The Victoria & Albert Museum

Here’s another delightful Edwardian Music Hall caricature by George Cooke. Dating to 1905, the drawing of pen and ink, and wash on paper depicts the performer Leib Morgenstern, when as he looked when performing at the Grand Theatre of Varieties, Hanley, during the week of January 9, 1905.  He's shown defeating the devil and holding up his watch to show the time of his triumph.

Of American-Jewish descent, Morgenstern was billed in the U.K., as “The Famous Carl Hertz” and performed a monumentally-scaled show of “Marvelous Illusions and Surprises.” At the time, the display was considered to be “the most elaborate and sensational conjuring show ever presented,” including animals, hand tricks, and other spectacles which required audience participation.

The caricature is part of the many albums of his drawings which Cooke amassed in the early Twentieth Century. 

Drawing of the Day: George Cooke's Vesta Victoria, 1904

Vesta Victoria
November, 1904
George Cooke
The Victoria & Albert Museum

Regular readers of this site are familiar with Music Hall star Vesta Victoria’s work. The singer and performer was born in Leeds in 1874, and joined her famous father on stage at an early age. Vesta’s father was known as “The Upside-Down Comedian” because he sang songs while standing on his head.

Vesta’s first independent success was in 1893 with her hit song, “Daddy Wouldn’t Buy Me a Bow Wow.” She soon became a star both in the U.K. and the U.S. and had a repertoire of popular songs which included “Waiting at the Church.”

Regular readers also know the caricature work of George Cooke whose albums of drawings of famous Edwardian Music Hall stars are preserved in the V&A. This one depicts Vesta Victoria as she looked while performing at Collins’ Hippodrome, Stoke-on-Trent, during the week of November 7, 1904. During this period she was was billed as “England’s Brightest and Best Comedienne.”

The work of pen, ink and wash on pink paper depicts Vesta Victoria wearing a white hat with blue and red striped band, a blue jacket with white collar and gloves. She holds a parasol in her right hand.

Drawing of the Day: Eddie Stidder by George Cooke, 1917

Caricature of Eddie Stidder
1917
The Victoria & Albert Museum

This caricature is from the fourth album that the commercial artist George Cooke used for his caricatures of music hall and variety performers which were popular during the early reign of King George V, spanning the years 1910 to 1919.

This drawing of ink, watercolor and bodycolor depicts the head of the music hall performer Eddie Stidder.  Here, Stidder is seen in white-face pierrot make-up with a white neck frill, and a cello with legs in the bottom left-hand corner. The caricature was drawn in 1917.  At some point, the sketch was cut out and glued to the orange sketch paper that we see here. 

Drawing of the Day: Vesta Tilley by George Cooke, 1910-20

Vesta Tilley
George Cooke
1910-1920
The Victoria & Albert Museum

This caricature of music hall star (and male impersonator) Vesta Tilley is from the fourth album which was compiled by the commercial artist George Cooke as a way to preserve his caricatures of music hall and variety performers. This fourth album contains caricatures drawn from 1910 to 1919.

This pen, ink and wash drawing of the head of Vesta Tilley shows the performer wearing a top hat. She is shown in shadow on the left side of her face, and is set against a black background, with four small silhouettes of her in the left hand margin.

Object of the Day, Museum Edition: A Caricature of Edwin Boyde Performing the sketch ‘Bread and Jam,' 1904

The Victoria & Albert Museum

In the early Twentieth Century, caricatures were all the rage—especially those of celebrities. This caricature depicts the famed comedian Edwin Boyde performing one of his celebrated sketches--‘Bread and Jam’ at the Grand Theatre of Varieties, Hanley on December 12, 1904--exactly sixty-nine years to the day before my birth. (Just some personal trivia in case anyone cares.)

Boyde was billed exuberantly as “London’s Greatest Comedian from all the principal London music halls.” The character of the actor has been depicted by George Cooke who captured the images of many Edwardian Music Hall stars and compiled them in a series of albums.

The scene shown here was Boyde’s “comic ditty based on the breakfast table and his slapstick sketch about an old man in a lodging house, who holds a big slab of bread and jam, into which he is pushed face down by fellow lodgers.” It was, in fact, his most popular sketch.

Drawing of the Day: George Cooke's Drawing of Albert Chevalier, 1916

Albert Chevalier
George Cooke
1916-17
The Victoria & Albert Museum

This caricature of Music Hall star Albert Chevalier is from the fourth album that the celebrated commercial artist and caricaturist George Cooke assembled throughout his career of recording the faces of the most famous Edwardian Music Hall performers.  This album features drawings from 1910 to 1919.

Originally from Yorkshire, George Cooke specialized in designing illustrated publicity material for performers: flyers, letterheads, posters and newspaper advertisements. Cooke was based at the Grand Theatre for several years.

By 1917 Cooke seems to have moved to London, where he established Cooke’s Publicity Agency at 453 The Strand. Records show that Cooke had considered a move to London, since in May 1906, when he was still in Hanley, a note from him was printed in the variety  magazine “The Performer.” It read:

Phil Ray says my work’s too good for Hanley; I ought to be in London. But I want money to start with. Who’ll give me some! Griff can’t afford now he’s two families to keep. But he wishes me luck. Many thanks, old friend. GEORGE COOKE, Caricaturist, Hanley.

Phil Ray and Griff were both performers whose caricatures feature in Cooke’s albums.

Painting of the Day: The Misers, 1548-1551

The Misers
A Follower of Marinus can Reymerswaele
c. 1550
Acquired by Queen Anne
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Historians believe that Queen Anne (the second daughter of King James II) added this handsome and strange painting to the Royal Collection. The scene was painted between 1548 and 1551 by an unknown student artist who is believed to have been a follower of Marinus van Reymerswaele (c. 1490/95-c. 1567). Painted on board, the painting also mimics a 1440 work by Jan van Eyck which depicted a banker in conference with his client. While this painting by van Eyck is believed lost, it is credited as having launched a genre of works which showed businessmen in Fifteenth Century dress engaged in money matters. Of the sixty variations of the scene, most of them are composed in a style which hints at a strong Dutch influence. Most of these compositions can trace their stylistic roots to the works of van Eyck. Still, others are clearly inspired by the paintings of van Reymerswaele and, also, another Dutch master Quinten Massys.

Let’s take a closer look at this piece which is entitled, “The Misers.” This follower of van Reymerswael has taken great pains to show the nature of the men. Their faces are masks of avarice and greed and their claw-like hands nod at the common conception of those involved in the changing of money. The scene is meant to be amusing and the visages of the men purposefully lean toward caricature. Despite the piles of coins in front of them, we’re reminded that this wealth will not aid them for long. The brevity of life is suggested by the candle which burns near them—it is almost spent, just as their lives are. 

What I find most interesting about this work is that the ledger on the table has been inscribed in French, indicating that this piece was likely a copy by a student—commissioned by a French patron who much admired the original by van Reymerswaele.

Drawing of the Day: The Golden Mephisto, 1905

Juno Salmo as "The Golden Mephisto"
George Cooke, 1905-1906
The Victoria & Albert Museum

Here’s another caricature by George Cooke whose drawings of the stars of the Edwardian music halls have served as a lasting record of their talents and personalities. This one shows us Juno Salmo, who was known as “The Golden Mephisto,” as he looked when he was performing at the Grand Theatre of Varieties in Hanley. Salmo performed in Hanley twice—the weeks of January 2, 1905 and April 16, 1906.

Juno Salmo was a contortionist who was also known as the “homme grenouille” or “frog-man” when he was performing in Paris with the famed “Nouveau Cirque.” This might have something to do with the fact that he wore a frog costume. Salmo could dislocate his shoulders and would do so before hopping about in a ring of water. He would then continue contorting his body on a trapeze made of bamboo. By the time he’d come to England, Salmo had given up his frogman persona and donned the costume of a yellow devil. That’s how we see him here, atop a pole, in his spangled yellow leotard and little skullcap with horns.

Drawing of the Day: The Original Chinese Conjurer, 1905

Chung Ling Soo
George Cooke, 1905
The Victoria & Albert Museum

Yes, here’s another caricature by George Cooke whose clever drawings helped record the brightest stars of the Edwardian Music Halls. Without Cooke, we’d not have been given such an intimate look behind the scenes of Britain’s early Twentieth-Century stage revues and acts. Furthermore, I just like Cooke’s work. It’s bright and fun.

This one, also included in the many volumes of Cooke’s original sketches, is a caricature of Chung Ling Soo, who was known as “The Original Chinese Conjurer” or “The Marvellous Chinese Conjurer.” Cooke sketched this while Soo was performing at the Grand Theatre of Varieties, Hanley, during the week of March 17, 1905.

There was nothing remotely Chinese about the man who called himself “Chung Ling Soo.” He was, in fact, an American of Scottish descent who was really named William Elsworth Robinson—born in New York in 1861.

Robinson made a name for himself with his magic tricks and quickly adopted a “mystical” stage persona, styling himself as an Asian man originally billed “Hop Ling Soo.” Many of Robinson’s routines and tricks were “inspired” by a real Chinese conjurer called “Ching Ling Foo.” Foo worked in America, but preferred London as a home.

During this period, Asian-themed novelties were quite popular and Robinson found much success. The climax of his show involved a trick wherein Robinson, as Chung Ling Soo, caught a bullet, fired from a gun, in his teeth. It’s the sort of trick which you only need to screw up once. And, he did. After sixteen years of performing the act, one evening he missed and the bullet blew through his skull.

I wonder if the audience got a refund.

Cooke depicts Robinson in full “Chung Ling Soo” regalia. Behind him, a seascape hints at his supposedly “oriental” origins. Robinson has signed the piece in mock Asian writing. This was part of his shtick. He even used a “translator” when giving interviews. 

Ah, the theatre… 

Drawing of the Day: George Cooke's Carl Hertz Caricature, 1905

Carl Hertz
George Cooke, 1905
The Victoria & Albert Museum

Here’s another delightful Edwardian Music Hall caricature by George Cooke. Dating to 1905, the drawing of pen and ink, and wash on paper depicts the performer Leib Morgenstern, when as he looked when performing at the Grand Theatre of Varieties, Hanley, during the week of January 9, 1905.  He's shown defeating the devil and holding up his watch to show the time of his triumph.

Of American-Jewish descent, Morgenstern was billed in the U.K., as “The Famous Carl Hertz” and performed a monumentally-scaled show of “Marvelous Illusions and Surprises.” At the time, the display was considered to be “the most elaborate and sensational conjuring show ever presented,” including animals, hand tricks, and other spectacles which required audience participation.

The caricature is part of the many albums of his drawings which Cooke amassed in the early Twentieth Century. 

Print of the Day: Aérostier; Souvenirs Du Siége De Paris, 1870-1871

Satirical Lithograph
France, 1870-1871
The Victoria & Albert Museum

This satirical print depicts two men in the basket of a hot air balloon. One of the two men thumbs his nose at a Prussian soldier who is attempting to shoot them down. The basket of the balloon is hung with a bird cage containing pigeons.

Printed in France between 1870 and 1871, this print is from a set of caricatures, broadsheets and illustrations by caricaturist Jules Renard (1833-?) which have been bound in ten volumes.  This one, like many of the others in these volumes, has been hand-colored with watercolors.  

Drawing of the Day: George Cooke's Vesta Victoria, 1904

Vesta Victoria
November, 1904
George Cooke
The Victoria & Albert Museum

Regular readers of this site are familiar with Music Hall star Vesta Victoria’s work. The singer and performer was born in Leeds in 1874, and joined her famous father on stage at an early age. Vesta’s father was known as “The Upside-Down Comedian” because he sang songs while standing on his head.

Vesta’s first independent success was in 1893 with her hit song, “Daddy Wouldn’t Buy Me a Bow Wow.” She soon became a star both in the U.K. and the U.S. and had a repertoire of popular songs which included “Waiting at the Church.”

Regular readers also know the caricature work of George Cooke whose albums of drawings of famous Edwardian Music Hall stars are preserved in the V&A. This one depicts Vesta Victoria as she looked while performing at Collins’ Hippodrome, Stoke-on-Trent, during the week of November 7, 1904. During this period she was was billed as “England’s Brightest and Best Comedienne.”

The work of pen, ink and wash on pink paper depicts Vesta Victoria wearing a white hat with blue and red striped band, a blue jacket with white collar and gloves. She holds a parasol in her right hand.

Drawing of the Day: Joe Elvin, 1907

Joe Elvin
George Cooke, 1907
The Victoria & Albert Museum

Here’s another Edwardian Music Hall caricature by George Cooke. This one shows Music hall star Joe Elvin (1862-1935) with his trademark red wig.

Elvin was born Joseph Patrick Keegan in London's Seven Dials, and made his first appearance at the age of eight in Brighton. As a young man, he worked with his father as Keegan and Little Elvin doing comedy song and dance routines. Elvin later starred in spectacular sketches, many of them written by Wal Pink, especially those with racing themes. Elvin famously wore a ginger wig in these routines.

This caricature, like most of the others by Cooke, has been autographed by the subject. In this case: 

"I aint Barmy. Yours In the 'padded Room' - Joe Elvin.”

Drawing of the Day: George Leyton, 1905

Caricature of George Leyton
George Cooke, 1905
The Victoria & Albert Museum

I seem to be making the George Cooke music hall caricatures a regular Saturday feature, so here’s another one. Also from 1905, this illustration by George Cookie depicts the “descriptive and character vocalist” George Leyton who was at the top of the bill at the Grand Theatre of Varieties, Hanley, during the week of February 6, 1905.

Letyon’s act featured a chorus of 20 local boys. Together, they performed “Britannia’s Babes” in naval training uniform while also performing a naval drill. The drawing of pen, ink and wash on pink paper shows Leyton in a large roundel with his head in profile. Below, two smaller figures in full-length, depict a saluting soldier in red jacket and blue trousers and cap (left), and a sailor in a white sailor suit with blue-trimmed cap and collar (right). The drawing was bound with many others in the albums which Cooke complied of his work. 

Drawing of the Day: George Cooke's Harry Lauder, 1905

The Safest of the Family
Harry Lauder
by George Cooke, 1905
The Victoria & Albert Museum

Here, we have another of George Cooke’s fantastic caricatures of Edwardian Music Hall celebrities. This example depicts the great entertainer Harry Lauder performing his song “The Saftest of the Family” at the Grand Theatre of Varieties, Hanley, during the week of August 18, 1905. While performing this song, Lauder dressed as an overgrown schoolboy who recounted to his instructor the reasons for his awful behavior. 


Lauder sang most of the songs for which he was famous while at Hanley, including: “She’s ma Daisy’”and “Stop yer Tickling Jock.” Hmmm…

Print of the Day: 'Les Silhouettes De 187 Par Moloch,' 1871

Les Silhouettes de 187 Par Moloch
B. Colomb, 1871
The Victoria & Albert Museum

Here, we see a print from 1871 print which, naturally, depicts the devil holding up a sheet with lettering on it.  The image is from a set of caricatures, broadsheets and illustrations in ten volumes which are half-bound in red leather, gold tooled and stamped with French imperial emblems (of Napoleon III), and titles.

The images are the work of the illustrator B. Colomb (1849-1909--known as “Moloch”), a well-respected caricaturist.  Barousse served as the printer. 

The drawing is meant to represent “Faustin”--pseudonym of the artist Faustin Betbeder (born 1847) who was known for producing unflattering illustrations of those involved in the Franco-Prussian War. It is hand-water-colored.