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: The Spelling Bee, A Comic Vocal Medley, 19th C.

The Spelling Bee
England, Nineteenth Century
The Victoria & Albert Museum

A pretty piece of Nineteenth-Century lithography, this page is the cover for sheet music for "The Spelling Bee" which was written by Frank W. Green with  music by Alfred Lee, and published by C. Sheard, Musical Bouquet Office, London.

A fitting cover for this "comic vocal medley," the illustration by a now-unknown artist depicts a studious, bespectacled bee who is learning how to spell what it is.

Object of the Day: Buy Peoria Stoves

She’s looking to her right with an expression that says, “Isn’t my costume a bit…well…Seventeenth Century.” 

She pauses and breaks her gaze.

"What?"  The artist asks.

"Well...it's just that this...collar.  It's rather...out-moded."

“No, no…” The artist must have said. “It’s fine.”

“What’s this drawing for?” She asked.

“I dunno, canned meat…or…I dunno. Kettles or something.”

“Should I smile?”

“Not a lot.” The artist replies.

“Are you sure I’m not over-dressed for kettles?”

“Maybe it’s stoves. I dunno.” The artist replied. “Now, stay still.”

“Oh, if it’s stoves. Then, this is perfect. The hat’s my own. Do you like it?”

“Stay still!”

"Georges?  Why is it you always get to sit in the shade while I have to stand in the sun?" 

"Don't move the mouth."  He replies.

Oh...hold on.  I slipped into Sondheim-mode.  Let's refocus.

Above this decidedly over-dressed woman, we see the words:

Buy PEORIA STOVES.

MANUFACTURED BY

CULTER & PROCTOR STOVE CO.

Peoria, Ills.

And, on the reverse, we see…

THE PEORIA OAK

FOR SOFT COAL AND WOOD,

IS THE

PEERLESS LEADER

OF ITS CLASS

     The fire pot for coal is double and heavy. Single Fire
Pot and separate Wood Grate for wood.
     Fire Pot is LOW DOWN, retaining and radiating the heat
near the floor, where it is needed.
     The base Section is ornamental and ventilated, distributing
heat from its entire surface.
     Large deep Ash Pan in base rendering stove cleanly and
convenient in service.
     Mounted with extra heavy, best quality Boiler Iron Drum.
     Every joint made gas and air tight—preventing leakage.
     Check Draft Registers in doors and collar, giving perfect
control over fire.
     Grate shakes from outside, with solid center pull dump.
     Spun nickel and Bronze Urn.
     Full Nickel Trimmed.      Polished Edges.



I do worry about having a solid center pull dump. 

Ah, the days when cooking was truly, truly dangerous.

Object of the Day: Dr. Arnold's Balsam

Click image for the sake of your bowels.

Well, this is one of the oldest of the trade cards in my collection—dated to 1859. So, what does this pre-Civil War, American card advertise?

Diarrhœa.

Well, not just Diarrhœa, but diarrhea with an extra “œ” thing. Okay, it’s not really as much pro-Diarrhœa as it is against it. It’s an ad for Balsam Tonic. Essentially, this was an Eastern European herbal liqueur which was used for stomach complaints and gave folks a good excuse to get lit--all in the name of happy bowels.

The age of the card is evident. The obverse shows a rather smoky scene of a towered-bridge which is something of a staircase and walkway to an observatory. There’s a figure evident on the stairs. He appears to be going in search of something.

Beneath this image reads:Where is the Yacht of the Sailor cured by using Dr. SETH ARNOLD’S BALSAM? 

The reverse says:

DR. SETH ARNOLD’S BALSAM, 
The Best Remedy for all Bowel Complaints. 

Dr. Seth Arnold                                       Pawtuxet, April 4, 1859

     Dear Sir,--Permit me to acknowledge the benefit of your
valuable medicine. In 1854, while on the coast of Africa, I was
taken with the Diarrhœa, which lasted me sic or seven months, and
then became Chronic Diarrhœa, which lasted me until I got a couple
of bottles of your Balsam, which has completely cured me. This was
in September, 1858. I had been to several doctors and did not
receive any benefit until I took your Balsam. Since that time
I have been perfectly well, and have not taken and medicine since.
                                                Yours, &c., JOSEPH R. SHEPARD.

Print of the Day: Aérostier; Souvenirs Du Siége De Paris, 1870-1871

Satirical Lithograph
France, 1870-1871
The Victoria & Albert Museum

This satirical print depicts two men in the basket of a hot air balloon. One of the two men thumbs his nose at a Prussian soldier who is attempting to shoot them down. The basket of the balloon is hung with a bird cage containing pigeons.

Printed in France between 1870 and 1871, this print is from a set of caricatures, broadsheets and illustrations by caricaturist Jules Renard (1833-?) which have been bound in ten volumes.  This one, like many of the others in these volumes, has been hand-colored with watercolors.  

Print of the Day: A Fashion Plate from 1860

Fashion Plate
French, 1860
Published in Britain by Samuel Beeton
The Victoria and Albert Museum

A fashion plate is essentially an illustration for a magazine which shows the latest fashion. In the Nineteenth Century, these were lithograph and were issued hand-colored.

This example comes from 1860 from a magazine published by Samuel Beeton (the husband of the celebrated cookery writer Mrs Beeton). Samuel Beeton was the first to include hand-colored fashion plates with his publications. These were created by artist Jules David. Beeton also included paper patterns with the fashion plates. This new phenomenon ensured that Beeton’s magazine would be successful with ladies who counted themselves amongst the increasing numbers of owners of the home sewing machines which had become widely available starting in the late 1850s.

The painter of this plate, Jules David, was a well-known book illustrator and lithographer, but was most famous for his fashion plates. Throughout his career, David produced almost 2,600 fashion plates which were published in the “Moniteur de la Mode.” David’s plates were unique in many ways, but especially for their use of contemporary backgrounds.

This plate depicts examples of the ball dresses which were becoming fashionable in France in 1860. France, even then, dominated the world of fashion and these fashion plates were among the only ways to learn the latest colors and styles which dominated French fashions. The dresses shown here have wide skirts, showing the contemporary rise of crinolines and hoops.

Print of the Day: Brewtnall's "On the Road to Derby - The Punch and Judy Man," 1870

On the Road to Derby -- The Punch & Judy Man
E.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.

Mr. Punch in the Arts: A Punch and Judy Show in Naples

A Punch & Judy Show in Naples
G. Torino
Late Eighteenth Century
The Victoria & Albert Museum

Of course we know that our Mr. Punch has Italian roots and is descended from the black-masked Commedia dell’ Arte character Pulcinella. By the time Pulcinella had become a marionette—far easier to control than a pesky actor—and traveled to the U.K. his name had become Punchinella and, later, Punch as he took the form of a glove puppet.

But, Pulcinella and his ancestor haven’t been apart. By the early Nineteenth Century, as travel abroad became quite fashionable for high society Londoners, Punch went along with them. Once returned to Italy, Punch—courtesy of his intrepid professors—began to perform on the streets of Italy as he did in London. Sometimes, a professor would join forces with a Pulcinella performer and the two puppets would enjoy a brief reunion.

Such a scene is depicted in this late Eighteenth Century hand-colored lithograph signed G. Torino which is entitled “A Punch & Judy Show in Naples.” Here, we see Mr. Punch in his red costume alongside his ancestor, the white-robed Pulcinella. I’m sure it was a joyful reunion indeed. 

Antique Image of the Day: The Devil's Forge, 1903

Poster for "The Devil's Forge"
London, 1903
The Victoria & Albert Museum

This handsome poster depicts the famed dancer Edie Slack in the role of the Sixteenth-Century sword maker Karl, from the second scene of the ballet “The Devil's Forge.”  The moment shows  Karl thrusting his sword into the fire and the stream in a mystic cave to make it invincible. Theis well-received ballet was first performed at London's Alhambra Theatre, Leicester Square, in January of 1903.

An exceptional color lithograph, this poster shows Edie Slack as an auburn-haired female warrior brandishing a rapier in her right hand, her left hand on her hip.  Her fiery hair is accentuated by the flames leaping from the bottom left-hand corner of the poster.  The name of the theatre “ALHAMBRA” is in the top left-hand corner in white upper-case lettering, and the name of the production “THE DEVIL'S FORGE” is shown in white upper-case lettering at the bottom right corner.

This was printed for the opening of the ballet in 1903 by Weiner's Ltd.Punch Magazine (also known as The London Charivari) of 21 January 1903 mentioned the show:

AN EVENING FROM HOME. 

AT the Alhambra the plot of the new ballet, The Devil's Forge, will remind veteran opera-goers of Der Freischiitz, and the younger generation of Siegfried. But the scene in the cavern of the mountain witch, where the three army corps of flame, frost and water fairies are manoeuvred with the utmost precision and great kaleidoscopic splendour, owes nothing to WEBER or WAGNER. Miss EDIE SLACK, as that dashing young blade, Karl, excellent in a Romeo costume; Mile. AI.MA MARI, as the Mountain Fairy, gives an excellent imitation of an animated pair of compasses. Music by Mr. GEORGE BYXI;, of the sumptuous and sonorous type. For the rest one can take trips to Fez or the Moon, per Bioscope, or watch the NOLSET Troupe noisey in nature as in name perform their astonishing feat of 'Circling the Circ.' Squaring the circle is nothing to the achievement of this amazing quartet of cyclists, who climb into a large skeleton bottomless bucket, so to speak, and then proceed, all four of them, to race, full tilt round the inner sides to the bucket, which is gradually hoisted up twenty feet into the air.

The Art of Play: The Magic Punch & Judy

The Magic Punch and Judy
England, 1977
The George Speaight Archive at
The Victoria & Albert Museum

This card-backed flyer is printed with a set of cut-out Punch & Judy puppets. The images are described as, “a reconstruction of H. G. Clarke's THE MAGIC PUNCH & JUDY first published [ca.] 1875.” The work of Mike Bartley, this 1977 flyer reads further:


Member of the BRITISH PUPPET & MODEL THETRE GUILD
Mike Bartley
REVIVES
THE MAGIC
PUNCH AND JUDY
41 COOPER ROAD, WESBURY-ON-TRYM, BRISTOL BS( 3QZ ) 
BRISTOL (0272) 621955 

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.

Object of the Day, Museum Edition: Mrs. Nisbett as Zarah, c. 1842

Mrs. Nisbett as "Zarah"
T.H. Jones
The Harry Beard Collection at:
The Victoria & Albert Museum

This hand-colored engraving, based on a drawing by T.H. Jones, depicts mid-Nineteenth Century actress Mrs. Nisbett in the title role of Zarah, as performed at the Queens Theatre around 1842. The actress is show in her famous costume of an off-the-shoulder white blouse beneath a three-quarter-length green, spiral-patterned gown in the sack-back style which is worn over a scarlet petticoat with a black-edged hem. Her green bloomers are scandalously visible as are her strapped sandals.

Heavy, gold jewelry defines the costume—dangling earrings, an impressive belt, rings and bracelets. A scarf of crimson and black comprises her headdress.

A caption below the image reads:

“(Zarah) Hark to the cry of their days - already have they opened on the scent of blood."

Drawing of the Day: The Langlumé Pick-pocket Punch, 19th C.

Lithograph, hand-colored
Nineteenth Century
French
The George Speaight Archive
The Victoria & Albert Museum

Tragedy and comedy often go hand-in-hand, or, in this case, hand-in-pocket.

A stoop-shouldered man is so entranced by Mr. Punch's antics, that he's unaware that he's being pick-pocketed. Punch would approve.

Hand colored with watercolor, the print was published in Paris by Nöel et Dauty in the mid-to-late Nineteenth Century. The lithographer is listed as J. Langlumé.

Print of the Day: Sheet music cover for "Punchinello Lancers," 1896

Sheet Music for the Punchinello Lancers, 1896
from the George Speaight Punch & Judy Archive
The Victoria & Albert Museum 

Here, we see the sheet music cover for “Punchinello Lancers” by Warwick Williams, published by Francis, Day & Hunter, 1896.  The cover depicts our Mr. Punch holding a puppet labeled “A Wall Flower.” 

The following texts accompanies the music:  

INTRODUCING THE MELODIES OF THE FOLLOWING POPULAR SONGS, / SWEETHEART MAY - ALGY, OR, THE PICCADILLY JOHNNIE WITH THE LITTLE GLASS EYE - / I WANT YER, MA HONEY - SHE WAS ONE OF THE EARLY BIRDS - IT'S A GREAT BIG SHAME - / RHODA RODE A ROADSTER - THE GIRL ON THE RAN-DAN-DAN - LITTLE TEDDY BROWN DOWN AT MARGIT - WHY DON'T YOU MARRY THE GIRL? - GLORIANA WALTZ - THE GIDDY LITTLE POLKA - JOHNNY JONES, OR, WHAT'S THAT FOR, EH? - / DARLING MABEL - NOW SHAN'T BE LONG - THE NEW PHOTOGRAPHEE, AND THE SOLDIERS OF THE QUEEN

Object of the Day, Museum Edition: Monsieur Mazurier as Punchinello, 19th C.

Monsieur Mazurier in the Character of Punchinello
Nineteenth Century
W. Day & Co.
Harry Beard Collection
The Victoria & Albert Museum

Let’s begin this sniffly-snuffly, pollen-filled day with another print from the V&A. This one, is not from the George Speaight Punch and Judy Archive, however. It is part of the Harry Beard Collection. My springtime allergies are so extreme today, my eyes are crossed and burning, so, let’s see if I can actually make out the image at all. Yes. I’m ready.

This Nineteenth Century print depicts the celebrated (at the time) actor Monsieur Mazurier dressed as Mr. Punch.

Admittedly, the image is a little odd. The original artist is unknown. However, the lithograph was created by the W. Day and Co. where it was hand-tinted with watercolors.

I like it quite a lot. Monsieur Mazurier is shows in two poses. The pose in the back is shown in lighter, fuzzier colors to give the impression of motion and shows Mr. Punch perfoming a feat of acrobatics with a tree limb.

Print of the Day: A Punch and Judy Show in Naples

A Punch & Judy Show in Naples
G. Torino
Late Eighteenth Century
The Victoria & Albert Museum

Of course we know that our Mr. Punch has Italian roots and is descended from the black-masked Commedia dell’ Arte character Pulcinella. By the time Pulcinella had become a marionette—far easier to control than a pesky actor—and traveled to the U.K. his name had become Punchinella and, later, Punch as he took the form of a glove puppet.

But, Pulcinella and his ancestor haven’t been apart. By the early Nineteenth Century, as travel abroad became quite fashionable for high society Londoners, Punch went along with them. Once returned to Italy, Punch—courtesy of his intrepid professors—began to perform on the streets of Italy as he did in London. Sometimes, a professor would join forces with a Pulcinella performer and the two puppets would enjoy a brief reunion.

Such a scene is depicted in this late Eighteenth Century hand-colored lithograph signed G. Torino which is entitled “A Punch & Judy Show in Naples.” Here, we see Mr. Punch in his red costume alongside his ancestor, the white-robed Pulcinella. I’m sure it was a joyful reunion indeed. 

Object of the Day, Caption Contest: A Portrait Card

Well, well, Mr. Cranky Pants, what’s on your mind? Are you sour because we don’t know who you are? You’re not Disraeli. No. You’re…well, you’re someone American. I’d have a better chance identifying you if you were British. But, I have no clue.

Why are you on a trade card, Mr. Cranky Pants? Are you trying to sell us Scrofula tonic? Do you want us to know that you make the world’s best shoes? Perhaps canned meats are your line. We’ll never know. No one ever printed the reverse of the card. It couldn’t be that you’re a stock card. No. Who would pick you? You couldn’t sell perfume? Nor could you endorse ladies’ hats and trimmings. I wouldn’t feel compelled to buy coffee from you. You make me sad, because you’re sad.

And, so, we’ll mock you.

Let’s have a caption contest for this poor, lonely, disgruntled antique lithograph.

The thunderstorm is scaring Bertie, so make your answers funny so he can be distracted. Answers in the comments section, please.

Oh...also, if you know who he is, I'd like to know, too.  

Unfolding Pictures: The Jannin Fan, 1840-1860

The Janin Fan
French, 1840-1860
The Victoria & Albert Museum

As printing technology advanced, printed lithographic fans became the most popular type from about 1840 to 1870, surpassing more expensive hand-painted fans. Though most of the leaves of these fans were printed, they did feature watercolor washes as decoration. These elaborate leaves were supported by ornate sticks of bone, ivory, mother-of-pearl, lacquered wood or papier maché.

French manufacturers produced the majority of these fans, and most of them were exported in great numbers to other European countries. Very often, these printed fans depicted romantic scenes set in the Eighteenth Century, as you can see in this fan which boasts a lithograph by H. Jannin. This bucolic image has been mounted on lacquered sticks. Scenes of this type imitate the Rococo style and pastoral subject-matter of many earlier Eighteenth-Century fans. These were part of the great Rococo Revival which dominated fashions for two decades.

Object of the Day, Caption Contest: An Odd Portrait Scrap

Our Nineteenth Century counterparts were scissors-happy. They enjoyed cutting pictures out of publications, they enjoyed assembling pages of scraps and collecting cards. Most were creative and visual and reveled in surrounding themselves with pleasing images. In large part, that’s why I like them.

I’m not sure from where this woman came. The reverse of the page is not printed. The image has obviously been cut out from something else.

No matter…she rather looks as if she somehow liberated herself. She’s got a mischievous look on her face, and, clearly is nothing but trouble.

We’ve not had a caption contest for quite awhile. So, let’s do.

What do you think this lass is about? What’s she thinking? What would she say?

Answers in the comments, please.

Unfolding Pictures: The Great Exhibition Fan, 1851

Click image for larger size.

Souvenir Fan from the Great Exhibition
England, 1851
This and all related images from:
The Victoria and Albert Museum

Created in England in 1851, this fan of hand-colored, printed paper and pierced bone sticks and guards inlaid with silver, commemorates the Great Exhibition of the Works of Industry of All Nations of 1851—a.k.a. Prince Albert big “Look What We Can Do” festival at Joseph Paxton’s ‘Crystal Palace’ in Hyde Park in London.

Fans were not only a major part of the exhibition, but they were also available for sale as souvenirs. This fan was made as a souvenir, but a high-end souvenir. Versions were also made without the silver inlay and with less-expensive wooden sticks and guards.

The reverse of the fan is printed in gilt with vignettes of female silhouettes between various coats-of-arms. The obverse features, in the center, a façade of the Crystal Palace flanked by the flags of participating nations.

Prince Albert, in all of his Coburg cleverness, saw to it that the proceeds of the Great Exhibition were used to purchase a large plot of land which would allow the building of the South Kensington Museum, now the V&A. Furthermore, a large portion of the winning entries in the exhibits were purchased for display in this proposed museum. So, without the Great Exhibition, we’d have no Victoria & Albert Museum. 

Click image for larger size.