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. 

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.

Print of the Day: Mr. Punch's Fancy Ball, 1844

Click image to enlarge.

Mr. Punch's Fancy Ball
Unknown Origins, 1844
The British Museum

The oversized comic scene shows traditional Punchinello characters gathered for a fancy ball and dance. The engraving is printed on two folding sheets and dates to 1844. We’re not sure who produced this wood engraving. Though the title is printed along the bottom, there’s no mention of artist, engraver or publisher. Even the date is not printed, but rather was added later in pencil.

Object of the Day, Museum Edition: Cruikshank's "Punch and the Cat," 19th C.

Engraving depicting "Punch and the Cat"
George Cruikshank
The Victoria & Albert Museum

Some of the earliest, most accurate and famous drawings we have of the Nineteenth Century Punch & Judy shows in Britain are those created by the celebrated illustrator George Cruikshank (1792-1878).

Here, we see an engraving after one of Cruikshank’s renowned drawings.  The print crisply depicts not only the Punch & Judy performance, but also, the audience.  Here, we see Punch and the Cat in a booth in the upper center. Some Punch & Judy Professors in the Nineteenth Century used a cat in lieu of the Dog Toby.  At the time, many Punch & Judy men still employed real animals as Punch’s companion as opposed to puppet counterparts.  If a dog was unavailable, Mr. Punch was joined by a cat. 

This trimmed piece of paper has, on the reverse, part of a music score entitled “The Magistrate.” “Old G. Cruickshank” is inscribed in pencil on the upper left center.

The Art of Play: The Wellington Mr. Punch, c. 1925

Professor Wellington's Mr. Punch
Circa 1925
This and all related images from:
The Victoria & Albert Museum

This handsome Mr. Punch was once used by Yarmouth's Professor Wellington--a celebrated Punch & Judy man of the first half of the Twentieth Century.  This glove puppet is part of a varied and beautiful set of Punch and Guignol puppets which belonged to Wellington.

As is the nature of Punchinellos, he features a painted wooden head, hands and feet.  His green and black velvet hat is trimmed with holden braid which matches the trim on the green panel at the front of his scarlet velvet coat.  Black breeches and a yellow ruff are also constructed of velvet.  Two wooden buttons adorn his ensemble.

Object of the Day: A Scrap of Mr. Punch Riding a Cat

Click image to enlarge.

I live in a house full of Punchinellos, so, you can consider me the Jane Goodall of the slapstick set. It's a whole "Puppets in the Mist" scenario.

Aside from their penchant for sausages and for general mischief-making, your average Mr. Punch is prone to chattering, bouts of glee, and, a peculiar desire to see which animals are ridable.

Here, we see a Victorian scrap--technically once cut from a magazine. It depicts our Mr. Punch dressed as a jockey and, riding a cat, as one does.

I bought a huge lot of ephemera just to get this scrap.

Whoever cut this out had a steady hand and a lot of patience. Mr. Punch looks quite content with himself, yes? Frankly, knowing Punchinellos as I do, I can say with considerable certainty that Mr. Punch would very much enjoy riding a giant cat. But, wouldn't we all?

Click image to enlarge.

The Art of Play: A Bottle Opener Depicting Karagoz, Punch's Turkish Cousin

The Victoria & Albert Museum

Mr. Punch has many cousins throughout the world.  His Turkish counterpart is known as Karagoz.  Unlike Mr. Punch, however, Karagoz is not primarily presented as a glove puppet, he is always performed as a shadow puppet, a flat, joined figure manipulated by rods from behind a screen.  It's this method of performing which lends Karagoz his name which literally translates to "Black-Eye."  The figures were always designed so that the pupil of Karagoz's eye appeared as a black circle.  This outgoing, amorous and sometimes violet and obscene character sports a thick, curly beard and a bald head.  So, I guess he's a puppet hipster.

Karagoz's nemesis is called Hacivat who is somehow always wiser and more sophisticated than Karagoz.  He is usually represented with a neat beard and a tall pointed hat. The female characters included Karagoz and Hacivat’s wives.  A wealth of other characters added humor and complications to these farcical shows which were usually improvised.

This brass bottle opened of unknown origin and creation date represents Karagoz.  It was likely made in Turkey.

Print of the Day: The Coronation of King Punch, 1821

The Coronation of King Punch
Satirical Print, hand-colored
1821
The British Museum

This hand-colored satirical print was featured in a July, 1821 pamphlet. It’s entitled “The Coronation of King Punch!!” and it was made by J. Lewis Marks.

Made for the coronation of King George IV, the image shows the former Prince Regent sitting before a huge bowl of punch which rests on a three-legged stool. King George IV has one famously gouty leg resting on a cushion and he jovially holds up goblet and ladle while an Archbishop places a chamber-pot on his head. Another archbishop pours dark liquid on to George’s face, saying, “With oil and Treacle—I anoint thee,—and King of jolly dogs—appoint thee.”

As we can guess, George IV, Queen Victoria’s uncle, was not well-liked. Considered debauched and, frankly, corrupt, he inspired many unflattering drawings like this when he ascended the throne.

This image has been nicknamed, “The history of the coronation of Punch, and the humours of his wife Judy.” This refers to George IV’s wife, Queen Caroline, from whom the adulterous king was famously separated. They enjoyed a rather Punch & Judy-like relationship. He refused to recognize her as Queen, and, in fact, barred her from his coronation. And, she, was rightfully bitter about it. That day, she fell ill, and died shortly after, declaring all the while that she believed she had been poisoned by her husband’s goons. 

Mr. Punch in the Arts: Deschars en habit de Polichinel

Deschars en Habit de Polichinel
France, Eighteenth Century
The Victoria & Albert Museum

Titled, Deschars en habit de Polichinel / au Divertissement de Villeneuue Saint-Georges, this Eighteenth Century French print refers to a character who is very familiar to us. The hooked nose and chin, the pot belly and arching back tell us that the person depicted here is in the guise of Mr. Punch, or technically Polichinelle (Polichinel). Polichinelle is the French version of the Italian commedia dell'arte stock-character, Pulcinella, who developed into Britain’s Mr. Punch when Charles II was restored to the English throne in 1660. 

Like Punch, Polichinel was a rogue and an anarchist. He is seen here on a balustraded terrace in profile. His face is covered with a grotesque mask and he wears a soft broad-crowned hat with feathers held in a jewel mount. 

This is actually a depiction of an actor called “Deschars” in character as Polichinelle. This print was part of a collection of theatrical advertisements which was bequeated to the Victoria & Albert Museum.

Print of the Day: Sheet Music Cover for “Polichinelle” or, The Royal Punchinello Quadrilles' by Musard, 1843

Sheet Music Cover for Musard's Polichinelle or "The Royal Punchinello Quadrilles"
English, 1843
The George Speaight Archive
The Victoria & Albert Museum

Polichinelle is the French term for Pulcinella (or Pulcinello), the Italian Commedia dell’Arte character who became known as Punchinello in England, and, then, later Mr. Punch.  This 1843 sheet music cover for a group of songs called, “Polichinelle, or, The Royal Punchinello Quadrilles” by Musard (published by R. Cocks & Co.) depicts Mr. Punch with his wife Judy who holds their famed, put-upon baby.  As is traditionally the case, the baby’s face is that of his hook-nose, hunch-backed, portly puppet papa.

What’s curious about this is that Punch and Judy appear to have other children—boys and girls who also, rather sadly, resemble their father.  The tradition of Punch doesn’t include other children, so I find this very interesting.  I wonder if our Mr. Punch tossed these tots out of the window as well.  If so, they appear to have survived and grown to be rather jolly.

Object of the Day, Museum Edition: Monsieur Mazurier as Mr. Punch, c. 1820

Monsieur Mazurier
Cooke, 1820
The Victoria & Albert Museum

Quite some time ago, we looked at an image of the celebrated Monsieur Mazurier as Mr. Punch.  Here’s another.  This engraving is entitled simply, “Monsieur Mazurier.”

It was published in Paris possibly in the 1820's.  The illustration portrays Mazurier  in a theatrical stance wearing a Punchinello costume. A puppet figure of Mr. Punch can be seen in the background in the same stance.

Engraved by one “C. Motte,” further inscriptions include:

Mr. Mazurier./ Dans le Rôle de Polichinel Vampire/ Theatre de la porte St. Martin' Mr Mazurier/ in the title role in Polichinelle Vampire/ St. Martin Theatre.

So who is this fellow?  Monsieur Charles-François Mazurier performed in “Punchinelle Vampire” as well as in “Jacko, The Brazilian Monkey.”  Both plays were  written by Jean-Baptiste Blache, in Paris and London in the 1820s. In November 1825 Mazurier performed at the Theatre Royal, Covent Garden, in “Punchinelle Vampire” which was translated as “The Shipwreck of Policinello.”  Playbills for the Covent Garden performances are also housed in the V&A.  

Friday Fun: Mr. Punch and Scaramouche

Mr. Punch and Scaramouche
George Cruikshank, 1827
From the George Speaight Punch and Judy Archive
at The Victoria and Albert Museum

We have previously enjoyed a video by Australian Punch and Judy Man, Chris van der Craats which showed us a recent recreation of some of George Cruikshank’s 1827-era drawings of the “Comical Tragedy or Tragical Comedy of Mr. Punch.” Here’s another recreation—complete with Piccini Punch. This one shows Mr. Punch and Scaramouche.

In the early Nineteenth Century version of the puppet show, Mr. Scaramouche was Mr. Punch’s neighbor and the original owner of Dog Toby. Punch encounters Dog Toby who bites his “beautiful nose,” and, then, Scaramouche confronts Punch about harassing his terrier. Punch confused Scaramouche by dancing with him, and, then beating him with his cudgel—eventually, taking Dog Toby as his own companion. This video begins just after Punch has had his first meeting with Dog Toby.  

Drawing of the Day: Children Watching a Puppet Show

Children Watching A Puppet Show
Stefano della Bella
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

Oddly enough, here’s another drawing which I’ve not seen before. This one is by an Italian artist with a sing-song name, Stefano della Bella (1610-1664). The work of black chalk, pen and ink was purchased by King George III from Consul Joseph Smith in 1762, and depicts a group of children watching a puppet show. A young mother holds her child on her lap so that the baby can see the show, too.

I am familiar with a similar drawing by Della Bella which is housed at the British Museum. While the subjects are similar, the example in the British Museum includes a bagpiper accompanying the show.

Given the age of the piece, the paper has deteriorated a bit and the other sketches on the verso are visible.

Obviously, the drawing is incomplete, and, is clearly a study for another work—perhaps a painting.

Print of the Day: Cruikshank's "Punch and the Cat," 19th C.

Engraving depicting "Punch and the Cat"
George Cruikshank
The Victoria & Albert Museum

Some of the earliest, most accurate and famous drawings we have of the Nineteenth Century Punch & Judy shows in Britain are those created by the celebrated illustrator George Cruikshank (1792-1878).

Here, we see an engraving after one of Cruikshank’s renowned drawings.  The print crisply depicts not only the Punch & Judy performance, but also, the audience.  Here, we see Punch and the Cat in a booth in the upper center. Some Punch & Judy Professors in the Nineteenth Century used a cat in lieu of the Dog Toby.  At the time, many Punch & Judy men still employed real animals as Punch’s companion as opposed to puppet counterparts.  If a dog was unavailable, Mr. Punch was joined by a cat. 

This trimmed piece of paper has, on the reverse, part of a music score entitled “The Magistrate.” “Old G. Cruickshank” is inscribed in pencil on the upper left center.

Object of the Day: Punch Presents Quick Meal Coal Ranges, circa 1904

"QUICK MEAL"
DRAWING BOOK 
-------
This little booklet will amuse the Children. Let them
copy the pictures on the Tissue Paper.
--------

Punch and Judy 
          of olden times
     Are now the subject of
          our rhymes.
Punch’s appetite was
          great,
     So he ordered Judy to 

          cook a steak.

Now Judy, you know,
     had an old time
          stove,
     And to cook for
          Punch she often
               strove;
But Punch could not
     be pleasant or glad,
     And oft at mealtime
          he was mad.

One day, when he was
          in a fit,
     And Baby cried ‘till
          it was sick, 

Punch threw it madly,
          out of doors;
Poor Judy shrieked
          aloud, of course.

A Policeman came
          into the door,
      And Judy cried
          aloud some more;
But Punch could not
          be taken in,
     And swore the battle
          he would win.

He won the battle
          To be sure,
     But could not win
          Poor Judy more.
A bright idea popped
          in his head—
     “I’ll get a QUICK
          MEAL RANGE,”
               he said.

So when the Range
           was set up right,
     Judy worked with
          all her might,
And cooked, and
     cooked—morn,
           noon and night,
     You never saw such
           a pretty sight. 

Click images to enlarge.

This fanciful little booklet, complete with its original tracing paper inserts, was made to advertise St. Louis-based “Quick Meal Coal Ranges” and Gas ranges for the Ringen Stove Co. of Missouri. Since the booklet mentions the World’s Fair, we can guess that it was made after the 1904 St. Louis World’s Fair.

This American company has cleverly featured Britain’s Mr. and Mrs. Punch and their baby. Punch, as you’ve just read, is annoyed by Judy’s slow range and tosses the baby out of the window. But, after gleefully smashing the Beadle, Punch decides he can make everything right by buying Judy a new range. And, actually, it does seem to do the trick.

I can’t tell you how much I love the illustrations in this booklet. They’re too wonderful, and I adore the look of utter joy with which Punch approaches everything he’s doing. He’s as happy with his meal of turkey and hams as he is just to throw the baby out of the window. And, that’s why we love Mr. Punch.

I’ve scanned most of the book for you. Enjoy the pictures. They’re quite a treat. You’ll see that some of the pages are covered by the original tissue paper. I’ve moved the paper out of the way in the next image.  I'm just surprised it was never drawn in.

Mr. Punch in the Arts: Drunk Punch, 1990

Drunk Punch
Richard Slee
Victoria & Albert Museum

Contemporary studio potter Richard Slee was inspired by English ceramics of centuries past and their relationship to British culture. Driven to create a modern adaptation of English “Tobies” (jugs, or large drinking mugs in the form of a stout man), Slee inverted the popular phrase, “Punch Drunk” and created this figure of Drunk Punch. What’s more British than Mr. Punch?


Here, we see Mr. Punch, clearly in his cups, made of coiled earthenware and colored glazes. He is surrounded by spent cobalt blue bottles which refer to Slee’s famous modern reworking of vase shapes.

Located in the Victoria & Albert Museum, Drunk Punch is usually exhibited at the end of a display of antique Tobies which show the progression of the vessel over centuries.

Antique Image of the Day: The Punch and Judy Show, 19th C.

Punch and Judy Show
Hand-colored Print
19th Century
The George Speaight Archive
The Victoria & Albert Museum

Hand-colored with watercolor, this Nineteenth-Century print depicts a crowd of people at a Punch and Judy show. However, there’s a lot more going on in the scene than just the antics of Mr. Punch. We see young Artful Dodgers picking pockets, a curious dog about to take a drink from a man’s pail, and the amorous embrace of a young couple.

Mr. Punch has long been the voice of the people, and here, we see that this unknown artist was aware of the power of Punchinello to draw a crowd from all walks of life. Laborer and gentleman alike have paused in their days to unite—for a moment—in a shared drama of their own.

Mr. Punch in the Arts: An Antique Drawing by George Scharf

Punch & Judy Show
George Scharf
The British Museum

Drawn from life, this pencil and watercolor sketch shows a Punch & Judy show being performed on the street much to the delight of those watching.  In the highly decorative tent, we can see Mr. Punch with his famous slapstick, aiming for a rather frantic Judy.  Scharf’s depiction of the tent is quite authentic.  We can see the evolution of such a Punch & Judy booth from when this was drawn in the 1800’s to a version from 1912 (below).   Since this was drawn from life, we’re led to believe that the booth’s signage, “Our Endavour is to Please” is an accurate transcription of a misspelling on the part of the “Professor.” 



Punch & Judy Booth
1912-1962
The Museum of Childhood at
The Victoria & Albert Museum



Painting of the Day: Punch in the Country , 1852

Punch in the Country
Charles James Lewis, 1852
The George Speaight Punch and Judy Archive
The Victoria & Albert Museum
Click to enlarge.

The celebrated and prolific watercolor and oil painter Charles James Lewis RI (1830-1892) specialized in landscapes and bucolic genre paintings of children and animals. Here, we see the subject matter and detailed brushwork which defined Lewis’ painting.

The scene from 1852 depicts the Punch and Judy booth of a traveling showman with Mr. Punch visible and a drummer (acting as a “bottler” to collect money) accompanying the performance. While Punch is the centerpiece of the painting, Lewis is careful to reveal that his real interest was not in the performance but in the audience and the small details of daily life in the countryside. These details include a baby in a wheeled cart, children peeping into the booth, a picturesque countryside cottage with a family gathered outside, and a puppy.