Object of the Day, Museum Edition: Il Carnevale in Roma, 18th C.

Il Carnavale in Roma
Eighteenth Century
The Victoria & Albert Museum

Entitled “Il Carnevale in Roma,” this engraving was published by an unknown company sometime in the Eighteenth Century. 

The scene depicts a group of people dressed for a mask ball during carnival. From left to right there are two figures with who have donned costume horses’ heads, another figure wears a turkey head, there’s a clown, a Pulcinella--on a monkey--and two more masqueraders.

I must confess, I was tickled when reading the V&A's description of this piece.  They state that the Pulcinella is riding a "monkey."  Now, I know it was a typo and they meant "donkey," but I rather like the idea of a Pulcinella riding a monkey.  It seems like something one would do.

Ephemeral Beauty: An Odd Double-Sided Chromolithograph

Click image to enlarge.

Hmmmm…this is weird. It’s not a trade card. Its paper is thin and glossy and printed with an illustration on both sides. It’s not a scrap, certainly. It was not cut from a magazine since the odds of the image being centered in the same spot on two sides of a page are quite slim. So, what is it?

This chromolithograph depicts two scenes. One shows a well-dressed, if not wild-eyed, gent holding a package of the unfortunately named Sapolio—a brand of soap which was quite popular between 1883 and 1908. Sapolio is notable for its aggressive advertising campaigns. By 1908, they’d run out of steam with their advertising. When their interesting ads stopped, people stopped buying the product and it died (it was recently resurrected with modest success in Peru and Chile). The man in the scene has swept back a dramatic drapery to remove a life-sized statue. Is he going to clean her with his bar of soap? Has he cleaned her? Is he going to clean himself in front of her? Was she a polychrome sculpture which has been stripped of any and all pigment by being scrubbed with what I can only assume was a fairly harsh cleanser?

Let’s see what’s on the reverse. 

Click image to enlarge.

The other side shows a lad in a kilt with his mum. He’s drinking precariously from a large bottle. He’s upset a bowl and is mother is concerned by it. Or maybe she’s concerned because there’s a fox carved into her over-mantle. Maybe the kid’s a drunk and he’s fallen off the wagon. I trust he’s not drinking Sapolio. In fact, I can’t see any relationship between the two images. Yet, they’re created in the same style by, presumably, the same artist.

Could this be an ad for Sapolio? A portion of an ad? Or is it an image for something else which employed the use of the Sapolio brand since, for awhile, the name was synonymous with soap in general.

It will remain a mystery...a charming, brightly-colored mystery.

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: Mr. Punch's Fancy Ball, 1844

Click image to enlarge.

Mr. Punch's Fancy Ball
Unknown Origins, 1844
The British Museum

The oversized comic scene shows traditional Punchinello characters gathered for a fancy ball and dance. The engraving is printed on two folding sheets and dates to 1844. We’re not sure who produced this wood engraving. Though the title is printed along the bottom, there’s no mention of artist, engraver or publisher. Even the date is not printed, but rather was added later in pencil.

Object of the Day, Museum Edition: Cruikshank's "Punch and the Cat," 19th C.

Engraving depicting "Punch and the Cat"
George Cruikshank
The Victoria & Albert Museum

Some of the earliest, most accurate and famous drawings we have of the Nineteenth Century Punch & Judy shows in Britain are those created by the celebrated illustrator George Cruikshank (1792-1878).

Here, we see an engraving after one of Cruikshank’s renowned drawings.  The print crisply depicts not only the Punch & Judy performance, but also, the audience.  Here, we see Punch and the Cat in a booth in the upper center. Some Punch & Judy Professors in the Nineteenth Century used a cat in lieu of the Dog Toby.  At the time, many Punch & Judy men still employed real animals as Punch’s companion as opposed to puppet counterparts.  If a dog was unavailable, Mr. Punch was joined by a cat. 

This trimmed piece of paper has, on the reverse, part of a music score entitled “The Magistrate.” “Old G. Cruickshank” is inscribed in pencil on the upper left center.

Ephemeral Beauty: A Trade Card for Newman and Levinson

Click Image to Enlarge

Here’s an excellent example of a “stock” trade card which has been used by a business as an advertising tool. The card, likely selected from a catalog from a local printer, features a comic drawing and caption which, it seems appealed to the advertiser.

The drawing depicts “Simple Simon” who seems to either have a tooth-ache or is deceased, and, in the style of Jacob Marley, has his jaw bound. Simon wears his dressing gown and is fishing. The caption at the above right reads:

SIMPLE SIMON WENT A FISHING
      FOR TO CATCH A WHALE
ALL THE WATER HE HAD GOT
   WAS IN HIS MOTHER’S PAIL. 

This is the way the card looked when it was selected from the catalog. As you can see, there’s a white space to the left of the caption which was meant to contain the logo or motto of the business who selected this particular model. The advertiser opted not to have that space printed, instead focusing only on adding a custom-printed message to the reverse which would have been entirely blank. Two-sided printing would have been considerably more costly.

Let’s see what the reverse says, and, especially, who the advertiser is. Firstly, I notice that they spell “chenille” with three “l’s.” In fact, it's kind of a mess. I'll try to replicate it here as best I can with limited Internet fonts.

WM. J. NEWMAN                                                                                               JOHN LEVINSON 

NEWMAN & LEVINSON, 

(Successors to BUYER & REICH,) 

IMPORTERS OF AND DEALERS IN 

Berlin Zephyrs, German Yarns, 

CANVAS,            HOSIERY,          LACES     

                       CHENILLLE,     EMBROIDERY,      FANCY GOODS, 

                                          FLOSS BEADS,    WHITE GOODS,     TRIMMINGS, ETC. 

KID GLOVES. 

Gilt and Silver Trimmings for Theatrical and Society Purposes. 

Decorative Art Rooms Up Stairs 

No. 129 Kearny Street. 

Between Sutter and Post,                                             San Francisco 

I want some "fancy goods!" I’d guess this card dates to about 1880, by the way. The store certainly has an interesting assortment of goods. I wonder, however, why they are so shy about the “Decorative Art Rooms” which are seemingly hidden upstairs. 

Click Image to Enlarge

Antique Image of the Day: The old goat and young kid- or the Queenborough-novelist, 1798

Click on the image like a spider on a fly.

"The Old Goat and the Young Kid"
Fores, 1798
The British Museum

This satirical print dates to 1798. Entitled “The Old Goat and Young Kid—or the Queenborough-Novelist,” the print was published by S W Fores though for a long time it was attributed to F. Sansom.

We see here a peer on the front steps of his Piccadilly house. He’s leering at a busty girl through a double spy glass. The girl, a country lass, is with her yokel father who is being solicited by a bawdy older gal. She says:

"It’s very lucky I met with you my honest Man if she behaves well she shall be promoted to the service of a Duke.”

He responds, "Very lucky indeed I'se Woundily Obliged to your Ladyship. My Dame always said as how Bet was cut out for Zarvice of your great Volkes."

A delivery man looks up at the leering Duke and says, "Ah! I knew he'd dart out like an Old Spider at a Fly.”

Print of the Day: Theatrical Leap Frog, 1804

Theatrical Leap Frog
Print, hand-colored, 1804
The Victoria  & Albert Museum

This hand-colored engraving entitled "Theatrical Leap Frog" is a caricature of the child actor Master Betty leaping over John Philip Kemble--a famed English actor of the late Eighteenth and early Nineteenth Centuries.  It was published in London by Rudolph Ackerman (1765-1834).

It represents the growing popularity of novelty acts as they surpassed legitimate drama in fashion.  The original was drawn by Thomas Rowlandson.

Ephemeral Beauty: Pruyne's Oil Paste

In the Nineteenth Century, it seems, more so than today, items in the home needed to be protected from drying out and cracking.  Now we spend more time worrying about keeping our skin from drying out and cracking than we do in concern for protecting the tops of our cars.

Click to enlarge.

Products such as Pruyne's Oil Paste were marketed to keep leather items, in particular, supple and useful.

I like this little trade card which has been sitting with its dozens of ephemera brethren in my collection, waiting to see the light of day again.

Really, it's a stock card which a merchant or manufacturer would have ordered to be printed with information pertaining to their wares.

An attractive celadon green makes a suitable background for a spray of morning glories and wheat.  I've always had a fondness for morning glories.  Perhaps it's because the flower reminds me of 1164 Morning Glory Circle, the fictional home in Westport of Darrin and Samantha Stephens and their children, Tabitha and Adam.  Of course, I'm referring to Bewitched.  In reality 1164 Morning Glory Circle is a set on the former Columbia Ranch (now the Warner Ranch) and has about as much substance as this card.

Flitting amongst the arrangement of grain and glories is a rather plump bee who looks quite content.

The white rectangle on this stock card was printed:

USE

Pruyne's Chamion Oil Paste

For Harness, Carriage Tops, Boots

and Shoes.

Norwich Oil Paste Co., Prop'rs

NORWICH, NEW YORK

Perhaps at some point in the late 1880s, Endora used Pruyne's Oil Paste to keep her saddle supple.  Oh my stars!

Nonetheless, it's a pretty little card in those stunning late Victorian colors--green, bright salmon, rose and purple--which I love so much.

Object of the Day, Museum Edition: Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets, 1802

Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets
April, 1802
James Gillray
This version is in the Victoria & Albert Museum.

James Gillray (1757-1815), a popular British printmaker and satirist, was, perhaps, one of the most prolific in his field during the late Eighteenth and early Nineteenth Centuries. Here, we see one of his cartoons from 1802. The image depicts English theater manager Richard Brinsley as Harlequin. He is shown leading a group of professional actors including the famed performer David Garrick (who was, at the time dead), rising from the grave. Also pictured are the actors Mrs. Billington, P. Kemble and, of course the renowned Sarah Siddons. The troupe is protesting members of the Pic Nic Society—an amateur acting group which had been performing at London’s Tottenham Street Concert Rooms. Apparently, they were in the midst of performing the then-popular show, “Tom Thumb.”

Professional actors and theatre managers at the time considered this amateur gang to be a nuisance—taking away revenue from the professionals with their extravagant and decadent displays. Sheridan was among those who launched an aggressive campaign against them. Here, his mask and pen indicate that he has been writing anonymous complaints about the group.

Gillray has cleverly composed this scene to resemble a page from Migel de Cervantes’ “Don Quixote” wherein the famed title character attacks “Master Peter’s” puppet show because he is convinced that the performance is real. In doing so, he has cast his judgment on the futile actions of Sheridan and his band of protestors. The print was published in April of 1802. The version above is in the collection at the Victoria and Albert Museum. Another is in the British Museum.

Version in the British Museum.

Print of the Day: The Coronation of King Punch, 1821

The Coronation of King Punch
Satirical Print, hand-colored
1821
The British Museum

This hand-colored satirical print was featured in a July, 1821 pamphlet. It’s entitled “The Coronation of King Punch!!” and it was made by J. Lewis Marks.

Made for the coronation of King George IV, the image shows the former Prince Regent sitting before a huge bowl of punch which rests on a three-legged stool. King George IV has one famously gouty leg resting on a cushion and he jovially holds up goblet and ladle while an Archbishop places a chamber-pot on his head. Another archbishop pours dark liquid on to George’s face, saying, “With oil and Treacle—I anoint thee,—and King of jolly dogs—appoint thee.”

As we can guess, George IV, Queen Victoria’s uncle, was not well-liked. Considered debauched and, frankly, corrupt, he inspired many unflattering drawings like this when he ascended the throne.

This image has been nicknamed, “The history of the coronation of Punch, and the humours of his wife Judy.” This refers to George IV’s wife, Queen Caroline, from whom the adulterous king was famously separated. They enjoyed a rather Punch & Judy-like relationship. He refused to recognize her as Queen, and, in fact, barred her from his coronation. And, she, was rightfully bitter about it. That day, she fell ill, and died shortly after, declaring all the while that she believed she had been poisoned by her husband’s goons. 

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.

Object of the Day, Museum Edition: Monsieur Mazurier as Mr. Punch, c. 1820

Monsieur Mazurier
Cooke, 1820
The Victoria & Albert Museum

Quite some time ago, we looked at an image of the celebrated Monsieur Mazurier as Mr. Punch.  Here’s another.  This engraving is entitled simply, “Monsieur Mazurier.”

It was published in Paris possibly in the 1820's.  The illustration portrays Mazurier  in a theatrical stance wearing a Punchinello costume. A puppet figure of Mr. Punch can be seen in the background in the same stance.

Engraved by one “C. Motte,” further inscriptions include:

Mr. Mazurier./ Dans le Rôle de Polichinel Vampire/ Theatre de la porte St. Martin' Mr Mazurier/ in the title role in Polichinelle Vampire/ St. Martin Theatre.

So who is this fellow?  Monsieur Charles-François Mazurier performed in “Punchinelle Vampire” as well as in “Jacko, The Brazilian Monkey.”  Both plays were  written by Jean-Baptiste Blache, in Paris and London in the 1820s. In November 1825 Mazurier performed at the Theatre Royal, Covent Garden, in “Punchinelle Vampire” which was translated as “The Shipwreck of Policinello.”  Playbills for the Covent Garden performances are also housed in the V&A.  

Print of the Day: Cruikshank's "Punch and the Cat," 19th C.

Engraving depicting "Punch and the Cat"
George Cruikshank
The Victoria & Albert Museum

Some of the earliest, most accurate and famous drawings we have of the Nineteenth Century Punch & Judy shows in Britain are those created by the celebrated illustrator George Cruikshank (1792-1878).

Here, we see an engraving after one of Cruikshank’s renowned drawings.  The print crisply depicts not only the Punch & Judy performance, but also, the audience.  Here, we see Punch and the Cat in a booth in the upper center. Some Punch & Judy Professors in the Nineteenth Century used a cat in lieu of the Dog Toby.  At the time, many Punch & Judy men still employed real animals as Punch’s companion as opposed to puppet counterparts.  If a dog was unavailable, Mr. Punch was joined by a cat. 

This trimmed piece of paper has, on the reverse, part of a music score entitled “The Magistrate.” “Old G. Cruickshank” is inscribed in pencil on the upper left center.

Object of the Day, Museum Edition: John Bull Viewing Billy's Preparations for his Birthday, 1802

"Oh, my country! How I leave my country." 
--Wiliam Pitt the Younger’s last words, 1806

In 1783, William Pitt, at the age of 24, became the youngest Prime Minister of Britain. He kept the post until 1801 when he retired, but, came back again as Prince Minister in 1804 and stuck around until he died two years later.

Pitt, though considered a great, if not controversial, Politian by many, was thought of as a tad peculiar in his personal life. He was charming, but also shy and awkward. He made his lack of interest in social ambitions quite clear and vocally objected to any form of intimacy. After backing out of a high profile engagement, telling the girl’s father that, “I am compelled to say that I find the obstacles to it decisive and insurmountable, he preferred the company of handsome young men, but even grew weary of them after awhile and would make his desire to be alone was more important to him. His greatest love, it seems, was port wine and he was proud to call himself “a three bottle man.”

And, yet, because he was thought of as very attractive and because his wit made him appealing, Pitt found himself, uncomfortably, the center of attention. Many wished for his favor and strove to impress him. 

John Bull Viewing Billy's Preparations for his Birthday
Charles Williams, 1802
The Victoria & Albert Museum 

This print shows some of that spirit, depicting John Bull (a personification of Britain in much the way Uncle Sam personifies the U.S.) viewing preparations for William Pitt’s (referred to as Billy here) birthday celebration. The print, published May 18, 1802, is inscribed with the title. S.W. Fores published the print which was made by Charles “Angus” Williams (1775-1839). 

Antique Image of the Day: The old goat and young kid- or the Queenborough-novelist, 1798

Click on the image like a spider on a fly.

"The Old Goat and the Young Kid"
Fores, 1798
The British Museum

This satirical print dates to 1798. Entitled “The Old Goat and Young Kid—or the Queenborough-Novelist,” the print was published by S W Fores though for a long time it was attributed to F. Sansom.

We see here a peer on the front steps of his Piccadilly house. He’s leering at a busty girl through a double spy glass. The girl, a country lass, is with her yokel father who is being solicited by a bawdy older gal. She says:

"It’s very lucky I met with you my honest Man if she behaves well she shall be promoted to the service of a Duke.”

He responds, "Very lucky indeed I'se Woundily Obliged to your Ladyship. My Dame always said as how Bet was cut out for Zarvice of your great Volkes."

A delivery man looks up at the leering Duke and says, "Ah! I knew he'd dart out like an Old Spider at a Fly.”

Antique Image of the Day: The Punch and Judy Show, 19th C.

Punch and Judy Show
Hand-colored Print
19th Century
The George Speaight Archive
The Victoria & Albert Museum

Hand-colored with watercolor, this Nineteenth-Century print depicts a crowd of people at a Punch and Judy show. However, there’s a lot more going on in the scene than just the antics of Mr. Punch. We see young Artful Dodgers picking pockets, a curious dog about to take a drink from a man’s pail, and the amorous embrace of a young couple.

Mr. Punch has long been the voice of the people, and here, we see that this unknown artist was aware of the power of Punchinello to draw a crowd from all walks of life. Laborer and gentleman alike have paused in their days to unite—for a moment—in a shared drama of their own.

Object of the Day, Museum Edition: Punch and the Baby, 18th-19th C.

Mr. Punch and the Baby
Hand-colored Engraving
The George Speaight Archive at
The Victoria & Albert Museum

From the George Speaight Punch and Judy Archive at the Victoria & Albert Museum, we have this hand-colored (with watercolor) engraving of Mr. Punch. The engraving is difficult to date, and therefore it’s been assigned to a range between the Eighteenth and Nineteenth Century. 

We don’t know the publisher nor do we know the artist. What we do know is that it’s cute—in its innately Punchy way. In this scene from the traditional Punch & Judy show, we see Mr. Punch happily sending the baby out the window. 

The image is part of a set which, at some point, was pasted onto colored paper along with other Punch-related ephemera.  

Print of the Day: The Fun & Frolic Lancers,

Here we see the sheet music cover for “Fun and Frolic Lancers” which was written by Warwick Williams (1846-unknown), and published by Francis Bros & Day. The cover shows a gaggle of circus folk and characters engaged in circus-type hi-jinks. I suppose one could call it “fun and frolic.”

This chromolithograph cover dates to the 1880s and is the work of the expert lithographer Alfred Concanen (1835-1886). At some point, it was backed with card.

It reads at the top:

INTRODUCING

TING, TING, THAT'S HOW THE BELL GOES - CLARA WIL YOU COME OUT TO-NIGHT - I KISSED HER UNDER
THE PARLOR STAIRS - TWO HUNDRED YEARS AGO - OH JOHNNY DON'T YOU GO TO SEA - DEAR ME - I'LL MEET HER
WHEN THE SUN GOES DOWN - TAKING OUT THE BABY - IT'S ALL UP WITH POOR TOMMY NOW - &c. &c.