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: Harlequin with a Bird Cage, 1743

Hard-Paste Porcelain Figure of Harlequin
Meissen, 1743
The Victoria & Albert Museum

Modeled by the famed Johann Joachim Kändler (1706-1775) for the Meissen Porcelain Factory in Germany, this figure of Harlequin is crafted of hard-paste porcelain. The impish character from the Commedia dell’Arte is depicted seated on a grass-topped rock upon which a bird cage is resting. In his hand, he holds a green bird. However, at his feet is a crouching cat—not a good sign for the bird.

Such figures were made, as this one was, in the Eighteenth Century to adorn the dining tables of luxurious households during the dessert course. A renewed interest in these figures developed during the Victorian era. Many members of Britain’s upper-classes, including the Royal Family, collected these Eighteenth Century figures, actually spurring the creation of then-new figurines in the same style.

Print of the Day: Le Ieu Mestier Devine, early Nineteenth Century

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Another treasure from the Royal Collection, this engraving, entitled "Le Ieu Mestier Devine," is the work of Nicholas de Larmessin and was published at the Rue St Jacques à la Pomme d'Or, near St Severin, Paris (publisher) in the early Nineteenth Century.

The piece depicts at Commedia dell'Arte play in which three men fall out from under a cloth which is being held by Arlequin and Scaramouche. The doctor, a stock commedia character, on left, watches with amazement. Below the scene, French verses explain what's happening.

Painting of the Day: Young Man Playing the Violin, c. 1750

Young Man with Violin
From the "Scaramouche Parlour" at Belvedere House
Andien De Clermont, c. 1750
The Victoria & Albert Museum

If you were a wealthy land owner in Britain in the Eighteenth Century (rather as it is now—anywhere), you wanted the people around you to know just how rich and prosperous you were. Your house, your carriage, your horses, your clothes, your jewels—these were all status symbols. But, the real indicator of wealth was your ability to decorate your house. The more you could spend on your interiors, the better you looked. And, the real icing on the decorating cake was the paintings you displayed in your home. Portraits—sure, they were great. But, the best thing of all was to commission a painting of your family in your home. And, even better—a mural, right there on the wall, forever.

Of course, even mural painting was subject to levels or pretension. If you could get a foreign painter—you were the top dog! Painters from France, Italy and the Netherlands were brought into the stately homes of England to adorn the walls with scenes from mythology, allegorical motifs, fantastic designs and bucolic views—most of which would incorporate the visages of the homeowner and his family.

Here we see one such mural which was carefully removed from its original location. Thankfully, the murals were painted on canvas which had been applied to the walls, conveniently allowing them to be removed two centuries later. This is one of a series of 16 panels which were commissioned by Charles Calvert, 5th Baron Baltimore, in 1742 to decorate the “Scaramouche Parlour” in his house, Belvedere, in Kent. Each of the panels depicted scenes from the Italian Commedia dell'Arte and showcase the knock-about comedy’s most famous characters: Capitano, Arlecchino, Pulcinella (who, as we know, inspired the English Punch), Pedrolino (later Pierrot) and Colombine. 

The mural group is the work of Andien de Clermont (active 1716-1783), a French artist who arrived in Britain in 1716. Clermont was, certainly, the most avant-garde and highly-inventive decorative artist working in Britain during the Rococo period.

This mural sets the scene for the antics of Pulcinella and his friends. An unnamed young man is depicted playing the violin. He stands in profile in the foreground of a landscape with a grand building showing in the background. To his right are two dancing figures. The whole is en-framed by foliage border.

Drawing of the Day: La Gran Tragedie di Ariosto, 19th C.

Non e un si bello in tante altre persone, Natura il fece, e poi roppa la stampa.

(There never was such beauty in another man. Nature made him, and then broke the mould.)

                --From "Orlando Furioso" by Ludovico Ariosto

La Gran Tragedie di Ariosto
Naples, Nineteenth Century
The Victoria & Albert Museum

This illustration comes from Naples and dates to the Nineteenth Century. It’s remarkable to me in that it shows the development of the The Punch and Judy tradition. As we know, Mr. Punch came to the U.K. from Italy where he had his roots in the Italian character, “Pulcinella.” 

The drawing depicts a Pulcinella-type show, however, we can clearly see that the puppets, to me, more so resemble the look of the popular Nineteenth Century Mr. Punch than they do Pulcinella. So popular was Punch that many Italian “Professors” styled their own puppets after the British Red Nose as opposed to their own masked Pulcinella.  

I can't say for certain that this crowd in Naples is watching a variation of a Pulcinella character.  The puppet on the left's costume is that of Arlecchino or "Harlequin." However, I would like to note that he clearly exhibits Mr. Punch's attribute of a humpback--not something usually associated with Harlequin. 

The title of the performance (as depicted on the front of the fit-up) is "la gran tragedie di Ariosto.” The title refers to “Orlando Furioso,” an epic poem by Ludovico Ariosto. This poem was a popular subject for traveling puppet shows.

Object of the Day, Museum Edition: The Screaming Monkey Harlequin, c. 1740

Meissen  Porcelain Figurine
The Victoria & Albert Museum

This figure of Harlequin is rendered in hard-paste porcelain which has been painted in enamels. Made by Johann Joachim Kändler around 1740 for Germany’s Meissen Porcelain Factory,  Harlequin leans against a stump with a monkey held behind his right knee.  He seems to be using the monkey as some sort of instrument.  He’s pulling the screaming monkey's tail with his right hand while playing a pipe which is held in his left hand.  A screaming monkey was apparently the unofficial musical sponsor of the Eighteenth Century.  I kid, of course, but I’ve seen a good many works of art which involve monkeys in musical agony.

This is one of a set of Commedia dell’Arte figures by Kändler.  Many of the figures depicts Harlequin in various, brightly colored outfits.  Here, he is wearing a grey hat with a turquoise rosette, a white ruff, a lozenge-“diapered” jacket in red, blue and yellow with trousers with plum colored stripes, yellow shoes and blue rosettes. The base of the figure is embellished with flowers and leaves in colors which match Harlequin’s suit.

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: Young Man Playing the Violin, c. 1750

Young Man with Violin
From the "Scaramouche Parlour" at Belvedere House
Andien De Clermont, c. 1750
The Victoria & Albert Museum

If you were a wealthy land owner in Britain in the Eighteenth Century (rather as it is now—anywhere), you wanted the people around you to know just how rich and prosperous you were. Your house, your carriage, your horses, your clothes, your jewels—these were all status symbols. But, the real indicator of wealth was your ability to decorate your house. The more you could spend on your interiors, the better you looked. And, the real icing on the decorating cake was the paintings you displayed in your home. Portraits—sure, they were great. But, the best thing of all was to commission a painting of your family in your home. And, even better—a mural, right there on the wall, forever.

Of course, even mural painting was subject to levels or pretension. If you could get a foreign painter—you were the top dog! Painters from France, Italy and the Netherlands were brought into the stately homes of England to adorn the walls with scenes from mythology, allegorical motifs, fantastic designs and bucolic views—most of which would incorporate the visages of the homeowner and his family.

Here we see one such mural which was carefully removed from its original location. Thankfully, the murals were painted on canvas which had been applied to the walls, conveniently allowing them to be removed two centuries later. This is one of a series of 16 panels which were commissioned by Charles Calvert, 5th Baron Baltimore, in 1742 to decorate the “Scaramouche Parlour” in his house, Belvedere, in Kent. Each of the panels depicted scenes from the Italian Commedia dell'Arte and showcase the knock-about comedy’s most famous characters: Capitano, Arlecchino, Pulcinella (who, as we know, inspired the English Punch), Pedrolino (later Pierrot) and Colombine. 

The mural group is the work of Andien de Clermont (active 1716-1783), a French artist who arrived in Britain in 1716. Clermont was, certainly, the most avant-garde and highly-inventive decorative artist working in Britain during the Rococo period.

This mural sets the scene for the antics of Pulcinella and his friends. An unnamed young man is depicted playing the violin. He stands in profile in the foreground of a landscape with a grand building showing in the background. To his right are two dancing figures. The whole is en-framed by foliage border.

Object of the Day, Museum Edition: A Meissen Commedia dell’Arte Figure, c. 1740

Enamel and Hard-paste Porcelain Figure
1740
The Victoria & Albert Museum

Here, we see a hard-paste porcelain figure of Harlequin propped against a tree stump, looking both mischievous and wicked as he pulls the tail of a complaining pug dog as if cranking the handle of a hurdy-gurdy. The figure is painted in enamel and gilded.

This beautiful weirdness is the work of modeler Johann Joachim Kändler for the Meissen Porcelain Factory. In the 1740s. Kaendler, created a whole array of porcelain figures. The most popular of his designs were those which depicted characters from the Italian Opera and Commedia. These were especially popular in England where Commedia’s Pulcinella had given birth to Mr. Punch in the Seventeenth Century.

The figure with others from the group.

Print of the Day: Le Ieu Mestier Devine, early Nineteenth Century

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Another treasure from the Royal Collection, this engraving, entitled "Le Ieu Mestier Devine," is the work of Nicholas de Larmessin and was published at the Rue St Jacques à la Pomme d'Or, near St Severin, Paris (publisher) in the early Nineteenth Century.

The piece depicts at Commedia dell'Arte play in which three men fall out from under a cloth which is being held by Arlequin and Scaramouche. The doctor, a stock commedia character, on left, watches with amazement. Below the scene, French verses explain what's happening.

Figure of the Day: Harlequin with a Bird Cage, 1743

Hard-Paste Porcelain Figure of Harlequin
Meissen, 1743
The Victoria & Albert Museum

Modeled by the famed Johann Joachim Kändler (1706-1775) for the Meissen Porcelain Factory in Germany, this figure of Harlequin is crafted of hard-paste porcelain. The impish character from the Commedia dell’Arte is depicted seated on a grass-topped rock upon which a bird cage is resting. In his hand, he holds a green bird. However, at his feet is a crouching cat—not a good sign for the bird.

Such figures were made, as this one was, in the Eighteenth Century to adorn the dining tables of luxurious households during the dessert course. A renewed interest in these figures developed during the Victorian era. Many members of Britain’s upper-classes, including the Royal Family, collected these Eighteenth Century figures, actually spurring the creation of then-new figurines in the same style.

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: La Gran Tragedie di Ariosto, 19th C.

Non e un si bello in tante altre persone, Natura il fece, e poi roppa la stampa.

(There never was such beauty in another man. Nature made him, and then broke the mould.)

                --From "Orlando Furioso" by Ludovico Ariosto

La Gran Tragedie di Ariosto
Naples, Nineteenth Century
The Victoria & Albert Museum

This illustration comes from Naples and dates to the Nineteenth Century. It’s remarkable to me in that it shows the development of the The Punch and Judy tradition. As we know, Mr. Punch came to the U.K. from Italy where he had his roots in the Italian character, “Pulcinella.” 

The drawing depicts a Pulcinella-type show, however, we can clearly see that the puppets, to me, more so resemble the look of the popular Nineteenth Century Mr. Punch than they do Pulcinella. So popular was Punch that many Italian “Professors” styled their own puppets after the British Red Nose as opposed to their own masked Pulcinella.  

I can't say for certain that this crowd in Naples is watching a variation of a Pulcinella character.  The puppet on the left's costume is that of Arlecchino or "Harlequin." However, I would like to note that he clearly exhibits Mr. Punch's attribute of a humpback--not something usually associated with Harlequin.
The title of the performance (as depicted on the front of the fit-up) is "la gran tragedie di Ariosto.” The title refers to “Orlando Furioso,” an epic poem by Ludovico Ariosto. This poem was a popular subject for traveling puppet shows.

Painting of the Day: Young Man Playing the Violin, c. 1750

Young Man with Violin
From the "Scaramouche Parlour" at Belvedere House
Andien De Clermont, c. 1750
The Victoria & Albert Museum

If you were a wealthy land owner in Britain in the Eighteenth Century (rather as it is now—anywhere), you wanted the people around you to know just how rich and prosperous you were. Your house, your carriage, your horses, your clothes, your jewels—these were all status symbols. But, the real indicator of wealth was your ability to decorate your house. The more you could spend on your interiors, the better you looked. And, the real icing on the decorating cake was the paintings you displayed in your home. Portraits—sure, they were great. But, the best thing of all was to commission a painting of your family in your home. And, even better—a mural, right there on the wall, forever.

Of course, even mural painting was subject to levels or pretension. If you could get a foreign painter—you were the top dog! Painters from France, Italy and the Netherlands were brought into the stately homes of England to adorn the walls with scenes from mythology, allegorical motifs, fantastic designs and bucolic views—most of which would incorporate the visages of the homeowner and his family.

Here we see one such mural which was carefully removed from its original location. Thankfully, the murals were painted on canvas which had been applied to the walls, conveniently allowing them to be removed two centuries later. This is one of a series of 16 panels which were commissioned by Charles Calvert, 5th Baron Baltimore, in 1742 to decorate the “Scaramouche Parlour” in his house, Belvedere, in Kent. Each of the panels depicted scenes from the Italian Commedia dell'Arte and showcase the knock-about comedy’s most famous characters: Capitano, Arlecchino, Pulcinella (who, as we know, inspired the English Punch), Pedrolino (later Pierrot) and Colombine. 


The mural group is the work of Andien de Clermont (active 1716-1783), a French artist who arrived in Britain in 1716. Clermont was, certainly, the most avant-garde and highly-inventive decorative artist working in Britain during the Rococo period.

This mural sets the scene for the antics of Pulcinella and his friends. An unnamed young man is depicted playing the violin. He stands in profile in the foreground of a landscape with a grand building showing in the background. To his right are two dancing figures. The whole is en-framed by foliage border.

Figure of the Day: The Harlequin Candlestick, 1950

Candlestick, 1850
The Victoria & Albert Museum

Since this Commedia dell’Arte-inspired candlestick, made about 1950, has no maker’s mark, we can’t really tell too much about it. Chances are, it was made in Italy or Germany. The piece is comprised of a figure of Harlequin seated on a wall. I would guess this was one of a pair which made up a garniture which flanked a ceramic clock.

This polyglazed ceramic candlestick depicts Harlequin in a white jacket with peplum and trousers patterned in brown, blue, yellow and black diamond shapes. In the original Italian comedies, Harlequin was shown as a servant in a shabby coat made up of pieces of colorful salvaged fabrics which, over time, developed into the characteristic diamond-patterned coat we know today. This figure also wears a white ruff, a white mask and a black tri-corne hat. He holds a slap-stick in his left hand. Mr. Punch would be proud.

Figure of the Day: Harlequin and the Sausage, 1740

Figurine of Harlequin
Meissen, Germany, 1740
The Victoria & Albert Museum

Johann Joachim Kändler (1706-1775), as we’ve discussed, in the 1740s worked for Germany’s Meissen Porcelain Factory as one of their chief modelers.  He is, perhaps, best known for his dramatic group of figures from the Italian theatrical tradition of Commedia dell’Arte from which our “Punch and Judy” tradition developed.

Here, we see one of those figures.  This one depicts a masked Harlequin in hard-paste porcelain, painted in enamels and gilded.  He is shown leaning against a tree stump, in a grey hat with an upturned brim decorated with a turquoise rosette.  Harlequin is holding a cherry in his left hand and a curved sausage in his right. Sausages were a comic staple in the Commedia dell’Arte—a theme that carried over into the story of Mr. Punch.

Object of the Day, Museum Edition: The Screaming Monkey Harlequin, c. 1740

Meissen  Porcelain Figurine
The Victoria & Albert Museum

This figure of Harlequin is rendered in hard-paste porcelain which has been painted in enamels. Made by Johann Joachim Kändler around 1740 for Germany’s Meissen Porcelain Factory,  Harlequin leans against a stump with a monkey held behind his right knee.  He seems to be using the monkey as some sort of instrument.  He’s pulling the screaming monkey's tail with his right hand while playing a pipe which is held in his left hand.  A screaming monkey was apparently the unofficial musical sponsor of the Eighteenth Century.  I kid, of course, but I’ve seen a good many works of art which involve monkeys in musical agony.

This is one of a set of Commedia dell’Arte figures by Kändler.  Many of the figures depicts Harlequin in various, brightly colored outfits.  Here, he is wearing a grey hat with a turquoise rosette, a white ruff, a lozenge-“diapered” jacket in red, blue and yellow with trousers with plum colored stripes, yellow shoes and blue rosettes. The base of the figure is embellished with flowers and leaves in colors which match Harlequin’s suit.

Figure of the Day: Harlequin with a Bird Cage, 1743

Hard-Paste Porcelain Figure of Harlequin
Meissen, 1743
The Victoria & Albert Museum

Modeled by the famed Johann Joachim Kändler (1706-1775) for the Meissen Porcelain Factory in Germany, this figure of Harlequin is crafted of hard-paste porcelain.  The impish character from the Commedia dell’Arte is depicted seated on a grass-topped rock upon which a bird cage is resting.  In his hand, he holds a green bird.  However, at his feet is a crouching cat—not a good sign for the bird.

Such figures were made, as this one was, in the Eighteenth Century to adorn the dining tables of luxurious households during the dessert course.  A renewed interest in these figures developed during the Victorian era.  Many members of Britain’s upper-classes, including the Royal Family, collected these Eighteenth Century figures, actually spurring the creation of then-new figurines in the same style. 

Mastery of Design: "The Virtue Outlives Death" Snuffbox, 1750

This and all related images from:
The Victoria & Albert Museum

Germany’s Meissen Porcelain Factory produced a host of lavish snuffboxes of porcelain mounted in gold from about 1735-65. This example from 1750 is adorned with a coat of arms painted on the cover.  It is the arms of the Raupenstrach von Lowensburg family of Transylvania. Their Latin motto, “Virtus post funera crescit,” translates to “Virtue outlives death.”  This motto is underscored by scenes of lovers and musicians painted in the French style.

The walls and oval base are enameled with Harlequin and various gallants and their ladies while the interior of the lid shows a dancing master with a violin giving a lesson to a young girl on a terrace. The gold mount is chased with scrolls.