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.

Antique Image of the Day: Mr. MGrimaldi and Son, as Clowns

Mr. Grimaldi and Son, as Clowns
Early Nineteenth Century
Byn and Arliss
The Victoria & Albert Museum

Little is known about this print from the late Eighteenth to early Nineteenth Century except that it depicts Joseph Grimaldi and his son. Grimaldi, senior, known professionally as “Joey the Clown” was celebrated for his work in pantomime as was the younger Grimaldi. Both, however, met sad ends after struggled with alcoholism. Printed in London, this is the work of an artist known as “Byn” and was printed by Arliss & Co. 

Print of the Day: Grimaldi and the Alpaca, 1813

Click on image to try to get your own alpaca.

"Grimaldi and the Alpaca"
London, 1813
The Victoria & Albert Museum

Dated 11 January, 1813, this chromolithograph published by Rudolph Ackermann depicts a scene from the Popular Pantomime of The Red Dwarf which was performed at the Theatre Royal Covent Garden. The panto starred Joseph Grimaldi as “Joey the Clown.

Part of Grimaldi’s routine at this 1813 show involved “Joey’s” interaction with a man attired as an Aztec. The clown would try to trick the Aztec into giving away his Alpaca. I must confess, I never thought I’d be typing the words “Grimaldi and the Alpaca” together. But, that’s what the print is entitled. The image was drawn by one R. Norman. 

Figure of the Day: Joseph Grimaldi (Joey the Clown), 1840

Staffordshire Flatback, 1840
Joseph Grimaldi (Joey the Clown)
The Victoria & Albert Museum

1837 saw a new trend in production for the porcelain makers of Staffordshire when they introduced lead-glazed earthenware flat-back figures of Queen Victoria. These figures were painted in enamels on the front while the back, (which was, you can guess, flat) was left white. In tended to be displayed on a mantelpiece, sideboard or any location where the reverse of the piece was against a wall, these figures quickly became popular.

Flatbacks were soon produced depicting a variety of subject from Royalty and historic figures to actors and celebrities. The modelers often referred to popular prints of the day in order to find subjects and depict them somewhat accurately.

This one is modeled after a print of the famed Regency Panto clown Joseph Grimaldi (Joey the Clown, 1779-1837) who found much success with “Mother Goose” in 1806 at Covent Garden. Grimaldi was revered as a comic singer, a daring acrobat and as a performer who could make dozens of unexpected costume changes during his routine. He was so renowned that, to this day, the name “Joey” is often used as a nickname for a clown. This Staffordshire figure is dated to about 1840, but, sadly, we have no way of knowing the name of the modeler.

Object of the Day: A Scrap of Joey the Clown

A young man goes to see his doctor to report that he is overcome by a terrible sadness and doesn't think anything will assist him. 

The doctor says, "Why not do something happy, like going to see Grimaldi the clown?". 

The young man answers, with a knowing look, "Ah, but Doctor", he says, "I am Grimaldi." 

                                    --Popular English Joke, circa 1820 

Joseph Grimaldi
John Cawse, pre-1862

Here’s Joey. Readers of this site are familiar with Joey the Clown as a puppet figure who acts as Mr. Punch’s friend, and sometimes, the master of ceremonies of the show. Joey even serves occasionally as Punch’s conscience, but, mostly, he revels in tormenting and egging on Old Red Nose.

But, why is the famed puppet clown so named? Joey, in the Punch and Judy tradition, is an homage to the original Joey the Clown—the pantomime creation of performer Joseph Grimaldi (1778-1837) who is credited as the creator of the “white face” clown which is the archetype for all modern clowning.

Grimaldi entered the theatrical world at the age of three—the son of a performer and his mistress. Within a few years, he was wowing audience with his acrobatic performances and comic antics. Truly, Joseph Grimaldi was the father of clowning as we know it, and, certainly, one of the most important figures in the development of Pantomime.

Joseph Grimaldi was also the first “sad clown.” His life was, in large part tragic. After his father’s passing, he dealt with terrible poverty. Later, the loss of his first wife in childbirth clouded Grimaldi’s life and led him to alcoholism. A popular joke of the 1820s—see above—makes the depression of the man behind Joey quite clear.

And, so, because of this, Red Skelton made a second career scaring generations of people with paintings of sobbing clowns.

Nevertheless, Grimaldi’s later years were marked by more sorrow as he lost the ability to walk due to the torture he’d inflicted upon himself with his often-dangerous physical comedy. He was forced to retire, and, upon doing so, quickly became impoverished. Benefits were held in his honor, but it didn’t help. As his own son died from alcoholism, Joseph Grimaldi died as well. His last wish was to be decapitated before burial because of a lifelong fear of being buried alive. Well, that would have done the trick.

But, clowns are fun! Yes? 

Click image to enlarge.

This scrap from the 1860s-1890s is teeny tiny. It was stuck in with a bunch of ephemera which I recently bought and, at first, I almost didn’t notice it. If he’s not Joey the Clown, he’s certainly one of the many who were inspired by Grimaldi—complete with Joey’s trademark wig and makeup. I like to think he’s Joey, at least. And, so, we devote today’s Punch-Friday to Mr. Punch’s friend and sometimes tormentor, Joey the Clown, and his creator, Joseph Grimaldi.

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: The George Scharf Punch and Judy Show

Drawing by George Scharf
The British Museum

This sketch was drawn from life in the early Nineteenth Century.  It depicts a Punch and Judy puppet show being watched in the street.  The drawing is the work of George Scharf and does an excellent job of capturing the spirit of these street-side performances which are still performed to this day.

Punch and Judy "professors" still use the same kind of fit-ups (booths).  In fact, I've seen some which were modeled on this drawing with its decorative figures of Mr. Punch and his wife and "Joey the Clown" who acts as something of a Master of Ceremonies and interpreter for the show.  Even the misspelled sign is indicative of the joy of these wonderful shows.  I think it's marvelous that three and a half centuries (to the day, today) after Punch and Judy was first recorded as being performed in Britain, that he's being kept alive.  We need to do all that we can to ensure that this tradition remains strong and thriving for another three centuries and beyond.  

Antique Image of the Day: Mr. MGrimaldi and Son, as Clowns

Mr. Grimaldi and Son, as Clowns
Early Nineteenth Century
Byn and Arliss
The Victoria & Albert Museum

Little is known about this print from the late Eighteenth to early Nineteenth Century except that it depicts Joseph Grimaldi and his son. Grimaldi, senior, known professionally as “Joey the Clown” was celebrated for his work in pantomime as was the younger Grimaldi. Both, however, met sad ends after struggled with alcoholism. Printed in London, this is the work of an artist known as “Byn” and was printed by Arliss & Co.

Print of the Day: Grimaldi and the Alpaca, 1813

Click on image to try to get your own alpaca.

"Grimaldi and the Alpaca"
London, 1813
The Victoria & Albert Museum

Dated 11 January, 1813, this chromolithograph published by Rudolph Ackermann depicts a scene from the Popular Pantomime of The Red Dwarf which was performed at the Theatre Royal Covent Garden. The panto starred Joseph Grimaldi as “Joey the Clown.

Part of Grimaldi’s routine at this 1813 show involved “Joey’s” interaction with a man attired as an Aztec. The clown would try to trick the Aztec into giving away his Alpaca. I must confess, I never thought I’d be typing the words “Grimaldi and the Alpaca” together. But, that’s what the print is entitled. The image was drawn by one R. Norman. 

Object of the Day: Grimaldi or Joey the Clown or...

Click on image to feed the baby.

Joseph Grimaldi (known as “Joey the Clown”), credited as the original white-faced clown, was mimicked and copied by many of his contemporaries. His then-unsual makeup and wig are no considered standard clowning attire, but, then, he was all new. The image of the white-faced clown quickly became a popular artistic theme during Grimaldi’s day. Unless specifically indicated, it’s difficult to tell if these images are actually of Grimaldi or of his many imitators.

For example, I recently came across this antique scrap amongst a lot of trade cards in my collection. If this isn’t Grimaldi, he’s a pretty close approximation. He even appears to be wearing “Joey’s” specific costume.

My question is this, however—Why the baby? Who gives their baby to a clown to be fed with a giant, comic spoon? It troubles me, especially when you consider that “Joey the Clown” became a character in the Punch and Judy tradition. We know how well it turns out for babies there.

Friday Fun: Mr. Bimbamboozle's Punch and Judy

Some of Chris Somerville's puppets.

Enjoy this clip from a 2010 show performed by Mr. Bimbamboozle (Professor Chris Somerville) at “Family Fun Day” at Penrhyn Castle in North Wales.

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.

Friday Fun: Punch & Judy Cromer Pier 2012

This Punch & Judy show features all the usual suspects and, despite being un-swazzled (the instrument which gives Mr. Punch his distinctive voice) is a lot of fun. The show was performed a few weeks ago on Cromer Pier in honor of Queen Elizabeth II’s Diamond Jubilee.

Figure of the Day: Joseph Grimaldi (Joey the Clown), 1840

Staffordshire Flatback, 1840
Joseph Grimaldi (Joey the Clown)
The Victoria & Albert Museum

1837 saw a new trend in production for the porcelain makers of Staffordshire when they introduced lead-glazed earthenware flat-back figures of Queen Victoria. These figures were painted in enamels on the front while the back, (which was, you can guess, flat) was left white. In tended to be displayed on a mantelpiece, sideboard or any location where the reverse of the piece was against a wall, these figures quickly became popular.

Flatbacks were soon produced depicting a variety of subject from Royalty and historic figures to actors and celebrities. The modelers often referred to popular prints of the day in order to find subjects and depict them somewhat accurately.

This one is modeled after a print of the famed Regency Panto clown Joseph Grimaldi (Joey the Clown, 1779-1837) who found much success with “Mother Goose” in 1806 at Covent Garden. Grimaldi was revered as a comic singer, a daring acrobat and as a performer who could make dozens of unexpected costume changes during his routine. He was so renowned that, to this day, the name “Joey” is often used as a nickname for a clown. This Staffordshire figure is dated to about 1840, but, sadly, we have no way of knowing the name of the modeler.

Object of the Day: A Scrap of Joey the Clown

A young man goes to see his doctor to report that he is overcome by a terrible sadness and doesn't think anything will assist him. 

The doctor says, "Why not do something happy, like going to see Grimaldi the clown?". 

The young man answers, with a knowing look, "Ah, but Doctor", he says, "I am Grimaldi." 

                                    --Popular English Joke, circa 1820 

Joseph Grimaldi
John Cawse, pre-1862

Here’s Joey. Readers of this site are familiar with Joey the Clown as a puppet figure who acts as Mr. Punch’s friend, and sometimes, the master of ceremonies of the show. Joey even serves occasionally as Punch’s conscience, but, mostly, he revels in tormenting and egging on Old Red Nose.

But, why is the famed puppet clown so named? Joey, in the Punch and Judy tradition, is an homage to the original Joey the Clown—the pantomime creation of performer Joseph Grimaldi (1778-1837) who is credited as the creator of the “white face” clown which is the archetype for all modern clowning.

Grimaldi entered the theatrical world at the age of three—the son of a performer and his mistress. Within a few years, he was wowing audience with his acrobatic performances and comic antics. Truly, Joseph Grimaldi was the father of clowning as we know it, and, certainly, one of the most important figures in the development of Pantomime.

Joseph Grimaldi was also the first “sad clown.” His life was, in large part tragic. After his father’s passing, he dealt with terrible poverty. Later, the loss of his first wife in childbirth clouded Grimaldi’s life and led him to alcoholism. A popular joke of the 1820s—see above—makes the depression of the man behind Joey quite clear.

And, so, because of this, Red Skelton made a second career scaring generations of people with paintings of sobbing clowns.

Nevertheless, Grimaldi’s later years were marked by more sorrow as he lost the ability to walk due to the torture he’d inflicted upon himself with his often-dangerous physical comedy. He was forced to retire, and, upon doing so, quickly became impoverished. Benefits were held in his honor, but it didn’t help. As his own son died from alcoholism, Joseph Grimaldi died as well. His last wish was to be decapitated before burial because of a lifelong fear of being buried alive. Well, that would have done the trick.

But, clowns are fun! Yes? 

Click image to enlarge.

This scrap from the 1860s-1890s is teeny tiny. It was stuck in with a bunch of ephemera which I recently bought and, at first, I almost didn’t notice it. If he’s not Joey the Clown, he’s certainly one of the many who were inspired by Grimaldi—complete with Joey’s trademark wig and makeup. I like to think he’s Joey, at least. And, so, we devote today’s Punch-Friday to Mr. Punch’s friend and sometimes tormentor, Joey the Clown, and his creator, Joseph Grimaldi.

Friday Fun: Weymouth's 'Seaside' Punch & Judy Show, 2009

This speaks for itself.  Let’s continue our celebration of Mr. Punch’s 350^th with this wonderful clip of a show from Weymouth performed by the  brilliant and talented Professor (Mark) Poulton.

Drawing of the Day: The George Scharf Punch and Judy Show

Drawing by George Scharf
The British Museum

This sketch was drawn from life in the early Nineteenth Century.  It depicts a Punch and Judy puppet show being watched in the street.  The drawing is the work of George Scharf and does an excellent job of capturing the spirit of these street-side performances which are still performed to this day.

Punch and Judy "professors" still use the same kind of fit-ups (booths).  In fact, I've seen some which were modeled on this drawing with it's decorative figures of Mr. Punch and his wife and "Joey the Clown" who acts as something of a Master of Ceremonies and interpreter for the show.  Even the misspelled sign is indicative of the joy of these wonderful shows.  I think it's marvelous that three and a half centuries (to the day, today) after Punch and Judy was first recorded as being performed in Britain, that he's being kept alive.  We need to do all that we can to ensure that this tradition remains strong and thriving for another three centuries and beyond.