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.

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: 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: 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.





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.

In Franco Zeffirelli's semi-autobiographical film, Tea with Mussolini, a similar paper theater was used.  You can see it in this clip at about one minute in.

The Art of Play: The Paul Hansard Mr. Punch, 1939

Punch
Paul Hansard, 1939
This and all related images from:
The Victoria & Albert Museum

Celebrated English puppeteer Paul Hansard originally crafted this handsome Mr. Punch in 1939.  After a long rest, the puppet was resurrected in 1971 when Hansard launched his puppet show, "Sausages" at the Little Angel Marionette Theatre in Islington.  This 1971 show is considered the true origin of Hansard's career as a one-man puppeteer.  Previously, Hansard is famed for working on the 1955 ITV puppet show "Johnny and Flonny" which centered around the adventures as a rabbit and a little boy who were prone to episodic kerfuffles.  

According to the V&A, where this puppet now resides, "Over the course of his career as a one-man puppet show between 1971 and 1994 Paul Hansard created 13 shows, gave 3,971 performances and made over 200 puppets."

One of the earliest of Hansard's creations, this glove puppet sports a carved wooden head with featured augmented by  papier mâché, gray fur fabric makes Punch's hair.  This fine Punchinello is dressed in a white cotton piqué ruff,a red and yellow pointed hat with a bell attached, and a long yellow and red felt costume with six metal buttons.  The costume has been made to cover the puppeteer's wrist and lower arm, as per usual.  However, an unusual detail is that Punch has leather, instead of wooden, hands.  

Drawing of the Day: Capsize -- To Upset or Turn Over Everything, Eighteenth Century

"Capsize -- To Upset or Turn Over Anything"
Eighteenth Century
The George Speaight Archive
The Victoria & Albert Museum

This comic illustration from the Eighteenth Century is entitled “Capsize: - To Upset or Turn Over Anything.”

Now part of the George Speaight Archive at the V&A, this illustration depicts a fit-up which has been overturned as the puppeteer is being attacked by a clearly disgruntled audience member.

The following caption accompanies the scene:

'There, I told you I'de ge you von/ if I cotebed you making game/ o'me agin' 

'Vy they ar'always taking us off'

I’m not sure what this all means from a satirical standpoint, but we get the gist of it.  As Mr. Punch is often the voice of the people and makes his fun of political or social newsmakers, the attacker  here must surely have taken umbrage at being the "punch line."

At the Music Hall and the Art of Play: Tommy One Leg, 1870-90

"Tommy One Leg"
Tiller-Clowes Marionette Troupe
Lincolnshire
1870-90
The Victoria & Albert Museum

From the Tiller-Clowes troupe--one of the last Victorian marionette troupes in England—we see this marionette who is called “Tommy One Leg.”  Tommy was made by the troupe in Lincolnshire  between 1870 and 1890.  He is a one-eyed, one-legged Russian sailor fiddler who was specially made for the popular comic music hall song “How Cruel Were My Parients” (sic).  The song was sung by a puppet dressed as Tommy’s wife as she related  the fate of her husband who lost his eye and leg when he was press-ganged into the navy, and how, later, he was reduced to busking in the streets with her.

The song went like this:

HOW CRUEL WERE MY PARIENTS

Oh! cruel were my Parients [sic], as tore my Love from me,
And cruel was the press-gang who took him off to Sea,
And cruel was the little Boat, as row'd him from the Strand,
And cruel was the great big Ship as sail'd him from the Land.
Singing too rol loo rol loo rol too rol loo rol loo.

Oh! cruel was the Water, as bore her Love from Mary,
And cruel was the fair wind, as would not blow contrary,
And cruel was the Captain, and the Botswain and the Men
As didn't care a fair-din' if we never met again.
Singing too rol loo rol loo rol too rol loo rol loo.

Oh! cruel was the Splinter as broke my Dreary's Leg,
Now he's oblighed to fiddle for't, and I'm obliged to beg,
A vagabonding Vagrant, and a rantipoling Wife
We fiddle, limp and scrape it thro' the ups and downs of life.
Singing too rol loo rol loo rol too rol loo rol loo.

Oh! cruel was th'engagement in which my true love fought,
And cruel was the Cannon-Ball, as knock'd his right Eye out,
He used to leer and ogle me, with peepers full of fun,
But now he looks a-skew at me, because he's only one.
Singing too rol loo rol loo rol too rol loo rol loo.

My Love he plays the Fiddle, and wanders up and down,
And I sings at his Elbow, thro' all the Streets in Town,
We spends our days in harmony and wery [sic]seldom fights
Except when he's his Grog aboard, or I get queer at Nights
Singing too rol loo rol loo rol too rol loo rol loo.

Oh! cruel are the Bobbies, as makes my Love move on,
That dear old faithful timber-toe he can hardly walk upon,
His voice to me sounds very sweet, although he's rather hoarse,
He's always got a shocking cold as it's always getting worse
Singing too rol loo rol loo rol too rol loo rol loo.

Oh! cruel was the Bank as broke, in which was all our tin,
And cruel was the Manager as took my true Love in
We've not a blessed Shot now left, the Locker's up the spout,
So my true Love and me will sing, and fiddle our lives right out
Singing too rol loo rol loo rol too rol loo rol loo.

Then Ladies take all the warning, by my true Love and me,
Tho' cruel fate should cross you remember constabncy,
Like me you'll be rewarded and have all your heart's delight
With fiddling in a Morning and a drop of Gin at Night
Singing too rol loo rol loo rol too rol loo rol loo.

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.





The Art of Play: The Tiller Family Devil, c. 1870

Devil Puppet
The Tiller-Clowes Troupe
1870-1890
The Victoria & Albert Museum

We’ve examined several of the marionettes from the Tiller-Clowes troupe--one of the last Victorian marionette troupes in England. Thirty-five of their original Nineteenth Century marionettes remain and, though they live at the V&A, are sometimes trotted out for shows.

The figures were carved, painted, dressed and performed by members of the company. Here we see the stock character of the Devil. His flashing purple eyes are made from foil paper. This figure would mostly have been used in the harlequinade of a pantomime, or any play requiring such a character—especially marionette versions of Punch & Judy.

The puppet’s face, beard, hands and fingernails are very strongly carved with more detail than is usual for the puppets from this troupe. One horn and his hooves were missing and have been recently reconstructed. Originally, there were strings to the ears and the top of the head, and there is a staple in his head for a head string. There are eyelets to the knees, but the figure is unstrung and hasn’t been used in nearly a century. It was made in between 1870 and 1890.

The Art of Play: The Tiller-Clowes Music Hall Ball Juggler Marionette, 1870-1890

Trick Marionette
Tiller-Clowes Family, 1870-1890
The Victoria & Albert Museum

We've looked at other puppets from the Victorian Tiller-Clowes marionette troupe. The V&A houses thirty-five of the troupe's Nineteenth Century figures, most of which retain their original paint and costumes. In 1945, George Speaight purchased the collection and worked to restore the puppets. Upon his death, the collection was left to the V&A.

This marionette, in his original outfit, represents a ball juggler. This figure would have been inordinately complicated to operate. The balls which the figure can "juggle" can be made to rest on his feet, hands or head. Such trick puppets were often used as entertainment before a show or between acts and also enjoyed independent success when members of the troupe would perform alone as a novelty at a music hall.

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.

Drawing of the Day: "Capsize," 18th C.

"Capsize -- To Upset or Turn Over Anything"
Eighteenth Century
The George Speaight Archive
The Victoria & Albert Museum

This comic illustration from the Eighteenth Century is entitled “Capsize: - To Upset or Turn Over Anything.”

Now part of the George Speaight Archive at the V&A, this illustration depicts a fit-up which has been overturned as the puppeteer is being attacked by a clearly disgruntled audience member.

The following caption accompanies the scene:

'There, I told you I'de ge you von/ if I cotebed you making game/ o'me agin' 

'Vy they ar'always taking us off'

I’m not sure what this all means from a satirical standpoint, but we get the gist of it.  As Mr. Punch is often the voice of the people and makes his fun of political or social newsmakers, the attacker  here must surely have taken umbrage at being the "punch line."

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!

Print of the Day: The Political Chiavari, 1829

The Political Charivari
W. Kohler, 1829
The Victoria & Albert Museum

This handsome lithograph is entitled "The Political Charivari," most likely inspired by the French illustrated newspaper "Le Charivari" (literally translating to "Pandemonium"). If this sounds familiar, it’s because "Le Chiavari," which was published from 1832-1937, was so successful that it inspired the English magazine "Punch." Punch launched in 1841 with the subtitle: "The London Charivari."

Dating to 1829, this litho depicts a Punch & Judy fit-up inhabited by a Punchinello with his traditional hump. His cudgel is labeled "Opposition." The "professor" is shown as a rather mysterious and suspicious fellow who's barely visible.

Two figures stand outside of the puppet booth--both of whom seem to be acting as bottlers--those who attract spectators and take their "contributions." Meant as some kind political statement, the actual significance is somewhat lost today.

It was published in London in August 1829 by S.W. Fores, 41 Piccadilly and printed by W.Kohler, 22 Denmark St. Soho. George. Now, the lithograph is part of the George Speaight Punch & Judy Collection.

The Art of Play: The Tiller-Clowes Music Hall Ball Juggler Marionette, 1870-1890

Trick Marionette
Tiller-Clowes Family, 1870-1890
The Victoria & Albert Museum

We've looked at other puppets from the Victorian Tiller-Clowes marionette troupe. The V&A houses thirty-five of the troupe's Nineteenth Century figures, most of which retain their original paint and costumes. In 1945, George Speaight purchased the collection and worked to restore the puppets. Upon his death, the collection was left to the V&A.

This marionette, in his original outfit, represents a ball juggler. This figure would have been inordinately complicated to operate. The balls which the figure can "juggle" can be made to rest on his feet, hands or head. Such trick puppets were often used as entertainment before a show or between acts and also enjoyed independent success when members of the troupe would perform alone as a novelty at a music hall.

The Art of Play: Tommy One Leg, 1870-90

"Tommy One Leg"
Tiller-Clowes Marionette Troupe
Lincolnshire
1870-90
The Victoria & Albert Museum

From the Tiller-Clowes troupe--one of the last Victorian marionette troupes in England—we see this marionette who is called “Tommy One Leg.”  Tommy was made by the troupe in Lincolnshire  between 1870 and 1890.  He is a one-eyed, one-legged sailor fiddler who was specially made for the popular comic music hall song “How Cruel Were My Parients” (sic).  The song was sung by a puppet dressed as Tommy’s wife as she related  the fate of her husband who lost his eye and leg when he was press-ganged into the navy, and how, later, he was reduced to busking in the streets with her.

The song went like this:

HOW CRUEL WERE MY PARIENTS

Oh! cruel were my Parients [sic], as tore my Love from me,
And cruel was the press-gang who took him off to Sea,
And cruel was the little Boat, as row'd him from the Strand,
And cruel was the great big Ship as sail'd him from the Land.
Singing too rol loo rol loo rol too rol loo rol loo.

Oh! cruel was the Water, as bore her Love from Mary,
And cruel was the fair wind, as would not blow contrary,
And cruel was the Captain, and the Botswain and the Men
As didn't care a fair-din' if we never met again.
Singing too rol loo rol loo rol too rol loo rol loo.

Oh! cruel was the Splinter as broke my Dreary's Leg,
Now he's oblighed to fiddle for't, and I'm obliged to beg,
A vagabonding Vagrant, and a rantipoling Wife
We fiddle, limp and scrape it thro' the ups and downs of life.
Singing too rol loo rol loo rol too rol loo rol loo.

Oh! cruel was th'engagement in which my true love fought,
And cruel was the Cannon-Ball, as knock'd his right Eye out,
He used to leer and ogle me, with peepers full of fun,
But now he looks a-skew at me, because he's only one.
Singing too rol loo rol loo rol too rol loo rol loo.

My Love he plays the Fiddle, and wanders up and down,
And I sings at his Elbow, thro' all the Streets in Town,
We spends our days in harmony and wery [sic]seldom fights
Except when he's his Grog aboard, or I get queer at Nights
Singing too rol loo rol loo rol too rol loo rol loo.

Oh! cruel are the Bobbies, as makes my Love move on,
That dear old faithful timber-toe he can hardly walk upon,
His voice to me sounds very sweet, although he's rather hoarse,
He's always got a shocking cold as it's always getting worse
Singing too rol loo rol loo rol too rol loo rol loo.

Oh! cruel was the Bank as broke, in which was all our tin,
And cruel was the Manager as took my true Love in
We've not a blessed Shot now left, the Locker's up the spout,
So my true Love and me will sing, and fiddle our lives right out
Singing too rol loo rol loo rol too rol loo rol loo.

Then Ladies take all the warning, by my true Love and me,
Tho' cruel fate should cross you remember constabncy,
Like me you'll be rewarded and have all your heart's delight
With fiddling in a Morning and a drop of Gin at Night
Singing too rol loo rol loo rol too rol loo rol loo.

The Art of Play: The Tiller Family Devil, c. 1870

Devil Puppet
The Tiller-Clowes Troupe
1870-1890
The Victoria & Albert Museum

We’ve examined several of the marionettes from the Tiller-Clowes troupe--one of the last Victorian marionette troupes in England.  Thirty-five of their original Nineteenth Century marionettes remain and, though they live at the V&A, are sometimes trotted out for shows.  

The figures were carved, painted, dressed and performed by members of the company. Here we see the stock character of the Devil.   His flashing purple eyes are made from foil paper. This figure would mostly have been used in the harlequinade of a pantomime, or any play requiring such a character—especially marionette versions of Punch & Judy.

The puppet’s face, beard, hands and fingernails are very strongly carved with more detail than is usual for the puppets from this troupe. One horn and his hooves were missing and have been recently reconstructed.  Originally, there were strings to the ears and the top of the head, and there is a staple in his head for a head string. There are eyelets to the knees, but the figure is unstrung and hasn’t been used in nearly a century.  It was made in between 1870 and 1890.

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?

Drawing of the Day: "Capsize," 18th C.

"Capsize -- To Upset or Turn Over Anything"
Eighteenth Century
The George Speaight Archive
The Victoria & Albert Museum

This comic illustration from the Eighteenth Century is entitled “Capsize: - To Upset or Turn Over Anything.”

Now part of the George Speaight Archive at the V&A, this illustration depicts a fit-up which has been overturned as the puppeteer is being attacked by a clearly disgruntled audience member.

The following caption accompanies the scene:

'There, I told you I'de ge you von/ if I cotebed you making game/ o'me agin' 

'Vy they ar'always taking us off'

I’m not sure what this all means exactly, but we get the gist of it.