Print of the Day: The Horse Guards, Whitehall, 1936

The Horse Guards, White Hall
Freedman, 1936
The Victoria & Albert Museum

This attractive print is one of a set of six which were designed in 1936 to be printed on menus for The Orient Line. The illustration of “The Horse Guards” is signed and dated, “Barnett Freedman, 1936.” Freedman (1901-1958), a well-regarded illustrator of the 20s and 30s, found much success as a commercial artist.

The others in the set are:

Buckingham Palace from the Mall
The Tower of London
Windsor Castle, Norman Gate
St. James's Palace
Hampton Court Palace

Drawing of the Day: Alexander the Circus Pony, 1940-60

Sketch from "Alexander the Circus Pony,"
Phyllis Ginger, 1940-60
The Victoria & Albert Museum

Well, look, it’s Alexander the Circus Pony!  I’m unfamiliar with Alexander the Circus Pony, but if I were a pony I would want that to be my name.

This drawing is by Phyllis Ginger (1907-2005) and was created for the children's story, “Alexander, the Circus Pony.”  This book was Miss Ginger’s primary commission from Puffin books in which the entire book, story and illustrations were her own exclusive creation. Published in 1943, the book was quite popular in Britain and has been reprinted many times.

Here, we can see Ginger’s trademark bright and brilliant watercolor style. Previously, Ginger had been best known as topographical watercolor artist, who donated her talents to the Pilgrim Trust’s World War II “Recording Britain” project.  Throughout her early career, Ginger longed to be an illustrator.  She finally achieved her dream with “Alexander” and, then, illustrated another children's story featuring a horse a few years later, “The Mushroom Pony,” which was written by Joan Lamburn.

A Preliminary Sketch for "Alexander"

Drawing of the Day: You'd Best Go Down to the Gardener, 1916

Scene from "The Widow's Son"
Kay Nielsen, 1916
The Victoria & Albert Museum

The Danish-born illustrator Kay Nielsen had long been inspired by native Scandinavian tales. Even as a child, Nielsen would draw the epic Viking stories which were read aloud to him by his family. This influence naturally led to a career illustrating fairytales and nursery rhymes.

Nielsen’s work hints at the Art Nouveau. He’d studied in Paris during the height of the movement. There, he developed a trademark style which shows elements of the Art Nouveau as well as lines and patterns influenced by Japanese Art.

This 1916 image from the traditional Norse tale, “The Widow’s Son” shows Nielsen’s typical style. A work of pen and ink on paper, the illustration depicts a stylized garden occupied by a bearded man who holds a spade and flowers. He looks over his shoulder to a vision of a female face. I’m not familiar with this story, but, if you are, the inscription must make sense. It reads’ You’d best go down to the gardener.”

Drawing of the Day: Mr. Punch and the World, 1843

Click image for larger size.

Punch and the World
John Leech or After John Leech
Britain, 1843
The British Museum

Here’s another drawing by John Leech (or in the style of John Leech) which dates to 1843. Of course, we know that Leech, among his many other successes, was known for his work with Punch Magazine. It’s possible that this drawing was created “after Leech” to match other illustrations in the publication.

Created for a November, 1843 edition of Punch, this study for an original drawing depicts Mr. Punch and the world—literally. Punch stands next to a figure with a globular head. The exact meaning of this satirical scene is somewhat lost to modern eyes, but, as with all Leech or Leech-inspired works, it is brimming with charm.

This pencil version was later inked and refined for publication.

Drawing of the Day: Mr. Punch and the World, 1843

Click image for larger size.

Punch and the World
John Leech or After John Leech
Britain, 1843
The British Museum

Since Friday’s tend to be “Mr. Punch” days, I’ve been trying to find new Punchinello related antiques to share with all of you. Here’s a drawing by John Leech (or in the style of John Leech) which dates to 1843. Of course, we know that Leech, among his many other successes, was known for his work withPunch Magazine. It’s possible that this drawing was created “after Leech” to match other illustrations in the publication.

Created for a November, 1843 edition of Punch, this study for an original drawing depicts Mr. Punch and the world—literally. Punch stands next to a figure with a globular head. The exact meaning of this satirical scene is somewhat lost to modern eyes, but, as with all Leech or Leech-inspired works, it is brimming with charm.

This pencil version was later inked and refined for publication.

Painting of the Day: A Leaf from a Calendar, 1510-60

Leaf from a Calendar or Book of Hours
1510-60
Simon Bening
This and all related images from:
The Victoria & Albert Museum

Dating between 1510 and 1560, this double-sided leaf is thought to be from the calendar of a book of hours.  The sides appear to illustrate, on one side, the month of April, and, on the other, side the month of May.

April depicts music-makers by a canal while in the fields beyond them a cow is being milked as sheep are taken out to graze and stork makes its nest on a chimney pot.

Meanwhile, May shows a scene of typical May Day merrymaking, including a boat trip with musicians, a floral procession and joyful dancing in a town square.

This is the work of Simon Bening, from Bruges, who was one of the most celebrated illuminators of his time. He worked mainly in Bruges. His works often look more contemporary than they really are and he was responsible for many an illuminated manuscript like this one.  

In the late medieval period, Books of Hours, like the one from which this page was taken, were a type of prayer book meant for private use by the worshipful. These portable books consisted of psalms and devotions for the eight canonical hours of the day.

Drawing of the Day: Elder Mother Tree, 1932

The Elder Mother Tree, 1932
Arthur Rackham
The Victoria & Albert Museum

Artist Arthur Rackham, at an early age, trained at the Lambeth School of Art where he gained favorable attention as an illustrator by working for the “Westminster Budget” and other magazines.

Later, Rackham lent his talents mainly to children's book illustration. From the early twentieth century, he developed a talent for portraying witches and fairies.  His characterizations were so vivid, in fact, many parents feared the images would be too terrifying for their tots.

Here, we see a delicately tinted watercolor illustration for the fairytale “The Elder Mother Tree” (1845) by Hans Christian Anderson (1805-75).  The image depicts the moment when the Elder Mother appears in an elderflower tree which sprouts from a teapot, as one does.  Elder trees have long been associated with fairy mythology, and were thought to protect against evil spirits.

Drawing of the Day: Mr. Punch and the World, 1843

Click image for larger size.

Punch and the World
John Leech or After John Leech
Britain, 1843
The British Museum

Since Friday’s tend to be “Mr. Punch” days, I’ve been trying to find new Punchinello related antiques to share with all of you. Here’s a drawing by John Leech (or in the style of John Leech) which dates to 1843. Of course, we know that Leech, among his many other successes, was known for his work with Punch Magazine. It’s possible that this drawing was created “after Leech” to match other illustrations in the publication.

Created for a November, 1843 edition of Punch, this study for an original drawing depicts Mr. Punch and the world—literally. Punch stands next to a figure with a globular head. The exact meaning of this satirical scene is somewhat lost to modern eyes, but, as with all Leech or Leech-inspired works, it is brimming with charm.

This pencil version was later inked and refined for publication.

Print of the Day: The Horse Guards, Whitehall, 1936

The Horse Guards, White Hall
Freedman, 1936
The Victoria & Albert Museum

This attractive print is one of a set of six which were designed in 1936 to be printed on menus for The Orient Line. The illustration of “The Horse Guards” is signed and dated, “Barnett Freedman, 1936.” Freedman (1901-1958), a well-regarded illustrator of the 20s and 30s, found much success as a commercial artist.

The others in the set are:

Buckingham Palace from the Mall
The Tower of London
Windsor Castle, Norman Gate
St. James's Palace
Hampton Court Palace

Object of the Day: "Punch and Toby," a Children's Book

I received this beautiful book from my parents for Christmas. Since English books before 1970 often didn’t list a copyright date, it’s difficult to say when the book was published, but it’s the work of London’s Juvenile Productions, Ltd., and likely was written and illustrated in the 1940s. Neither the author nor illustrator is named.

The illustrations are truly stunning. I wish I could have reproduced all of them for you, but I didn’t want to risk damaging the book by opening it wide enough to scan all of the pages.

Entitled, “Punch and Toby,” the story explains that Mr. Punch lives in a steam-lined caravan and travels to seaside towns to entertain children. Along the way, he meets a stray dog and decides to call him, “Toby.” After being given a bath (which Punch calls the worst part) and dinner (which Punch calls the best part), Dog Toby is Punch’s friend for life and they travel about together, riding on roundabouts, visiting the marketplaces, and putting on their show.

I’m especially tickled that Punch greets Toby initially with, “Hullo, Chum”—just like our Mr. Punch/the Duke of Fallbridge from “Mr. Punch of Belgrave Square.”

Drawing of the Day: You'd Best Go Down to the Gardener, 1916

Scene from "The Widow's Son"
Kay Nielsen, 1916
The Victoria & Albert Museum

The Danish-born illustrator Kay Nielsen had long been inspired by native Scandinavian tales. Even as a child, Nielsen would draw the epic Viking stories which were read aloud to him by his family. This influence naturally led to a career illustrating fairytales and nursery rhymes.

Nielsen’s work hints at the Art Nouveau. He’d studied in Paris during the height of the movement. There, he developed a trademark style which shows elements of the Art Nouveau as well as lines and patterns influenced by Japanese Art.

This 1916 image from the traditional Norse tale, “The Widow’s Son” shows Nielsen’s typical style. A work of pen and ink on paper, the illustration depicts a stylized garden occupied by a bearded man who holds a spade and flowers. He looks over his shoulder to a vision of a female face. I’m not familiar with this story, but, if you are, the inscription must make sense. It reads’ You’d best go down to the gardener.”

Antique Image of the Day: Les Etrennes du Bébé, 1865

Click image to enlarge.
Gifts for a Baby
A. Queyror, 1865
The Victoria & Albert Museum

Created in 1865, this illustration is entitled “Les Etrennes du Bébé “or “Gifts for a Baby.” Etchings of the print were published in Paris by Cadart & Luquet. Essentially an inventory of toys, I selected this image by A. Queyroy because of the very obvious figure of Mr. Punch along with a toy theatre, a drum, a rabbit and a horse.

The Belle Époque Today: The Art of Chad Crowe

What started as a habit of drawing birds in top hats has eventually led to a collection of characters from the Belle Époque, when Paris was the epicenter for art, entertainment, and debauchery. Toulouse-Lautrec, the most celebrated drunken and lecherous dwarf in all of art history, is the most likely inspiration for these drawings. 

                                                              --Chad Crowe

Painter, illustrator, cartoonist and self-proclaimed designer of “giant parade floats”, the appropriately-named Chad Crowe offers up a “a questionable cast of deranged hookbills, lustful parakeets, and a bearded barbet with an Oedipus complex” in his new book, Birds of the Belle Époque.

This delightful romp affords us an entertaining glance into the private world of some very fascinating birds—all of whom are imbued with a palpable sense of aristocratic ennui and an utterly engaging theatricality. Crowe’s brilliant artwork allows each scene to unfold in a series of undulating lines, architectural planes and flirtatious winks at the predominant styles of the Art Nouveau and Belle Époque. At once bizarre and amusing, Crowe’s book is so much a late Victorian curio—taxidermy under a glass dome, complete with preserved beetles and wired foliage of hair and beads. Lift the dome and take a whiff. You know you want to. 

Painting of the Day: A Leaf from a Calendar, 1510-60

Leaf from a Calendar or Book of Hours
1510-60
Simon Bening
This and all related images from:
The Victoria & Albert Museum

Dating between 1510 and 1560, this double-sided leaf is thought to be from the calendar of a book of hours.  The sides appear to illustrate, on one side, the month of April, and, on the other, side the month of May.

April depicts music-makers by a canal while in the fields beyond them a cow is being milked as sheep are taken out to graze and stork makes its nest on a chimney pot.

Meanwhile, May shows a scene of typical May Day merrymaking, including a boat trip with musicians, a floral procession and joyful dancing in a town square.

This is the work of Simon Bening, from Bruges, who was one of the most celebrated illuminators of his time. He worked mainly in Bruges. His works often look more contemporary than they really are and he was responsible for many an illuminated manuscript like this one. 

In the late medieval period, Books of Hours, like the one from which this page was taken, were a type of prayer book meant for private use by the worshipful.  These portable books consisted of psalms and devotions for the eight canonical hours of the day.

Object of the Day, Museum Edition: Elder Mother Tree, 1932

The Elder Mother Tree, 1932
Arthur Rackham
The Victoria & Albert Museum

Artist Arthur Rackham, at an early age, trained at the Lambeth School of Art where he gained favorable attention as an illustrator by working for the “Westminster Budget” and other magazines.

Later, Rackham lent his talents mainly to children's book illustration. From the early twentieth century, he developed a talent for portraying witches and fairies.  His characterizations were so vivid, in fact, many parents feared the images would be too terrifying for their tots.

Here, we see a delicately tinted watercolor illustration for the fairytale “The Elder Mother Tree” (1845) by Hans Christian Anderson (1805-75).  The image depicts the moment when the Elder Mother appears in an elderflower tree which sprouts from a teapot, as one does.  Elder trees have long been associated with fairy mythology, and were thought to protect against evil spirits.

Object of the Day, Museum Edition: On the Road to the Derby - The Punch and Judy Man, 1870

On the Road to Derby -- The Punch & Judy ManE.F. Brewtnall, 1870 for the Illustrated London News
The Victoria & Albert Museum

The original drawing for this engraving entitled “On the Road to Derby – The Punch & Judy Man” was created by E.F. Brewtnall.  The drawing was reproduced in 1870 in the Illustrated London News.

I find this to be a lovely and sensitive picture.  Here, we see a Punch & Judy Professor seated, at work touching up the paint on the face of his handsome figure of Punch.  Dog Toby sits nearby, supervising, while the Professor’s bottler assembles the fit-up.

I’m sure that you can guess that this is part of the V&A’s George Speaight Punch & Judy Archive. 

Drawing of the Day: Alexander the Circus Pony, 1940-60

Sketch from "Alexander the Circus Pony,"
Phyllis Ginger, 1940-60
The Victoria & Albert Museum

 

Well, look, it’s Alexander the Circus Pony!  I’m unfamiliar with Alexander the Circus Pony, but if I were a pony I would want that to be my name.

This drawing is by Phyllis Ginger (1907-2005) and was created for the children's story, “Alexander, the Circus Pony.”  This book was Miss Ginger’s primary commission from Puffin books in which the entire book, story and illustrations were her own exclusive creation. Published in 1943, the book was quite popular in Britain and has been reprinted many times.

Here, we can see Ginger’s trademark bright and brilliant watercolor style.  Previously, Ginger had been best known as topographical watercolor artist, who donated her talents to the Pilgrim Trust’s World War II “Recording Britain” project.  Throughout her early career, Ginger longed to be an illustrator.  She finally achieved her dream with “Alexander” and, then, illustrated another children's story featuring a horse a few years later, “The Mushroom Pony,” which was written by Joan Lamburn.

A Preliminary Sketch for "Alexander"