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.  

Masterpiece of the Day: Fête Champêtre with Italian Comedians, 1720-1730

Fête Champêtre with Italian Comedians
Pater, 1720-1730
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Hello all, my apologies, but we'll have to go one more week without "Mr. Punch's Puzzles."  Once my schedule settles down a bit, we'll return to our normal activities.  In the meantime, let's take a look at another discovery from the Royal Collection with this gorgeous oil on canvas work by Jean-Baptiste-Joseph Pater (1695-1736).  The painting, titled Fête Champêtre with Italian Comedians, was created between 1720 and 1730.

The piece was thought to have belonged to George III or Queen Charlotte, but later research shows that it was more likely purchased by George IV in or before 1806.

This handsome and brilliantly-colored work shows a scene from the Commedia dell'Arte tradition which gave us Mr. Punch.  Here, we see Scaramouche dressed in red.  He's advancing upon the scene from the right under a columned archway, his eyes fixed upon a troupe of actors and actresses who lounge in the shade beneath the trees.  To the right of them, a masked Harlequin is courting a young lady while Pierrot stands in the center of the scene.

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

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.  

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.

Object of the Day, Museum Edition: Scaramouche and Columbine, 1740

Scaramouche and Columbine
Meissen Porcelain Factory
Germany, 1740
The Victoria & Albert Museum

I’ve always enjoyed Meissen porcelain figures and I’m especially fond of the work of one of their chief modelers, Johann Joachim Kändler (1706-1775) who was responsible for a monumental and diverse range of figures.

In my opinion, some of the most attractive of Kändler’s figures were those which he based on the Commedia dell’Arte. These porcelain figurines and groups were made, in many cases, for export to France where, in the Seventeenth Century, the fashion for adoring the dining table with porcelain figures during the dessert course was especially en vogue. This figure group depicts the Commedia dell’Arte characters of Scaramouche and Columbine. Made in 1740, the figures of hard-paste porcelain shows the famed couple embracing. Columbine holds a bird cage, showing how Scaramouche has captured her heart. The pair of lovers is brilliant with enamel colors in blue, red, gray, yellow, turquoise and white.

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

Here’s another recreation of George Cruikshank’s 1827-era drawings of the “Comical Tragedy or Tragical Comedy of Mr. Punch"--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.  

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: Fête Champêtre with Italian Comedians, 1720-1730

Fête Champêtre with Italian Comedians
Pater, 1720-1730
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Another discovery from the Royal Collection on this late in June Friday, is this gorgeous oil on canvas work by Jean-Baptiste-Joseph Pater (1695-1736).  The painting, titled Fête Champêtre with Italian Comedians, was created between 1720 and 1730.

The piece was thought to have belonged to George III or Queen Charlotte, but later research shows that it was more likely purchased by George IV in or before 1806.

This handsome and brilliantly-colored work shows a scene from the Commedia dell'Arte tradition which gave us Mr. Punch.  Here, we see Scaramouche dressed in red.  He's advancing upon the scene from the right under a columned archway, his eyes fixed upon a troupe of actors and actresses who lounge in the shade beneath the trees.  To the right of them, a masked Harlequin is courting a young lady while Pierrot stands in the center of the scene.

The Art of Play: The Three-Headed Scaramouche, 1870-1890

Scaramouche--Trick Marionette
The Tiller Clowes Troupe, 1870-1890
Restored by George Speaight
The Victoria & Albert Museum

Another marionette from the Victorian troupe of the Tiller-Clowes family, this figure depicts Mr. Scaramouche, a character which was adapted from the Italian Commedia dell’Arte to the English Punch and Judy tradition.

Made between 1870 and 1890, the marionette still wears his original costume and survives in excellent condition. Whether a glove puppet or a marionette, Scaramouche is often employed as a trick puppet. Usually, his neck extends to twice the length of his body, however, this example is a little different.

He features three heads. The two smaller heads are inserted in the larger head which is supported by the body. The largest head wears a purple silk hat, the second head wears a striped cotton hat and the third is hatless. At the point in the show when Scaramouche becomes overwhelmed by Mr. Punch, typically, he shows his frustration by having his neck extend upward. In this case, however, instead of his neck growing, Scaramouche shows his angst by having the two smaller heads pop out of the largest head—creating a comic effect of utter confusion. 

Friday Fun: Pulcinella e il Cane

Salvatore Gatto

We once again visit Mr. Punch’s Italian ancestor, Pulcinella, in this recent video of a live Pulcinella show performed in Italy. Entitled Pulcinella e il cane, we see the comic anti-hero behaving in a very Punch-like manner (complete with swazzle-enhanced voice) and interacting with a rather wide-mouthed canine. Unlike the British version of Mr. Punch, Pulcinella seems to have something of an antagonistic relationship with the dog. Whereas Mr. Punch and his doggy chum, Toby, usually got along well together (unless, of course, there are sausages to fight over), Pulcinella and the dog are having some difficulties. British Punch shows assign the role of the biting antagonist to the crocodile (also a fan of sausages). The crocodile is known to snap at Mr. Punch. Here, the dog and Pulcinella have a similar relationship.

What’s fascinating about this video, aside from seeing the roots of Mr. Punch, we also see behind the tent and get a glimpse of the puppeteer performing his art. Enjoy!

The Art of Play: The Three-Headed Scaramouche, 1870-1890

Scaramouche--Trick Marionette
The Tiller Clowes Troupe, 1870-1890
Restored by George Speaight
The Victoria & Albert Museum

Another marionette from the Victorian troupe of the Tiller-Clowes family, this figure depicts Mr. Scaramouche, a character which was adapted from the Italian Commedia dell’Arte to the English Punch and Judy tradition.

Made between 1870 and 1890, the marionette still wears his original costume and survives in excellent condition. Whether a glove puppet or a marionette, Scaramouche is often employed as a trick puppet. Usually, his neck extends to twice the length of his body, however, this example is a little different.

He features three heads. The two smaller heads are inserted in the larger head which is supported by the body. The largest head wears a purple silk hat, the second head wears a striped cotton hat and the third is hatless. At the point in the show when Scaramouche becomes overwhelmed by Mr. Punch, typically, he shows his frustration by having his neck extend upward. In this case, however, instead of his neck growing, Scaramouche shows his angst by having the two smaller heads pop out of the largest head—creating a comic effect of utter confusion. 

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

Last Friday, we 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.  

Figure of the Day: Scaramouche and Columbine, 1740

Scaramouche and Columbine
Meissen Porcelain Factory
Germany, 1740
The Victoria & Albert Museum

I’ve always enjoyed Meissen porcelain figures and I’m especially fond of the work of one of their chief modelers, Johann Joachim Kändler (1706-1775) who was responsible for a monumental and diverse range of figures.

In my opinion, some of the most attractive of Kändler’s figures were those which he based on the Commedia dell’Arte. These porcelain figurines and groups were made, in many cases, for export to France where, in the Seventeenth Century, the fashion for adoring the dining table with porcelain figures during the dessert course was especially en vogue. This figure group depicts the Commedia dell’Arte characters of Scaramouche and Columbine. Made in 1740, the figures of hard-paste porcelain shows the famed couple embracing. Columbine holds a bird cage, showing how Scaramouche has captured her heart. The pair of lovers is brilliant with enamel colors in blue, red, gray, yellow, turquoise and white.