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.

Sculpture of the Day: A French Plaque Depicting Polichinelle, c. 1850

Polichinelle Plaque
The Victoria & Albert Museum

This late Nineteenth Century, French, cast-iron plaque is molded in relief with a depiction of a Polichinelle or Punch show taking place in a traditional "fit-up."

Polichinelle is seen in the proscenium opening going about his typical business of smacking an adversary with a stick.  An unusual portrayal, Polichinelle is shown as a rod puppet hanging in front of the booth suspended by a rod from his head.  By this point in puppet history, Punch, Polichinelle and Guignol were usually glove puppets, not marionettes or rod puppets.  

His hump is hollowed out, likely as a receptacle for wax tapers or spills.

Sculpture of the Day: The Ivory Pulcinella, 1750

Ivory Pulcinella
Technically, "Polizinell"
Germany, 1750The Victoria and Albert Museum

Here’s something peculiar. This ivory figure of a dancer clearly represents Pulcinella, but, he’s not the work of an Italian sculptor. He comes from Germany, c. 1750. The figure is delicately rendered in a fantastic costume, a conical hat and a ballet skirt.

So, how did this character from the traditional Italian Commedia dell' Arte come to be rendered by a German artist? He was already known in France as Puchinelle and in England as Punchinello or Mr. Punch (first recorded in Britain on May 9th, 1662 by Samuel Pepys). The first sighting of our hero in Germany came in 1649. He was spotted in Nuremberg where he was called “Polizinell.” This was performed by a splashy Maltese showman called Blasius Manfredi who, that same year, had the acquaintance of the Franco/Italian showman known as Brioche who was first noted as performing 'Polichinelle' in Paris. So, they’re all connected.

As we celebrate Mr. Punch’s three hundred fifty-second birthday, it’s important to remember the minor moments over the last three centuries that led to his widespread, global fame. This little ivory figure which could so easily be dismissed is just one tiny piece of the puzzle.

The figure was given by Dr. W. L. Hildburgh, F. S. A. to the V&A where it remains along with a host of other historical items, each of which—when assembled—spell out the Punch family tree and history. Notably, from 1971 to 1977, the figure was on display at the Clawning Castle in Nottingham, England. Prior to 1971, it lived for an unknown time at King George IV’s Brighton Pavilion. How George IV came to own it is unknown.

Mr. Punch in the Arts: Manet's "Punch," 1874

The Art Institute of Chicago

Celebrated French Impressionist painter Édouard Manet (1832-1883) was even taken with our Mr. Punch--or at least his French counterpart, Polichinelle.  This stone lithograph dating to 1874, entitled "Punch," reproduces Manet's depiction of Policinhelle.

Printed in color from seven stones with scraping, the image looks boldly outward from ivory woven paper.

History's Runway: Christmas and New Year's Party Fashion Plate, 1875

 

Fashion plates such as this one from the V&A often formed the centerpiece of publications for women—rather, they still do.  This landscape format plate from 1875 is set in a ballroom draped with garlands, and depicts twelve women and 8 small children.  Nine of the women are in party dresses with one small boy in a brown suit.

Two women in the background wear the long-sleeved day dresses which were fashionable at the time, and a third woman wears a formal reception gown with elbow-length sleeves. The others, in their party dresses, show the elaborately bustled and embellished evening gowns with low necklines and short sleeves that dominated the fashions of the 1870s.

One female child in the centre foreground holds a fashionably dressed doll, and another to the far left holds a doll dressed as a Polichinelle (the French version of Mr. Punch).

While the artwork was created in Paris, the piece was published in London, in December 1875, in “The Young Ladies' Journal.”  A descriptive line states:  “Christmas and New Year's Party Fashion Plate December 1875. The Young Ladies' Journal.” 

Sculpture of the Day: A French Plaque Depicting Polichinelle, c. 1850

Polichinelle Plaque
The Victoria & Albert Museum

This late Nineteenth Century, French, cast-iron plaque is molded in relief with a depiction of a Polichinelle or Punch show taking place in a traditional "fit-up."

Polichinelle is seen in the proscenium opening going about his typical business of smacking an adversary with a stick.  An unusual portrayal, Polichinelle is shown as a rod puppet hanging in front of the booth suspended by a rod from his head.  By this point in puppet history, Punch, Polichinelle and Guignol were usually glove puppets, not marionettes or rod puppets.  

His hump is hollowed out, likely as a receptacle for wax tapers or spills.

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.

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.

Sculpture of the Day: The Ivory Pulcinella, 1750

Ivory Pulcinella
Technically, "Polizinell"
Germany, 1750
The Victoria and Albert Museum

Here’s something peculiar. This ivory figure of a dancer clearly represents Pulcinella, but, he’s not the work of an Italian sculptor. He comes from Germany, c. 1750. The figure is delicately rendered in a fantastic costume, a conical hat and a ballet skirt.

So, how did this character from the traditional Italian Commedia dell' Arte come to be rendered by a German artist? He was already known in France as Puchinelle and in England as Punchinello or Mr. Punch (first recorded in Britain on May 9th, 1662 by Samuel Pepys). The first sighting of our hero in Germany came in 1649. He was spotted in Nuremberg where he was called “Polizinell.” This was performed by a splashy Maltese showman called Blasius Manfredi who, that same year, had the acquaintance of the Franco/Italian showman known as Brioche who was first noted as performing 'Polichinelle' in Paris. So, they’re all connected.

As we approach Mr. Punch’s three hundred fiftieth birthday, it’s important to remember the minor moments over the last three centuries that led to his widespread, global fame. This little ivory figure which could so easily be dismissed is just one tiny piece of the puzzle.

The figure was given by Dr. W. L. Hildburgh, F. S. A. to the V&A where it remains along with a host of other historical items, each of which—when assembled—spell out the Punch family tree and history. Notably, from 1971 to 1977, the figure was on display at the Clawning Castle in Nottingham, England. Prior to 1971, it lived for an unknown time at King George IV’s Brighton Pavilion. How George IV came to own it is unknown.

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.