Toys of the Belle Époque: Trentsensky Toy Theater, 1825-1880

Toys of the Belle Époque: Trentsensky Toy Theater, 1825-1880

Trentsensky Toy Theater, 1825-1880
Victoria & Albert Museum

This toy theater is originally the work of famed toymaker, the Austrian-born, Matthias Trentsensky. Trentsensky began producing these paper theaters in Austria in 1790, using his brother Joseph’s name for the company. Such paper theaters were quite popular in England. Trentsensky exported many of these printed sheets for assembly in Britain.

The theater consists of a stiff paper-board proscenium, fabric-covered base and elaborately detailed paper backdrops. “Plays” would be staged in the theater by using paper dolls in intricately drawn costumes. This particular theater was assembled in Britain and remained in the same family until 1880. The owners added several of their own backdrops to the assortment of scenes that came with the theater.

This Trentensky Toy Theater is in remarkably good condition given its age and the amount of use that it endured for nearly sixty years. Today, it is on display at the Museum of Childhood at the Victoria & Albert Museum.

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.

The Art of Play: A Pelham Puppet March Hare, 1950-1955

The March Hare
Pelham Puppets
1950-1955
The Victoria & Albert Museum

Pelhams, the wildly popular British toymaker, began in 1947 when Bob Pelham opened his business in Malborough, Wiltshire. The company survived until 1993 and, in that time, made thousands of different puppet characters of both glove and marionette varieties. The Pelham puppets were simple to operate for children and evolved in appearance as fashions changed from decade to decade. It’s easy to identify when a Pelham puppet was made just by looking at it because the designs seem to represent the visual ideals of each era. 

For example, this marionette March Hare could not possibly look more like a creation of the 1950s. And, that’s when he was made—between 1950 and 1955. He features a solid, molded wooden head and hands, all painted. Meanwhile his body and arms are made of wooden blocks which are hidden under his costume of striped trousers, a green jacket and waistcoat and an orange bow tie.

Unusual Artifacts: Schichtl Marionettes Flower Seller, c. 1900

Trick Puppet
Wizard from Kasperle
The Schichtl Marionette Company, Germany, c. 1910
The Victoria & Albert Museum

Made in Germany around 1910, this marionette is part of a group from the Schichtl Marionette Company. He’s part of the “Kasperle” tradition and is, at first glance, the character of “The Wizard.” But, there’s more than meets the eye. He’s a “trick puppet.” He can transform from the wizard into a dwarfish flower seller.

The puppet features a carved and painted wooden face with glass eyes, wooden hands, leather-clad feeties, a horsehair moustache, beard and wig.

While the wizard, he carries a wand, wears a long cream silk crepe robe with a silk collar. Appliqué black felt and velvet magical symbols adorn the silk robe while skull and crossbone motifs decorate his conical silk hat.

Concealed under the silk robe, is the flower-seller. This dwarf puppet wears a white cotton shirt, green and yellow belt and braces, red cotton knee-length breeches and tan stockings. The flower seller holds a metal lamp in his right hand and a wooden bucket of silk flowers on his head—as one does. 

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.

The Art of Play: Animal Hand Puppets from 1950

Animal Hand Puppets
English, 1950
Joy Laurey
The Museum of Childhood
The Victoria & Albert Museum

Children’s toys—to this day—often feature figures of animals. Farm animals are particularly popular subjects for toys. This made a lot of sense when many families still raised animals on their land as a source of food and income. These days, since most of us don’t lead agricultural lives, there’s more of a nostalgia-factor and cutesy feel to animal-themed toys which we often associate with early childhood. Such toys also serve as a means of teaching children about where the foods they eat come from and to educate them about words and their usage.


This set of cloth hand puppets made in England around 1950 is quite adorable. We have a horse, a lamb, a piggy and a cow. Each figure is highly stylized in the manner which was quite popular in the 1950’s. Though they were clearly well-loved they still retain much of their original detail and charm.

The Art of Play: The Albert Smith Clown, 1890

"Joey the Clown"
Albert Smith, 1890
The Victoria & Albert Museum

Celebrated Punch & Judy Man and puppet maker, Albert Smith delighted late Nineteenth Century audiences with his enchanting puppets. Here, we see one of the few surviving examples of Smith’s puppets—a figure of “Joey the Clown”—one of the standard characters in the Punch & Judy mythology.

Joey, as has been customary for the last couple of centuries, is a glove puppet with a carved and painted face and hands and painted black hair. Joey sports a red leather pointed hat which is edged with fringe at the front. He wears a multi-colored striped tunic with a red and white ruff, blue cuffs and edging, and a strip of red, yellow and red braid at the front. His wardrobe is adorned with three metal buttons set with artificial jewels (some of which are now missing). On the reverse of the puppet is stitched a long black wired sleeve which was meant to conceal the Professor's arm

The set by Albert Smith from which "Joey" comes. 

The Art of Play: Make Your Own Punch & Judy, 20th C.

Punch and Judy Cut-Out Theatre and Puppets
The George Speaight Archive
The Victoria & Albert Museum

This is by no means antique, nor even vintage.  In fact, it was made in the late Twentieth Century.  Produced by Phil Spellacy Puppets, Ltd. of Leeds, this cut-out set gives everyone a chance to stage their own Punch and Judy Show.  The set consists of cut-out paper puppets, assembly instructions, rods and split pins.

It is marked:

“Conforms to BS 5665 / PUNCH and JUDY / A beautifully designed set of puppet figures for children / to cut-out and colour - recommended age range / 7 years and above / *contains small parts which may be hazardous for / children under 3 years of age.”

'CONTENTS / Ten different card cut-out and / colour characters plus instructions / Control sticks and fasteners for / swivel joints / Mini-history and book list for further study / Script - a non-violent, non-sexist / version / PUPPET CHARACTERS FEATURED / Punch and Judy Set No.1 / Baby and Joey Set No. 2 / Doctor and Crocodile Set No. 3 / Toby and Ghost Set No. 4 / Policewoman and Jailor Set No.5 / Plus / Card cut-out Theatre Proscenium / Set No. 6 / '

In the late Twentieth Century as the world grew uglier and people looked for scapegoats, Mr. Punch and his antics came under fire by groups who called the centuries-old tradition, “violent” and “sexist.”  Of course, we know that it was no such thing as anyone who was familiar with the tradition knows that Judy gives as good as she gets and that the “violence” is clearly meant as a parody to urge others NOT to act that way.  While we are more sensible about these things now, in the 1990s this set made sure to note that it contained a “non-sexist” and “non-violent” script for the impression youngsters who would play with this for a few moments before playing a video game where they could steal cars and beat-up hookers or watch a TV show filled with sexual humor and innuendo.  Sure, Mr. Punch was the problem.  Always blame the puppets, right?

By the way, I realize we didn't have a "Treat of the Week" post this week.  I actually have a special treat for this past week, and we'll be taking a look at that next week as part of a two-day "Treat" extravaganza.  

Friday Fun: Mr. Punch’s Russian Cousin, Petrushka

An antique "Petrushka"
marionette

Mr. Punch has cousins all over the world who look and act quite a bit like him. His Russian counterpart is called “Petrushka” (meaning Parsley). Dressed in red with a jester’s painted face, Petrushka has a long nose like Mr. Punch and a very similar “swazzle”-created voice. 


Petrushka also relies on slapstick comedy, but the stories take a slightly different approach than the adventures of Mr. Punch. Petrushka stories focus on his military service, his medical treatment and his training of a horse.

Thanks to Chris van der Craats (Australia’s “Professor Whatsit”), we get this fascinating glimpse at this Russian puppet cousin to our Mr. Punch. 

Object of the Day: Mr. Punch and Pretty Polly Scraps

Click on image to climb inside those comfy wooden shoes, too.
Not really.  But, you'll get a bigger image.  

I found these two tucked into a pile of trade cards. They, I think, were once a part of a trade card themselves, but, now, they’re best called scraps. So, who have we here? Well, certainly the chap is Mr. Punch or, more accurately a child dressed as Mr. Punch. Who’s his companion? A girl, rather uncomfortably dressed in a Commedia dell’Arte-inspired costume. Sure, they could be Pulcinella and Columbine, but I prefer to think of them as Punch and Pretty Polly. 

Now, as children dressed in Venetian Carnival costume tend to do, they’re standing in wooden shoes and toasting one another with champagne. Yeah, I don’t know. It’s a sort of multi-cultural mishmash. It’s a little bit Dutch, a little Italian, a little French—and, typically American. 

So, what’s this all about? On the reverse—when you put the two shoes side by side—you seem the remnants of an old ink stamp, torn away by being glued into an album. It seems these two little folks were once part of a trade card advertising for a Newark, new Jersey-based toy shop. 

And, that explains a lot.

Friday Fun: Mr. Punch and the Devil

Drawings by George Cruikshank, 1828

This video clip from 2012’s May Fayre and Mr. Punch’s 350th birthday was filmed by Australia’s Chris van der Craats. I’m not sure who the professor is, but he has given us a wonderful recreation of one of George Cruikshank’s famous 1820s illustrations of Mr. Punch. In this scene, Punch is defeating the Devil. That’s the way to do it!

Masterpiece of the Week: The Codman Judy, 1860

Judy Puppet
Circa 1860
The Museum of Liverpool

She may not be as old as Mr. Punch, and she may not have always been called “Judy” (she began in Britain as a character named “Joan”), but Judy is as much a part of the history of world culture as her illustrious husband.


This long-suffering, wooden-headed lady, can’t be considered the world’s best mother. She did marry Mr. Punch, after all, and leaves her baby in the care of her irresponsible mate, but she’s fiercely protective of her offspring and becomes quite enraged when her child is made into sausage—as one does.

This lovely puppet is one of the original pieces from the Codman Family. Codman’s is a family-operated theatre which has been a part of Liverpool, England culture since the 1860’s.

Still in excellent condition, this Judy is no worse for wear after thousands of beatings. With her pinched face and slight snarl, she’s still a formidable force after over a century.

Friday Fun: Antique Marionettes

Puppets.uk.com

As I’ve mentioned before, our Mr. Punch started his antics as a marionette until “professors” concluded that glove puppets were easier to transport and manipulate. Marionettes are quite complicated and it takes a skilled puppeteer to manage them gracefully. There’s a certain elegance about a marionette.

These antique puppets show some of the cleverness and artistry that went into Victorian stringed puppets. They’re rather lovely. As much as I love puppets, I have to say that the “Grand Turk” creeps me out just the tiniest bit. But, I love it nonetheless.





Unusual Artifacts: An Early Nineteenth-Century Wooden Puppet Head

Wooden Head of Mr. Punch
Victoria & Albert Museum
History of Puppetry in Britain

Of course, we know that Mr. Punch has been entertaining people in his various forms for centuries. Since his arrival in England, his appearance has remained fairly consistent despite minor nuances between puppets.






This wooden head, long detached from its cloth body, shows us an early Nineteenth-Century incarnation of our beloved Mr. Punch. With his hooked nose and chin, he looks very much like his many puppet brothers. The head was created for the Codman Family who were Punch & Judy Men for four generations. A cherished family heirloom, the head was presented to another great Punch Professor—Percy Press I—in 1946 as a gift from Richard Codman, Senior. With his bright eyes and knowing smile, this gleeful figure represents a proud puppet ancestry and serves as a model for his descendants.

The Art of Play: Punch and Judy Finger Puppets, circa 1970

Punch and Judy Finger Puppets, c. 1970
This and all related images from The Victoria and Albert Museum.

Sandcastles, donkey rides, Punch and Judy - all part of a day at the British seaside. At its popular in Victorian times, the show still brings pleasure (and terror!) to thousands of children on our summer beaches. 

So reads the reverse of this toy which has newly been added to the collections of the Victoria and Albert Museum.  I was quite tickled to find this circa 1970 finger puppet set when searching for Punch and Judy related items. 

Let's take a look at this charming set, shall we?  These finger puppets came packed in a box which also doubles as a fit-up or theatre for their miniature puppet show.  The set was meant as a charming reminder of bygone, innocent summers...summers that maybe weren't so hot and miserable.  Sorry...I was distracted.

The printed box sports the traditional striped, gilded frame, theatrical draping and green skirting associated for centuries with a Punch and Judy booth.  A die-cut opening at the front affords a venue for the finger puppets.  

Inside, are Punch and his wife, Judy--both made of printed cotton with slightly padded fronts.  Punch is dressed in his usual red suit and dropping hat, trimmed in gold.  Of course, he carries his cudgel.  Judy dons the traditional white checkered dress and lace cap which we associate with Mrs. Punch.  And, of course, she's carrying, "the Baby."

Manufactured in Britain, the set was designed and made by Anne Wilkinson Designs.  It was produced through 1990.

Friday Fun: Punch and the Beadle

The Beadle
as envisioned by Chris van der Craats

Well, as much as I love him, I must admit that Mr. Punch is a rather naughty fellow. For all of his cuteness and charm, he does occasionally do some things that just aren’t “the way to do it.” So, it’s inevitable that his actions should attract the attention of the law. In traditional Punch & Judy shows, Punch is confronted by a variety of representatives of the law. He usually meets a constable or beadle, a judge, and even the hangman. Still, we know that the wooden-headed hero can “beat the Devil,” so something as simple as escaping the law shouldn’t be too difficult for him.

Let’s watch this snippet from a Punch & Judy show as performed by Australian Punch Judy Man, “Professor Whatsit,” also known as Chris van der Craats. I have a particular fondness for van der Craats’ puppets. He makes them himself and they are some of the best out there. These puppets have the look and charm of the figures used in the earliest Punch performances. You can buy Professor Whatsit’s hand-made puppets on his Web site.

Object of the Day, Museum Edition: A Young Professor, Nineteenth Century

Chromolithograph after an unknown artist
Nineteenth Century
The George Speaight Archive at
The Victoria & Albert Museum

I very much like this Nineteenth Century print of a beautiful drawing of a budding Punch professor. A young boy with a puppet booth carries a drum on his back. In front of him he walks his puppet, a marionette figure of Mr. Punch.

What’s interesting about this is that by the Nineteenth Century, most Punchinellos were glove puppets which were performed in the Victorian style fit-up which first comes to mind when we think of Punch & Judy. In fact, marionette Punch and Judy shows were a century out of vogue in the U.K. So, this was a sort of nod to the antique and that makes it all the more charming.

Of course, this is from the George Speaight Archive at the V&A.

The reverse shows a page from an album.

The Art of Play: Mr. Punch's Gallows, c. 1900

Gallows
The Victoria and Albert Museum

Anyone familiar with the traditional Punch & Judy shows knows that among Punchinello's many tribulations is a battle with Jack Ketch, the hangman wherein our hero pleads, "Please don't hang me."  Well, the puppet character of Jack Ketch does not hang Mr. Punch; instead, he is hanged by Punch upon his own gallows.

And, here's such a gallows.

This is a property for a Punch and Judy show which was owned, and presumably operated by Will Judge (1882-1960), who was, as I've written before, billed variously as "the Norfolk Comedian" and a "Refined Comedian and Patterer."  Again, this is curious as Judge was famed for his Panto Dame roles, but is not ever recorded as being a Punch and Judy man.  Oddly enough, he had a fully formed set of Punch & Judy puppets and props which were donated to the V&A by Judge's son.

Object of the Day, Museum Edition: Fred Tickner’s “Hangman” from Punch & Judy, 1975

Jack Ketch
Fred Tickner, 1875
The Victoria & Albert Museum

Here’s another puppet by the great Punch & Judy man and puppet maker, Fred Tickner. From his group made in 1975, we see “Jack Ketch, the hangman.” 

This puppet comes with his wooden gallows and rope. A glove puppet, jack features a hand-carved and painted face and hands. His head is adorned with brown artificial fur hair. Jack’s character is immediately recognizable. Fred Tickner had a mastery of representing the personalities of his characters. His celebrated work continues to influence puppet makers to this day.