The Illustrators: The British Art of Illustration 1871-2022

THE IL LUSTRATOR S THE B R I T I SH A RT O f I LLU S T R AT I On 1 8 7 1 -2 0 2 2

Copyright © Chris Beetles Ltd 2022 8 & 10 Ryder Street St James’s London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com ISBN 978-1-914906-05-3 Cataloguing in publication data is available from the British Library

Dedicated to Ed Koren, the great New Yorker cartoonist and friend of the gallery Front cover: Edward Ardizzone, The Bar Maid [129] Front endpaper: Rowland Emett, A Harrowing Prospect of Mount Pleasant [147]

A Chris Beetles Gallery Publication

This page: Mabel Lucie Attwell, I'm hoping good fairies are well on the way To bring you good fortune for every day [95]

With contributions by Chris Beetles, Alexander Beetles, Phoebe Ross and David Wootton Edited by Alexander Beetles, Fiona Nickerson and Pascale Oakley

Title page: Kate Greenaway, Study of a Young Girl with a Feathered Bonnet, Cream Skirt and Brown Jacket [17]

Design by Fiona Nickerson and Pascale Oakley

Back endpaper: Paul Cox, The Warrington Hotel [309]

Photography by Alper Goldenberg and Julian Huxley-Parlour Reproduction by www.cast2create.com Colour separation and printing by Geoff Neal Litho Limited

Back cover: Henry Matthew Brock, Hop O’ My Thumb [49]

THE#ILLUSTRATOR S # THE #BR I T I SH# A RT #Of #I LLU S T R AT I On#1 8 7 1 -2 0 2 2

C H R I S #B E E T L E S # G A L L E R Y 8 & 10 Ryder Street, St James’s, London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com

C ONT E N T S 1

THE CARTOONI S T S O F PU N C H John Tenniel Charles Keene George Du Maurier

2

VICTORIAN IL LU S T R ATO R S & C A RTO O NI S T S Kate Greenaway 28 Phil May 30 E J Sullivan 33

3

VAN ITY FAIR Ape Cöidé Spy

4

BROCK BROTH E R S H M Brock C E Brock

5

FAIRY & FANTA SY Florence Harrison Honor Appleton Edmund Dulac Margaret Tarrant Dorothy Fitchew

6

40 42 44 64 64, 69 74 77 81 82 84

EARLY 20TH CE NT U RY I LLU ST R ATO R S & CARTOONIST S William Heath Robinson Max Beerbohm Lawson Wood Mabel Lucie Attwell E H Shepard Fougasse H M Bateman David Low Pont

86 88 90 92 98 102 104 110 114

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EDWARD ARDIZZO NE

117

8

POST WAR ILLU S T R ATO R S & CARTOONIST S Roland Emett Mervyn Peake

4

Ionicus Ronald Searle Norman Thelwell Charles Keeping Larry John Burningham

132 135 143 147 149 152

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W I L L I AM S C U L LY

154

10

M I C H AE L F F O L K E S

160

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J O H N G L AS H AN

166

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W I L L I E RU S H TO N

182

13

T H E AM E R I C AN S William Steig Bud Handelsman David Levine Edward Sorel Arnold Roth

194 196 201 204 207

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C O N T E M P O R ARY I L LU S T R ATO R S Richard Shirley Smith Michael Foreman Peter Cross Amanda Hall

214 217 225 228

15

PAUL COX

234

16

ALEX

242

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CONTEMPORARY CARTOONISTS Mac Mike Williams Ed McLachlan Peter Brookes Matt Jonathan Cusick

248 252 253 256 258 260

S E L E C T B I B L I O G R AP H Y

264

C U M U L AT I V E I N D E X

265

INDEX

270

6 19 23

130 131

The#Cartoo ists#o #Punch

1. The Cartoonists of Punch

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T H E C A RT O O N I S T S OF PUNCH

P

unch, founded in 1841, was the Victorian periodical with consistently the funniest and most +nely drawn cartoons. However, its own identity did not remain static, and evolved through to the turn of the century. Though initially radical, it increasingly communicated establishment values, a reform led in many ways less by the writers than by the cartoonists, a more essentially conservative body.

John Leech was the +rst signi+cant cartoonist for Punch, and his drawings soon became one of the chief reasons for reading the periodical. One of his early contributions (satirising designs for murals for the new Houses of Parliament) even introduced the modern de+nition of ‘cartoon’ as a comic drawing.

Leech was more memorable in social than political subjects. The work he published was a ectionately satirical about those he knew and understood, the middle classes at home and abroad and in 1851, he was joined at Punch by John Tenniel. It was John Tenniel whose dynamism helped change Punch from a run of the mill comic paper into a National Institution.

Certainly, Tenniel’s speci+c talents as a draughtsman gave gravity to the style and the content of the periodical. He had harboured ambitions to be a history painter, and he brought the language of history painting to cartooning. His classical allegorical images took the long view of history and abstracted it. This is not to suggest that Tenniel lacked graphic energy or incisiveness, for his technique injected allegory with new potency. Neither was his work for Punch opposed to the spirit of that of Leech, or of Leech’s successors as social cartoonists: Charles Keene, who was also employed from 1851, and George Du Maurier, who was employed from 1864. Rather, the two approaches worked together, the social cartoonist focussing on the small changes of fashions and manners, and the political cartoonist tending to reject the greater changes. And all tended to conservativism, instilling the sympathetic reader with con+dence.

The cartoons in this chapter most strongly represent the Punch of the 1870s and 1880s, when its visual ethos was controlled by the triumvirate of Tenniel, Keene and Du Maurier. With the death of Keene in 1891 that would come to an end.

On the whole, they divided the world successfully between themselves into the three sectors of ordinary life, high society and politics. Such a distinct division of experience, aping a class system, was very much intrinsic to the establishment vision. Ordinary life (as depicted by Keene) was the acceptable arena for the joke with its often localised and instantly recognisable archetypes. High society (as satirised by Du Maurier) was the milieu of snobbery, jingoism and dilettantism.

Politics (as de+ned by Tenniel) was the ideal realm of the grand and reassuring depictions of Empire and Parliamentary strife.

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JO HN T ENNIEL

W

Sir John Tenniel, RI (1820-1914)

hile best remembered as the illustrator of Lewis Carroll’s Alice books, John Tenniel contributed greatly to the look of Punch during the later nineteenth century. Beautifully drawn and highly allusive, his political cartoons remain startling in presenting fantastic imagery with classical polish.

John Tenniel was born at 22 Gloucester Place, New Road, Bayswater, London, on 28 February 1820, the third son among six children of John Baptist Tenniel, a fencing and dancing master of Huguenot origins, and his wife, Eliza (née Foster).

Brought up in Kensington, he was educated locally and then by his father, before studying at the Royal Academy Schools. In 1840, despite being partially blinded by his father in a fencing accident, he continued in his ambition to be a history painter and joined the Clipstone Street Artists’ Society (later known as the Langham Sketching Club) to increase his chances of exposure. Together with Charles Keene, a sketching companion at the Clipstone Academy, he created ‘The Book of Beauty’ (circa 1846), an unpublished parody of popular anthologies of engravings and verse. He rose to notice through his animal drawings, and attracted the attention of Mark Lemon, the editor of Punch, with his illustrations to the Rev Thomas James’s edition of Aesop’s Fables (1848).

He joined the magazine as second cartoonist to John Leech in November 1850 and, becoming principal cartoonist in 1864, produced over 2,000 cartoons in 50 years. As the one Conservative member of sta , he de+ned the cartoon for the Empire through his development of stock types and patriotic symbols, while his early ambitions as an actor and a history painter enriched his imagery.

Tenniel married Julia Giani in 1854, and they settled at 10 Portsdown Road, Maida Hill. However, she died of tuberculosis only two years later and he never remarried.

Parallel to his position as a leading cartoonist, Tenniel developed his career as a book illustrator and made best use of his rich vein of fantasy in his work for Lewis Carroll: Alice’s Adventures in Wonderland (1865) and Through the Looking-Glass and What Alice Found There (1872). He was elected to both the associate and full membership of the Institute of Painters in Water Colours in 1874, and was knighted in 1893. Tenniel’s single most famous cartoon, concerning the dismissal of Bismarck and entitled Dropping the Pilot, appeared in Punch on 29 March 1890. Two years later, he gave up his practice of drawing directly on the engraving block and took to photographic reproduction. He retired from Punch at the age of 80, and in 1909 moved with his sister, Victoria, to a at at 52 FitzGeorge Avenue, West Kensington. He died there on 25 February 1914.

Punch produced a special commemorative issue on 4 March of that year, which was the date of his funeral.

1. The Cartoonists of Punch

His work is represented in numerous public collections, including the British Museum and the V&A; and New York Public Library.

F ur t her reading : L Perry Curtis Jnr, ‘Tenniel, Sir John (1820-1914)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 54, pages 131-134; Rodney Engen, Sir John Tenniel: Alice’s White Knight, London: Scolar Press, 1991; Roger Simpson, Sir John Tenniel: Aspects of His Work, Cranbury: Associated University Presses, 1994

Front cover of Sir John Tenniel’s Cartoons from “Punch” 1871-1890

Photograph of Sir John Tenniel, circa 1880s

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1. The Cartoonists of Punch

THE RE AL ‘A8T8MN SESSION ’ The coming of Autumn traditionally marks the start of the hunting season in England and Scotland, when the shooting of birds such as partridge and duck is permitted. In this cartoon, Mr Punch takes two +ctitious members of the Commons and Lords on a shoot as a leisurely alternative to ‘murdering bills at Westminster, and pigeons at Hurlingham’. This is likely a reference to the fact that Parliament had been prorogued on 21 August and sessions would not resume again until November of that year.

Shooting pigeons at Hurlingham was a relatively new pastime in 1871, with the Club only having been formed in 1869. It had begun as the Gun Club in 1860, founded by the sportsman, Frank Heathcote, at Hornsey Wood House, a popular site for shooting amongst the aristocracy. In 1867, with the establishment of Finsbury Park, members of the Gun Club needed to +nd a new home and approached Richard Naylor, owner of Hurlingham House in Fulham, to request permission to promote pigeon shooting at the estate. A license was granted and the +rst competition was held there in 1868. The following year, the estate was leased from Naylor and the Hurlingham Club was formed. Though pigeon shooting at Hurlingham would fall out of fashion, the pigeon remains on the club’s logo to this day.

1 TH E R E A L ‘A8T 8 M N SESSI O N ’ MR P8NCH ( TO THE EARL OF WHATSITSNAME , AND THE RIGHT

HONO8RABLE ALGERNON SCR8BBINGBR8SH , M . P.):

‘AHA , The cartoon as it appeared in Punch in 1871

MY NOBLE AND RIGHT HONO8RABLE FRIENDS !

THIS IS BETTER THAN M8RDERING BILLS AT WESTMINSTER , AND PIGEONS AT H8RLINGHAM , EH ?’

Signed with monogram Pencil drawing of Mr Punch and a figure on reverse Pencil 8 ¼

6 ¼

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Illustrated: Punch, 2 September 1871, page 93

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1. The Cartoonists of Punch

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1. The Cartoonists of Punch

TH E DE MO N ‘ RO 8GH ’ On 18 May 1874, Conservative politician Egerton Leigh spoke in the House of Commons about the rise in domestic violence against women and that a likely factor was the insu cient punishment in icted upon o enders. Leigh pointed out that men were often not prosecuted at all, and if they were, the sentence of six months’ imprisonment or a +ne, was not su cient to stop the rise in violence. He proposed to give the Court a power to order ogging with the cat o’ nine tails when it deemed it necessary, of adding to the number of lashes on the repetition of the o ence, and, +nally, of penal servitude. Whilst acknowledging the seriousness of the issue, the Prime Minister Benjamin Disraeli e ectively shelved the issue by reassuring the House that they would attend to the matter when time allowed, but would not be able to address it immediately.

Egerton Leigh had argued that the use of the cat o’ nine tails, the multi-tailed whip that had traditionally been used as punishment in the Navy, had successfully curbed the threat of garrotting in London through its use in gaols. During the 1850s and 60s, a number of moral panics had swept through London over the rise in violent street muggings. Particularly feared was garrotting, where a mugger would approach their victim from behind and subdue them with a cord or an arm around their neck while an accomplice robbed them of their valuables. The press blamed the leniency of punishment on this rise in crime, particularly after the cessation of transportation to Australia.

The fear of being garrotted sometimes resulted in members of the public wearing anti-garrotting clothing, such as studded leather collars and cravats with razor blades sewn in, a move which was parodied at the time by Punch. In July 1863, the Security from Violence Act, which speci+cally targeted street robbery and become known informally as the Garrotters Act, was passed. The act undid reforms that had abolished ogging for most o ences, allowing garrotters to be ogged in prison for their crime.

2 T H E DEM O N ‘ RO8GH ’ J8STICE : ‘ LOOK HERE , YO8 COWARDLY R8FFIAN ! THIS HAS P8T DOWN GAROTTERS ! WE SHALL NOW HAVE TO TRY IF IT WON ’ T P8T DOWN YO8 !’

Signed with monogram Pencil 8 ¼

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Illustrated: Punch, 3 October 1874, page 140

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A cartoon by John Tenniel on the subject had +rst appeared in Punch on 30 May 1874. The present cartoon, published a little over four months later, suggests the matter of violence against women was a subject of debate amongst many.

1. The Cartoonists of Punch

TH E J8 B I L E E ‘ M E E T ’ On 20 and 21 June 1887, Queen Victoria celebrated her Golden Jubilee, marking the 50th anniversary of her accession to the throne on 20 June 1837. In this cartoon published on 1 January 1887, Mr Punch welcomes in the new year in the form of a veteran huntsman at the ‘Jubilee Meet’.

3 TH E J8B I L E E ‘ M E E T ’ THE OLD H8NTSMAN : ‘ YO8 STICK TO ME , YO8NG SIR . I ’ LL SHOW YO8 THE WAY !!’

Signed with monogram and dated 1887 Pencil 8

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Illustrated: Punch, 1 January 1887, page 7

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1. The Cartoonists of Punch

4 (opposite) H OW A B O 8T TH E D O N KE Y? ISMAIL : ‘“ GET OFF !” BISMILLAH !

WHO ’ S TO GET ON ? ALL THESE FRANKS – OR SON TEWFIK , WITH THE PADISHAH BEHIND HIM ? PLEASANT LOOK- O8T FOR THE DONKEY, EITHER WAY !’ ‘ THE S8LTAN ’ S FIRMAN HAS ARRIVED AT ALE ANDRIA , PRONO8NCING THE DEPOSITION OF KHEDIVE , AND THE NOMINATION OF PRINCE TEWFIK IN HIS STEAD .’

–

RE8TER ’ S EASTERN TELEGRAM

Signed with monogram Pencil 6 ¼

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Illustrated: Punch, 5 July 1879, page 307 The cartoon as it appeared in Punch in 1879

HOW A B O 8T THE DO N K E Y ?

On 26 June 1879, a +rman, or Royal mandate, from the Sultan of the Ottoman Empire, Abdul Hamid II, ordered the deposition of the Khedive of Egypt, Ismail Pasha. He was replaced as ruler by his eldest son, Tew+k Pasha, though the country was e ectively in control of British and French +nancial ministers.

After becoming Khedive (or Viceroy) of Egypt and Sudan in 1863, Ismail had run up deep debts to the Western Powers through extravagant borrowing to +nance internal reforms, the building of the Suez Canal and, between 1874 and 1876, an expensive war with Ethiopia. In 1876, a British and French report into the state of the Egyptian +nances resulted in the establishment of the ‘Caisse de la Dette’, an international commission to supervise the payment of the loans to the European governments. Further investigations led to the establishment of Anglo-French control over +nances and the government.

Such a degree of European interference was seen as unacceptable to many

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Egyptians, who began to unite behind an Egyptian Colonel, Ahmed ‘8rabi, in what became known as the ‘8rabi Revolt. In response to Ismail’s part reluctance and part inability to restore order and control, the British and French governments pressed for his removal and replacement by the more pliable Tew+k.

Published a week after Ismail’s removal, he is portrayed in the present cartoon as receiving his deposition whilst astride a donkey representing Egypt. He is shown questioning who exactly may be replacing him, whether it is his son, Tew+k, with the Padishah (the Ottman Sultan) behind him, or if it is in fact the ‘Franks’ or Western Powers. The Powers are represented here by Lord Salisbury, the British Foreign Secretary, the German Chancellor Otto von Bismarck, and the Italian Prime Minister Benedetto Cairoli.

1. The Cartoonists of Punch

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1. The Cartoonists of Punch

S8GA R !

In April 1888, an International Conference was held in London to discuss the question of sugar bounties, attended by all the bounty-giving powers. The object of the Conference for the British government was to endeavour to mutually agree on the best means of the abolition of these sugar bounties.

Pictured here feeding the young John Bull a spoonful of sugar is the President of the Conference and the British Plenipotentiary, Henry de Worms, Conservative politician and 8nder-Secretary of State for the Colonies. At this time, much of Britain’s sugar was produced and supplied by its colonies, whereas the majority of sugar distributed on the continent was produced from beet sugar in European countries such as Germany. The result of the Conference was the signature of a Convention by the representatives of Great Britain and the bounty-giving Powers, which contained a penal clause by which the signatories agreed to exclude bounty-fed sugar, either by absolute prohibition or by counter-vailing duties levied upon it. A year later however and this agreement had not yet come into e ect and the continuing bounties on sugar production on the continent was seen as a threat to sugar export and production in Britain and its colonies.

This cartoon published in Punch in May 1889 suggests a fear amongst the British public that a rising cost of sugar may force sugar producers to add other substances to their sugar in order to keep up with demand.

5 (opposite) S8 G A R !

DR DE WORMS . ‘ NOW THEN MASTER JOHNNIE , OPEN YO8R

MO8TH AND SH8T YO8R EYES , HERE ’ S A NICE SPOONF8L OF

The cartoon as it appeared in Punch in 1889

S8GAR FOR YO8 !’

JOHNNIE B8LL ( S8SPICIO8SLY ). ‘ B8T, I SAY !

ALL S8GAR ?’

–

IS IT

Signed with monogram Pencil 8

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Illustrated: Punch, 11 May 1889, page 227 Literature: Sir John Tenniel’s Cartoons From Punch 1882-1891, London: Bradbury, Agnew & Co, 1895

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1. The Cartoonists of Punch

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1. The Cartoonists of Punch

CO8 NTRY A ND D8T Y Published during the Whitsun Recess of Parliament (23 May to 2 June 1890), the present cartoon features William Henry Smith (1825-1891), son of the founder of the newsagent and booksellers W H Smith, and the First Lord of the Treasury and Leader of the House of Commons under Lord Salisbury’s Conservative government. The cartoon was published in Punch alongside a satirical song entitled ‘Country and Duty’, sung by ‘Old Morality’, the nickname given to Smith by the Punch writer H W Lucy and by which he became widely known on account of his conscientious and austere manner. In the song, W H Smith revels in the peace and quiet a orded to him by the break in Parliamentary proceedings and that he will be ready to muzzle the ‘yelping and yapping’ and ‘howling and whining’ of his colleagues in the Commons. In the cartoon, he polishes a rusty muzzle in preparation for the return of Parliament.

It was acknowledged at the time that W H Smith led the house when the management of the Commons was particularly di cult, with a number of strong-willed and hot-headed +gures at the fore. The strains of the role eventually became too great and he retired from public life less than a year after the publication of the present cartoon due to ill health, dying a few months later on 6 October 1891 of heart failure.

The cartoon as it appeared in Punch in 1890

6 CO 8 NTRY A ND D 8T Y MR W H S : ‘ IT ’ S GOT A LITTLE R8STY, – B8T I ’ LL HAVE IT READY IN TIME !’

Signed with monogram Pencil 8 ¼

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Illustrated: Punch, 31 May 1890, page 259

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1. The Cartoonists of Punch

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1. The Cartoonists of Punch

7 O N TH E P ROWL Signed with monogram Pencil 6

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Illustrated: Punch, 28 August 1886

ON THE P ROW L Throughout much of the nineteenth century, diplomatic and political relations between the British and Russian Empires had grown increasingly tense over each side’s respective interests in Central Asia, in what became known as the ‘Great Game’. In 1828, Russian victory in the Russo-Persian War had seen Armenia become part of the Russian Empire, and following the accession of Tsar Alexander II in 1855, Russia had begun an aggressive expansionist policy to the south and the east, primarily to obtain naval access to the Black Sea. British mistrust of Russian foreign policy in the region was borne out of a fear that Russia would eventually push south through Afghanistan and threaten British interests in India. The signing of the Treaty of San Stefano in March 1878 between Russia and the Ottoman Empire, following Russian victory in the Russo-Turkish War of 1877-1878, created a larger, independent Bulgaria under Russian protection, further strengthening Russian in uence in the region.

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In 1881, British concerns were heightened further when Russian troops occupied Turkmen lands on the Persian and Afghan borders. Only a diplomatic intervention by Germany prevented an Anglo-Russian war.

In 1885, tensions almost came to a head when Russian forces engaged with and captured an Afghan border fort, in what became known as the Panjdeh Incident. Britain viewed this attack against a British protectorate as a precursor to an imminent invasion of India and prepared for war. However both sides were able to defuse the crisis diplomatically, and the signing of the Delimitation Protocol between Britain and Russia in September 1885 de+ned the north-western border of Afghanistan and ended Russian expansion in the region. Almost a year later however, John Tenniel’s cartoon of a Russian bear moving through the Balkans towards Afghanistan, suggests that the British still mistrusted Russian intentions in the region.

1. The Cartoonists of Punch

C H A RL ES K EENE

A

Charles Samuel Keene (1823-1891)

ssociated, from the 1860s, with his Punch cartoons of urban street life, Charles Keene developed a great reputation as a draughtsman, and was revered by many of his contemporaries.

Charles Keene was born in Duvals Lane, Hornsey, Middlesex, on 10 August 1823, one of the sons of the solicitor, Samuel Keene, and his wife, Mary (née Sparrow). He spent his childhood in London and Ipswich, where he was educated at the local grammar school. He then spent some time in the o ces of both his late father, at Furnivall’s Inn, London, and the architect, William Pilkington of Scotland Yard. However, +nding neither congenial, he entered a +ve-year apprenticeship with the wood-engravers, the Whymper Brothers. In addition, he was ‘a compulsive attender’ of the Clipstone Academy, from 1848 into the 1860s.

F u r t h e r re a d i n g : Simon Houfe, Charles Keene. ‘the Artist’s Artist’ 1823-1891, London: Christie’s/Punch, 1991; Simon Houfe, ‘Keene, Charles Samuel (1823-1891)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 31, pages 29-32; Simon Houfe, The Work of Charles Samuel Keene, London: Scolar Press, 1995; Derek Hudson, Charles Keene, London: Pleiades Books, 1947; Lewis Johnson, ‘Keene, Charles (Samuel) (b London, 10 Aug 1823; d London, 4 Jan 1891)’, Jane Turner (ed), The Dictionary of Art, London: Macmillan, 1996, vol 17, page 877

Keene illustrated books from 1847 and contributed to The Illustrated London News, but it was only in December 1851, when he made his +rst, unsigned drawing for Punch, that he found the ideal outlet for his talents. It was a connection that lasted until the day of his death and, from the time he began to use his monogram in 1854, it brought him great celebrity. Keene became a member of the Punch ‘Table’ in 1860 and, on the death of John Leech in 1864, took on the role of chief social commentator. He relied principally on urban street life, thus complementing the drawings of George Du Maurier, who was employed from the same year. He greatly inspired Phil May, who was in some ways his successor, but Keene was less intrinsically funny and made much use of comic situations supplied by his friend Joseph Crawhall senior. His in uence lay for the most part in the areas of style and technique and, as an admirer and correspondent of Adolf Menzel, he did much to introduce the German tradition of draughtsmanship into Britain. Praised by the French, and working late in life in a style reminiscent of Toulouse-Lautrec, he has been described with some justi+cation as ‘the English Daumier’ (Gordon Ray, The Illustrator and the Book in England from 1790 to 1914, New York: Pierrepoint Morgan Library, 1976, page 118). Whistler went further and called him ‘the greatest English artist since Hogarth’ (quoted in Joseph Pennell, Pen Drawing and Pen Draughtsmen, New York: Macmillan, 1920, page 236).

Through most of his career, Keene lived ‘in various dilapidated rooms and lodgings’ in London (Houfe, ODNB). However, he also took a cottage in Witley, Surrey, for some years, and spent long holidays in Su olk. Two months after his death on 4 January 1891, at his +nal home at 112 Hammersmith Road, London, the Fine Art Society mounted a memorial exhibition.

His work is represented in numerous public collections, including the British Museum, the National Portrait Gallery, Tate and the V&A; the Ashmolean Museum (Oxford) and The Fitzwilliam Museum (Cambridge).

8 B E W I L D ER I NG MR W8 LES ( 8P FOR THE CATTLE SHOW ): ‘ CHEESE , WAITER !’

ROBERT. ‘ YESSIR ! ROCKFOR , COMMONBARE , GREW ’ ERE , NOOCHATTELL , GORG8M O – ‘ MR W8 LES ( TESTILY ): ‘ NO , NO ! I SAID CHEESE !’

Ink 4 ¾

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Illustrated: Punch, 16 December 1882, page 281

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1. The Cartoonists of Punch

9 P8T TO THE RO 8 T DISTRACTED BANDSTER : ‘ KOMM

AVAY

–

KOMM AVAY

EE VILL BLAY DE MOO EEK ERSELBST ! TE8FEL !

–

EE HALL NOD GIVE YO8 NODINGSH

–

[ THEY RETREAT HASTILY.] Signed with initials Ink 4 ¼

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Illustrated: Punch, 13 July 1878, page 6 Literature: The Strand Magazine, 1899, page 40; J Holt Schooling, A Peep Into ‘Punch’, London: George Newnes, 1900; J A Hamerton (ed), Book of Mr Punch’s Scottish Humour, London: Educational Book Company, 1910

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1. The Cartoonists of Punch

10 G E NE RALLY A PPLIC A B LE; A S C E N E IN AN IRI S H L AN D CO 8 RT S8B COMMISSIONER : ‘ NOW M8RPHY, HAVE YO8 EFFECTED ANY IMPROVEMENT IN THIS FARM ’ TENANT: ‘ I HAVE , YER HONO8R . IVER SINCE I GOT IT, I ’ VE BEEN IMPROVIN IT. B8T BY JABERS , IT ’ S THAT SORT O ’ LAND THE MORE YE IMPROVE IT THE WORSE IT GETS ’ CO8RT RED8CES THE RENT 25 PER CENT Signed with initials and bears collector’s stamp ‘GE’ Ink 6 ½

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Illustrated: Punch, 28 March 1885, page 146

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1. The Cartoonists of Punch

11 A M I S CO N C E P T I O N PASSENGER : ‘AND WHOSE HO8SE IS THAT ON THE TOP OF THE HILL THERE ?’

DRIVER OF THE ‘ RED LION ’ B8S : ’ O , THAT ’ S MR 8MBERBROWN ’ S , SIR . HE ’ S WHAT THEY CALL A R . A .’

PASSENGER ( AMATE8R ARTIST ): ’ O , INDEED ! AH !

A MAGNIFICENT PAINTER ! YO8 M8ST BE RATHER PRO8D OF S8CH A GREAT MAN LIVING AMONGST YO8 DOWN HERE !’

DRIVER : ‘ GREAT MAN , SIR ? LOR ’ BLESS YER , SIR , NOT A BIT OF IT ! WHY, THEY ONLY KEEPS

ONE MAN SERVANT, AND HE DON ’ T SLEEP IN

THE ’ O8SE !!!’

Stamped with monogram Ink

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Illustrated: Punch, 20 January 1872, page 32

12 O 8 R R ESERV ES

COLONEL OF VOL8NTEERS ( HAVING CL8BBED THE BATTALION SEVERAL

TIMES D8RING THE DRILL) ‘ HAS Y ’ WERE ! - ’ALT ! - MARK TIME !

THE ’ OLE WILL BEAR IN MIND THAT MY WORD O ’ COMMAND IS MERELY “A CA8TION ”!’ [ A REMARK WITH WHICH THE ’ OLE OF THE REGIMENT ENTIRELY AGREED ]

Signed with monogram Ink with bodycolour 7

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Provenance: Luke Gertler Illustrated: Punch, 3 August 1878, page 42

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1. The Cartoonists of Punch

G E ORG E DU M AUR I ER

E

George Louis Palmella Busson Du Maurier (1834-1896)

qually talented as artist and writer, George Du Maurier developed a cartoon format for Punch that balanced text and image in order to record and satirise the fashions and foibles of society.

The eldest of the three children of the scientist and inventor, Louis-Mathurin Du Maurier, and his wife, Ellen (née Clarke), George Du Maurier was born on 6 March 1834 in the Champs-Elysées, Paris, and baptised in May 1835 at Rother+eld, Sussex. He spent his childhood, between England and the continent, in an atmosphere of precarious gentility. His father came from a French family of master glassblowers but, obsessed with social status, gave himself the aristocratic name of Du Maurier. As a novelist, George Du Maurier would rehearse the events of his early life in general but, as a cartoonist for Punch, he would concentrate on dissecting the pretensions and foibles of the society in which he lived, and to which his family had been prey.

Though Du Maurier failed his baccalauréat, his father was determined that he should take up a steady profession. So, in 1851, he enrolled at the Birkbeck Chemical Laboratory, 8niversity College, London. After a wasted year, he left to work as an analytical chemist, but spent his most pro+table hours drawing at the British Museum so that, on the death of his father in 1856, he returned to Paris to study art. He spent a sociable year at the Atelier Gleyre as part of the English group, befriending Edward Poynter and meeting James McNeill Whistler, and then moved to Antwerp to further his studies at the city’s Academy of Arts, under Jacob Van Lerius. The sudden loss of the sight of his left eye, however, led to a period of great uncertainty as to his future career.

Joined by his mother, he lived +rst at Malines and later at Düsseldorf, desperately consulting oculists while still attempting to work. In 1860, he +nally decided to settle in London and, encouraged by the example of John Leech, tried to earn his living as an illustrator.

In London, Du Maurier reacquainted himself with Whistler and members of the English group, and became immersed in an enlightened social circle while beginning to contribute – as artist and writer – to such leading periodicals as, Good Words and The Cornhill Magazine. By evolving his own style from the work of the +nest of contemporary illustrators, he developed the extensive repertoire of immediately recognisable motifs and gestures on which he drew increasingly for the satires and parodies that he published in Punch.

In 1863, Du Maurier married Emma Wightwick, and they would have +ve children, the youngest of whom, Gerald, became famous as an actor-manager.

From 1869, he and his family lived in Hampstead, settling at 27 Church Row in 1870, and moving to New Grove House in 1874.

Du Maurier became a regular member of the Punch team in 1864, when John Tenniel and Charles Keene both voted for him to succeed the recently deceased Leech as observer of society. In its pages he developed a very literary type of cartoon, which married often extensive texts to subtle drawing and displayed an understanding of wider cultural issues. This reached its peak in his satires of the upper middle class attempting to follow the fashions of the Aesthetic Movement. Through his career, he moved from a position of Bohemianism – from which he defended the Pre-Raphaelites and tolerated Whistler – to one that, at worst, revealed ‘his essential snobbery, conservatism and loathing of change’ (Ormond, 1969, page 248), and inevitably lost him many friends.

Du Maurier has been dubbed as ‘naturally lazy’ (by Simon Houfe in The Dictionary of 19th Century British Book Illustrators and Caricaturists, Woodbridge: Antique Collectors’ Club, 1996, page 124). However, he had to provide for his wife and children without straining his one good eye. For much of his career, he could work safely for only two hours a day, and during the 1890s considered retiring from illustration in order to become a professional lecturer. By that time, he needed to work with a magnifying glass in order to complete his regular work for Punch.

But as his graphic talent failed, he found new, and phenomenal, success as the novelist of Peter Ibbetson (1891), The Martian (1896) and particularly Trilby (1894), in which he returned to the youthful extremes of Bohemian life that he had eschewed in his cartoons. He died on 8 October 1896 at 17 Oxford Square, Paddington, his home from 1895. A memorial show was held at the Fine Art Society in February 1897.

His work is represented in numerous public collections, including the British Museum and the V&A. F u r t h e r re a d i n g : Leonée Ormond, ‘Du Maurier, George Louis Palmella Busson (1834-1896)’, in H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, volume 17, pages 177-180; Leonée Ormond, George Du Maurier, London: Routledge & Kegan Paul, 1969; Leonée Ormond, ‘Du Maurier, George (Louis Palmella Busson) (b Paris, 6 March 1834; d London, 8 Oct 1896)’, in Jane Turner (ed), The Dictionary of Art, London: Macmillan, 1996, vol 9, page 384

23

1. The Cartoonists of Punch

13 TH E CHILD O F THE P E RIOD NEW GOVERNESS : ‘ WHY ARE YO8 TEARING THAT PLACARD , ELSIE ?

I THO8GHT YO8R PAPA WAS A LIBERAL !’

ELSIE : ‘ SO HE IS – AND THE ONLY ONE IN THE FAMILY ’ Signed Signed, inscribed with title and dated ‘Nov 1885’ on text label Ink 4 ¾

7 ½

INCHES

Illustrated: Punch, 12 December 1885, page 282 Exhibited: The Fine Art Society, London, 1887, no 80; The Fine Art Society, London, July 2001

24

1. The Cartoonists of Punch

14 T H E D8 M A8RIER FA M ILY IN CORN WALL Signed Ink 6 ½

9 ¼

INCHES

25

1. The Cartoonists of Punch

15 SYMPATHE TIC EGOI SM OF GENI8 S (A ST 8 DY ) ‘ DON ’ T R8N AWAY YET, OLD MAN ! IT ’ S Q8ITE EARLY, AND I WANT TO HEAR ALL ABO8T YO8R ACADEMY PICT8RE , WHICH I ’ M TOLD IS SPLENDID .’ [ PROCEEDS TO DESCRIBE HIS OWN AT GREAT LENGTH , AND THEN S8DDENLY FINDS O8T HOW LATE IT IS , AND BOLTS ...]

Signed, inscribed with title and dated ‘Jan 91’ Ink; 9 6 ¼ I N C H E S Illustrated: Punch, 7 February 1891, page 71 16 TH EO RY A ND P R AC TI C ES A8NT MARY: ‘ WHY DON ’ T YO8 READ , TOM , INSTEAD OF LOLLING ABO8T ’ TOM : ‘ GOT NOTHING TO READ !’

A8NT MARY: ‘ THERE ’ S YO8R FIRST PRI E IN MONSIE8R JOLIVET ’ S FRENCH CLASS , DELIGHTF8L BOOK !’

TOM : ‘ HOW CAN I READ THAT ? IT ’ S IN FRENCH !’

Signed Signed, inscribed with title and ‘Punch’, and dated ‘Feb 3 1877’ on mount Ink; 5 ¼ 8 ½ I N C H E S Illustrated: Punch, 3 February 1877, page 42

26

A MOST

Victorian Illustrators & Cartoonists

2 . Vi c t o r i a n I l l u s t r a t o r s & C a r t o o n i s t s

2

V I C T O R I A N I L L U S T R A T O R S & C A RT O O N I S T S

K ATE GR EENAWAY

T

kate greenaway :i (1846-1901)

he characterJstJc charm of kate greenaway’s JllustratJons resJdes Jn a sJmplJcJty of both vJsJon and vJsual style. A past tJme – the :e5ency – Js represented throu5h clear outlJne and at wash as the embodJment of Jnnocence; an eternal Bn5lJsh sprJn5 Js peopled, for the most part, by 5raceful youths en5a5ed Jn 5entle occupatJon. kate greenaway was born Jn 4oxton, Bast ,ondon, on 17 )arch 1846. 9he urban bac 5round of her chJldhood 5ave her a lon5Jn5 for the countrysJde, a lon5Jn5 made more de nJte and paJnful by happy memorJes of famJly holJdays Jn =ottJn5hamshJre. She would transform these desJres Jnto the enchanted yet homely vJsual world that made her name.

9he favourJte dau5hter of a wood-en5raver to The Illustrated London News, greenaway studJed at the 'Jnsbury School of Art, the =atJonal Art 9raJnJn5 School, South kensJn5ton, and, Jn 1870-71, at the 4eatherley School of 'Jne Art. in 1871, she enrolled at the Slade School of Art, and spent tJme Jn the lJfe class of the dJrector, Bdward Poynter, there meetJn5 4elen AllJn5ham, who later became a close frJend. greenaway’s earlJest faJry JllustratJons were robust, paJnterly and even 5rotesque, so revealJn5 the Jn uence of her dJstant cousJn, :Jchard 1add. But the chJld portraJts that she exhJbJted at the :oyal Academy, from 1877, more clearly mar ed the dJrectJon of her developJn5 career. in the same year, she be5an to wor for the prJnter and publJsher Bdmund Bvans, who reco5nJsed her orJ5Jnal abJlJty to emphasJse the Jnnocence of chJldhood throu5h the use of a :e5ency settJn5. 4er Jllustrated boo s and varJous desJ5ns – epJtomJsed by The Kate Greenaway Almanack (whJch appeared between 1888 and 1897) – soon became enormously popular Jn both BrJtaJn and the !nJted States. And, wJth :us Jn actJn5 as champJon and advJser, her fame and stature rapJdly Jncreased. She was elected to the membershJp of the :oyal instJtute of PaJnters Jn "ater Colours (:i) Jn 1889, and held three solo shows at the 'Jne Art SocJety (1891, 1893 and 1897). A fourth, memorJal show was held at the 5allery Jn the year followJn5 her death at 4ampstead on 6 =ovember 1901.

4er wor Js represented Jn the collectJons of the BrJtJsh )useum and the V&A; and the Ashmolean )useum (0xford) and )anchester Art gallery.

28

17 S 9! 1 0 ' A 0 ! =g g i: , " i 94 A 'B A94 B: B1 B 0 = = B 9, C: B A ) Sk i :9 A =1 B :0" = JAC k B 9 Signed with initials Watercolour 3 ½

3 ½

i=C4BS

Provenance: Brown & Phillips, Leicester Galleries, London

F u r t h e r Re a d i n g : Rodney Engen, Kate Greenaway: A Biography, London: Macdonald, 1981; Rosemary Mitchell, ‘Greenaway, Catherine [Kate] (1846-1901)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 23, pages 549-553; Emma M Routh, ‘Greenaway, Kate (b Hoxton, London, 17 March 1846; d Hampstead, London, 6 Nov 1901), Jane Turner (ed), The Dictionary of Art, London: Macmillan, 1996, vol 13, page 615; M H Spielmann and G S Layard, Kate Greenaway, London: Adam and Charles Black, 1905

2 . Vi c t o r i a n I l l u s t r a t o r s & C a r t o o n i s t s

18 )A B ,0SS 0 ) Watercolour 9 ½

7 ½

i=C4BS

19 , i 9 9, B g i : , "i 94 ) ! '' Signed with initials Watercolour 10 ½

7 ½

i=C4BS

Provenance: Stark Museum of Art, Texas

29

2 . Vi c t o r i a n I l l u s t r a t o r s & C a r t o o n i s t s

PH I L M AY

S

PhJlJp "JllJam )ay, :i :P =BAC (1864-1903)

ometJmes referred to as the ‘5randfather of BrJtJsh JllustratJon’, PhJl )ay was one of the most Jn uentJal blac -and-whJte artJsts of hJs 5eneratJon. Barthy, street-wJse, and redolent of the musJc hall, hJs wor Js the antJthesJs of that of Aubrey Beardsley. 'or a bJo5raphy of PhJl )ay, please refer to The Illustrators, 2017, pa5e 36.

21 , i 9 9, B S =0 0 k S ( 90 C B, B B : A9B1 AC 9: B SS J ! S9 : B 9! : =B1 ':0 ) A ) B: i C A): ‘A" '! , , g, A 1 90 S BB 0 ! ’ : B B ACk Ag A i = , )i SS 1 B V B: B ’ Signed Inscribed with title and stamped with M W Ingram collection mark below mount Ink; 10 6 ¾ i = C 4 B S Provenance: M W Ingram

20 A9 94 B : AC BS Signed and dated 95 Inscribed ‘John Porter’ and ‘Lord Allington’ below mount Ink 10 ¼

30

6 ¾

i=C4BS

22 (opposite) g :0 ! P 0 ' C 4 i,1 : B = "A i9 i= g '0 : A ': B B 1 i ==B: Signed, inscribed with title and dated 95 Signed and dated 95 on original mount Pencil 9 ¼

11 ¾

i=C4BS

2 . Vi c t o r i a n I l l u s t r a t o r s & C a r t o o n i s t s

31

2 . Vi c t o r i a n I l l u s t r a t o r s & C a r t o o n i s t s

23 :A) SgA9B SA =1S Signed twice, inscribed ‘To Lear J Drew from his friend’ and ‘Ramsgate’, and dated 97 Ink with pencil 7 ½

11 ¼

i=C4BS

Provenance: Lear J Drew; Hugh Blaker; Cyril Kenneth Bird, known as ‘Fougasse’, purchased from the Leicester Galleries, 1948 Exhibited: ‘From the Hugh Blaker Collection’, Leicester Galleries, London, March 1948, no 5

32

2 . Vi c t o r i a n I l l u s t r a t o r s & C a r t o o n i s t s

E J S UL L I VA N

E

Bdmund Joseph SullJvan, :"S :B iS (1869-1933)

J SullJvan was one of the most strJ Jn5 and con dent Jllustrators of hJs 5eneratJon, ran5Jn5 across many moods and medJa, and becomJn5 a partJcularly Jn uentJal teacher. 'or a bJo5raphy of Bdmund Joseph SullJvan, please refer to The Illustrators, 2016, pa5es 6-7.

PublJshed Jn late 1915, The Kaiser’s Garland was a collectJon of 45 cartoons by B J SullJvan satJrJsJn5 the german Bmperor, kaJser "Jlhelm, and crJtJcJsJn5 the barbarJsm and brutalJty of PrussJan mJlJtarJsm.

24 94B k Ai S B:’ S g A:, A= 1 Signed with initials Ink 11 ½

17 ½

i=C4BS

Illustrated: Edmund J Sullivan, The Kaiser’s Garland, London: William Heinemann, 1915, cover

25 1 iA B , B , B 9 ) A g A! C4 B !

Inscribed with title on reverse Ink 10 ¼

7 ¼

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Drawn for but not illustrated in: Edmund J Sullivan, The Kaiser’s Garland, London: William Heinemann, 1915

33

2 . Vi c t o r i a n I l l u s t r a t o r s & C a r t o o n i s t s

26 ) A :C4 i =g Sk B, B 90 = S Ink 10 ¼

7

i=C4BS

Illustrated: Edmund J Sullivan, The Kaiser’s Garland, London: William Heinemann, 1915, page 63

34

2 . Vi c t o r i a n I l l u s t r a t o r s & C a r t o o n i s t s

27 P: i )A B A,,B: i=A A SS0,! 9A 90 9 4 B i)P B :iA, B A,,B 9 0' P 09S 1A) i= 4B: =09 B 1 ' i:B A= 1 S"0:1 1A =CB Signed and dated 1915 Ink 10 ½

7 ¼

i=C4BS

28 94 B P :i S0 =B: 0 ' "A : Ink 10 ½

7 ¼

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Illustrated: Edmund J Sullivan, The Kaiser’s Garland, London: William Heinemann, 1915, page 69

Illustrated: Edmund J Sullivan, The Kaiser’s Garland, London: William Heinemann, 1915, page 25

35

2 . Vi c t o r i a n I l l u s t r a t o r s & C a r t o o n i s t s

29 )0:B C0 ,1 94A = 1 B A9 4 Signed and dated 1915 Ink 10 ½

7 ¼

i=C4BS

Illustrated: Edmund J Sullivan, The Kaiser’s Garland, London: William Heinemann, 1915, page 81

30 94 B " : i9 i= g 0 = 94 B "A , , ‘ g01 4A94 =!)BB:B1 94 ki=g10) A=1

'i=iS4B1 i9. 940! A:9 "Big4B1

i= 94B BA,A=CBS A=1 A:9 '0!=1 "A=9i=g . 94 ki=g10) iS 1iVi1B1 A=1 giVB= 90 94B )B1BS A=1 PB:SiA=S .’

-

1A=iB, V.

26-28

Signed and dated 1915 Ink 10

7

i=C4BS

Illustrated: Edmund J Sullivan, The Kaiser’s Garland, London: William Heinemann, 1915, page 85

36

Vanity Fair

3 . Va n i t y F a i r

3

VA N I T Y F A I R ‘I venture to prophesy that, when the history of the Victorian Era comes to be written in true perspective, the most faithful mirror and record of representative men and the spirit of their times will be sought and found in Vanity Fair’

W

(Leslie Ward, Forty Years of ‘Spy’, page 331)

hen, on 7 November 1868, the 4rst edition of the new ‘society journal’ Vanity Fair was published, there was little indication within its pages of the in uence it was to have on Victorian high society. This 4rst edition contained no caricatures, its text commented on the week’s social and political events and reviewed the latest literary and theatrical releases. The journal failed to 4nd immediate success and struggled to compete with other more established papers such as The Owl and The Tomahawk. Vanity Fair’s founder, Thomas Gibson Bowles, was the son of a prominent liberal politician, Thomas Milner Gibson, and his wife, Susannah Arethusa Gibson, who was well established in in uential social circles and regularly hosted fashionable salons.

Growing up within this environment, Bowles was able to socialise with journalists, actors, artists, politicians and bohemians. Whilst maintaining a junior position at the Board of Trade, he began to contribute to various journals, including The Glow Worm, The Owl and The Tomahawk. Though it was his experiences with these publications that gave Bowles the con4dence to create his own journal, it was his social connections that not only helped it get o! the ground, but also shaped its future. A close friend, Colonel Frederick Gustavus Burnaby, supplied £100 of the £200 original investment and, although Bowles wrote much of the text himself under the pseudonym ‘Jehu Junior’, he engaged regular contributors to participate. These contributors were selected from fashionable sets for their social as much as their literary quali4cations. Indeed, Vanity Fair was written by and for the Victorian and Edwardian establishment.

On 16 January 1869, Bowles promised his readers ‘Some Pictorial Wares of an entirely novel character’. What was to follow not only set Vanity Fair apart from its competitors, but changed the way in which caricature was viewed and received. Two weeks later, a full-page caricature of Benjamin Disraeli by Carlo Pellegrini appeared in Vanity Fair, followed the next week by a caricature of William Gladstone. The images were reproduced by the highly regarded lithographer, Vincent Brooks, using an approach that was virtually unprecedented in England. Until this point, lithography had been reserved largely for topographical and decorative subjects. Cartoons and caricatures, such as those published in popular satirical magazines like Punch, were reproduced through wood-engraving.

Pellegrini’s caricatures, completed under the pseudonym ‘Singe’ (later ‘Ape’) were the 4rst of over 2,300 caricatures to be published in Vanity Fair. These highlyskilled, lithographically reproduced, full-page cartoons, in a journal published in quarto dimensions with 8-10 pages per issue, gave Vanity Fair an instant identity.

38

Carlo Pellegrini collaborated with Thomas Gibson Bowles and Vincent Brooks with enormous success. A favourite of the Prince of Wales, the immensely popular Neapolitan mixed easily with his subjects and portrayed them gently, making it something of a mark of honour, even a social necessity, to appear in Vanity Fair’s pages. Before then, the nature of English caricature had been shaped by the savage work of the Georgian cartoonists such as Thomas Rowlandson and James Gillray. Pellegrini diluted the ferocity of these cartoons through his own style, in uenced by his early years caricaturing bohemian society in Naples, and by the work of his fellow Neapolitan, Melchiorre Del4co (who would later contribute eight drawings to Vanity Fair). The gently humorous style of caricature that was introduced to England by the likes of Pellegrini and Del4co was immediately more palatable to the sensibilities of Victorian Society than the more brutal satire made popular in France.

The success of Carlo Pellegrini and the burgeoning popularity of Vanity Fair made the magazine an attractive proposition for foreign artists seeking patronage in the upper echelons of society. In 1869, the French society painter, James Tissot began to contribute under the pseudonym ‘Coïdé’, bringing a more serious, portraiture style to the magazine. This suited the preferences of Thomas Bowles Gibson, but, understanding that Pellegrini’s more satirical drawings were what had brought him success, sought other more humorous collaborators to work alongside him. These included Adriano Cecioni, Melchiorre Del4co, Francis Carruthers Gould and the American political cartoonist, Thomas Nast.

The arrival of Leslie Ward at Vanity Fair in 1873 turned the magazine into a national institution. Drawing under the pseudonym ‘Spy’, Ward was industrious, dependable and passionate. Bowles Gibson came to depend on him over the mercurial Pellegrini, who left Vanity Fair on a number of occasions to pursue other ventures. For 40 years, ‘Spy’ caricatured the highest pro4le 4gures in Victorian society, from actors and sportsmen to politicians and royalty. Having grown up rubbing shoulders with those whom he now caricatured, through his family connections and personal acquaintances, he was able to move easily in these social circles. He considered himself no bohemian, rather he saw himself as a professional, dedicated to his craft. To be caricatured by ‘Spy’ and for the result to appear in Vanity Fair was a con4rmation of one’s importance to Victorian society.

Though Leslie Ward’s approach to his art changed the perception of caricature in Victorian England, it was not always for the better. In Vanity Fair’s early days, this respectable, often attering form of caricature was something entirely new. In the light of this novelty, it was viewed in the right spirit by those portrayed. Later, as Ward lamented in his autobiography, Forty Years of Spy, those he drew began to grow particular and demanding about how they were represented. Ward began his career at Vanity Fair physically seeking out his subjects around London; as he grew busier, he began to request that many came to sit

3 . Va n i t y F a i r

for him at his studio. Frequently, he received sitters who would pay for the privilege of being caricatured. This opened an entirely new form of subject to him, and with it came a more commercial relationship between Ward and his sitters.

Despite the ongoing success of Vanity Fair, the attentions of Thomas Gibson Bowles had begun to focus elsewhere by the 1880s, and he was content to leave most of the illustrations to Leslie Ward. He had become more involved in politics (he would become Conservative MP for King’s Lynn in 1892) and had other newspaper interests including The Lady, which he founded in 1884. In 1889, he sold Vanity Fair for £20,000 and was replaced as editor by A G Witherby.

Although this did not immediately alter the character of the magazine, the death of Pellegrini in January 1889 left Ward as the only experienced member of sta!. For the next decade, the only other regular contributor of illustrations was the French caricaturist, Jean Baptiste Guth.

Though some have argued that Vanity Fair fell into a decline in the twentieth century, having lost some of its wit and irreverence, it remained a proving ground for aspiring young artists, the most notable being Max Beerbohm, who contributed nine drawings to the magazine in its later years. Vanity Fair’s 4nal caricature, of Joseph Chamberlain drawn by ‘Astz’, was published on 14 January 1914. The following month, it was absorbed by Hearth and Home.

Other periodicals founded during this period purported to be society papers, but none came close to matching Vanity Fair. This was undoubtedly due to the consistent quality of cartoons from the likes of Ward and Pellegrini. Ward described Mayfair, a paper he occasionally drew for, as ‘the only Society journal that I can recall having succeeded in any way on the lines of Vanity Fair’ [Forty Years of ‘Spy’, page 337]. A comment published in The Week, a Canadian journal, on 3 April 1884, claimed that whilst it was virtually unknown outside of London, Vanity Fair ‘owes the small place it holds in unkeydom to the clever cartoons of public characters which appear each week’.

Though Vanity Fair was, like many other similar magazines, a purveyor of ‘backstairs court and aristocratic tittle-tattle’ (as described by The Week), Leslie Ward described Vanity Fair in his autobiography as the 4rst magazine that could rightfully call itself a society journal. Through the acerbic wit of Thomas Gibson Bowles and other contributors, and through the caricatures of ‘Spy’, Vanity Fair became the essential representation of Victorian high society, a paper written by and for the Establishment.

Fu r th er Reading : Roy T. Matthews, Peter Mellini, In ‘Vanity Fair’, Berkeley, CA: University of California Press, 1982; Leslie Ward, Forty Years of ‘Spy’, London: Chatto & Windus, 1915

39

3 . Va n i t y F a i r

A PE

A

Carlo Pellegrini (1839-1889), known as ‘Ape’

longside his colleague Leslie Ward (who took the pen name ‘Spy’), Carlo Pellegrini de4ned the look of the Victorian society journal, Vanity Fair. Inspired by the work of Melchiorre Delifco and Honoré Daumier, his caricatures, produced under the pen name ‘Ape’, had an enduring e!ect on Victorian high society as a whole. So did Pellegrini himself, as the eccentric Neapolitan caricaturist became known as one of London society’s most well-known and well-loved 4gures.

Carlo Pellegrini was born in Capua, Campania, Italy, on 25 March 1839, a descendent of the Sedili Capuani, an aristocratic landowning family. He was educated at the Collegio Barnabiti, then at the Sant’ Antonio in Maddaloni, near Caserta. By the age of 20, he had already established himself as a highly popular 4gure in Neapolitan high society. He was eccentric and funny, kindhearted and generous. He quickly earned himself many friends and patrons and delighted many of them by drawing caricatures for them, though he had no formal artistic training.

In the autumn of 1860, it is possible that the young Pellegrini joined the forces of Giuseppe Garibaldi and fought in the last battles against the Bourbons at the Volturno and at Capua. Although this assertion is the subject of debate, as are many of his anecdotes, according to his Vanity Fair colleague, Leslie Ward.

On 9 November 1892, Pellegrini met the Prince of Wales during a visit to Naples, and celebrated his coming-of-age with him. This encounter was signi4cant to his future career, as two years later, when he arrived in London, he was quickly ensconced as a close friend and jester in the Prince’s social circle. Why he left Italy is unclear, though he maintained to friends that it was a combination of unrequited love and the death of his sister. He claims that he initially endured poverty when he 4rst arrived in London, including periods sleeping rough in Whitehall and Piccadilly, but his reputation and popularity in London’s bohemian society rapidly grew.

As he had done in Naples, Pellegrini regularly drew caricatures for his friends and royal companions. These caricatures came to the attention of Thomas Gibson Bowles, who had recently founded the society paper, Vanity Fair. He commissioned Pellegrini to produce colour portraits of Benjamin Disraeli and William Gladstone. These portraits were reproduced by Vincent Brooks, then London’s premier lithographer and appeared in Vanity Fair in January and February 1869 under the pseudonym ‘Singe’, the French for ‘ape’. His drawings were an immediate success and he became a permanent member of sta! at Vanity Fair, producing caricatures under his new pseudonym, ‘Ape’.

In the 1870s, he met and struck up a friendship with Edgar Degas, and the two men produced portraits of one another, Pellegrini’s inscribed ‘a vous’, and

40

Degas’ ‘a lui’. Remaining as highly sociable in London as he had been in Naples, Pellegrini was a member of the Arts Club from 1874 to 1888, and a member of the Beefsteak Club, along with Leslie Ward. It was here that he 4rst met James McNeill Whistler, who became a great in uence on his work. Pellegrini had long aspired to become a portrait painter to the level of Whistler, and twice left Vanity Fair, 4rst in 1871 and again in 1876, in an attempt to succeed in this 4eld. However, his talents for caricature did not extend to portraiture and, after his work in this 4eld was poorly received by critics, he returned to Vanity Fair early in 1877. Though he was debilitated in his 4nal years by tuberculosis, he continued to produce cartoons for Vanity Fair until his death on 22 January 1889.

At barely 4ve feet two inches tall, with a large head and very small feet, Carlo Pellegrini certainly made a huge impression on those he met. He aunted his homosexuality, at a time when it was dangerous to do so and dressed eccentrically, though awlessly. As Leslie Ward observed, ‘he always wore white spats, and their whiteness was ever immaculate, for he rode everywhere, a fact which probably accounted for his bad health in later years.

His boots, too, were the acme of perfection, and his nails were as long and pointed as those of a mandarin’ [Forty Years of Spy, page 96]. His story-telling at London society gatherings was legendary, despite his struggles with the language.

Ward recalled that when regaling his listeners with his stories, ‘his English, which was ever poor, stumbles and tripped, for although he was rather too quick to recollect slang terms, his grammar remained appalling, but delightfully naive’ [Forty Years of Spy, page 97]. Such was his popularity that when he was debilitated by tuberculosis, his fashionable friends raised the money for his care in a private hospital, settled all his debts, and provided the luxuries to which he was accustomed until his death. The Fine Art Society sold a proof from a destroyed plate of his much admired caricature of Whistler, with Whistler's signature, to pay for his gravestone in Kensal Green Roman Catholic cemetery, London.

His work is represented in the collections of the National Portrait Gallery; and the Royal Library, Windsor.

F u r t h e r re a d i n g : Maria Cristina Chiusa, ‘Pellegrini, Carlo (b Carrara, Nov 22, 1605; d Carrara, 1649), Grove Art Online, 2003, https://doi.org/10.1093/gao/9781884446054.article.T066088; Peter Mellini, ‘Pellegrini, Carlo [peud. Ape] (1839-1889)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, https://doi.org/10.1093/ref:odnb/21806; Leslie Ward, Forty Years of ‘Spy’, London: Chatto & Windus, 1915

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31 SI R H E N R DRUM M O ND -WOLF F Signed Inscribed ‘Drummond Wolf ’ and dated ‘5 Sept 74’ on reverse Watercolour 12

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Illustrated: Vanity Fair, 5 September 1874, Statesmen no 184, ‘Consular Chaplains’ At the time of his appearance in Vanity Fair, Sir Henry Drummond-Wol! (1830-1908) had just become MP for Christchurch. He served in this role until 1880, when he became MP for Portsmouth. In 1885, he was sent to Constantinople and Egypt to negotiate as part of the Eastern Question and would serve as the British High Commissioner in Egypt from 1885 to 1887.

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COÏ DÉ James [Jacques-Joseph] Tissot (1836-1902), known also as ‘Coïdé’ ‘His work can hardly be called caricature; for the sketches were rather characteristic and undoubtedly brilliant drawings of his subjects’ (Sir Leslie Ward)

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hough best known as the French painter of English society, James Tissot also produced insightful caricatures. These appeared in Vanity Fair, under the name ‘Coïdé’, in the period from 1869 to 1873, alongside those of ‘Ape’ and before the arrival of ‘Spy’.

The second of four sons of a prosperous linen merchant, James Tissot was born in Nantes, on the River Loire, on 15 October 1836. He was educated at Jesuit colleges in Brugelette, Belgium; Vannes, Brittany; and Dôle, Franche-Comté.

He considered becoming an architect and then an artist. Moving to Paris by 1856, he studied at the Ecole des Beaux-Arts, under Louis Lamothe and Hippolyte Flandrin. While there, he befriended James McNeill Whistler and Edgar Degas.

Exhibiting at the Paris Salon from 1859 and at the Royal Academy, London, from 1864, he soon abandoned medieval subjects in favour of the elegant, polished, often complex, contemporary scenes for which he is best known. In 1869, he also began to produce his 4rst caricatures for Thomas Gibson Bowles’s society paper, Vanity Fair, signing them ‘Coïdé’, ‘perhaps because they were a collaboration between Bowles’s notions and Tissot’s draughtsmanship, thus “co-idée”’(Richard Thomson, in Anna Gruetzner Robins and Richard Thomson, Degas, Sickert and Toulouse-Lautrec. London and Paris 1870-1910, London: Tate, 2005, page 20).

Following the outbreak of the Franco-Prussian War in 1870, Tissot fought in the defence of Paris, but ed to London a year later. Through the auspices of Bowles, he made many professional and social connections, and his work gained rapid popularity. He lived openly with his Irish mistress, Kathleen Newton, in a house in Grove End Road, St John’s Wood. However, this sojourn came to an end in 1882 when, having contracted tuberculosis, she committed suicide at the age of 28.

Tissot returned to France, and soon turned to religion, both as a way of life and a subject for his art. He even made two visits to the Holy Land, in 1886-87 and 1889, which inspired a large series of watercolour illustrations of the Bible.

These drawings were exhibited at the Doré Gallery on his return. On 8 August 1902, he died at the Château de Buillon, Doubs, Franche- Comté, which he had inherited from his father in 1888.

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His work is represented in numerous public collections, including the National Portrait Gallery and Tate; Musée d’Orsay; and Brooklyn Museum (New ork) and the Minneapolis Institute of Arts.

F u r t h e r re a d i n g : Willard E Misfeldt, ‘Tissot, James [Jacques-Joseph] (b Nantes, 15 Oct 1836, d Château de Buillon, Doubs, 8 Aug 1902)’, Jane Turner (ed), The Dictionary of Art, London: Macmillan, 1996, vol 31, pages 29-31

32 G E N E R A L T RO C H U , ‘ T H E H O P E O F F R A N C E ’ Ink and watercolour with pencil and chalk 11 ¾

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Illustrated: Vanity Fair, 17 September 1870 Louis-Jules Trochu (1815-1896) had served with distinction in the French armed forces during the Crimean War. During the Franco-Prussian War, he was appointed Governor of Paris and Commander-in-Chief of all forces responsible for the defence of the capital. The leadership he demonstrated during the Siege of Paris saw him named President of the Government of National Defence, the de facto head of state, on 4 September 1870.

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S PY

F

Sir Leslie Ward, RP (1851-1922), known as ‘Spy’

or almost 40 years, Sir Leslie Ward de4ned the look of the society paper, Vanity Fair. His well observed, meticulously conceived cartoons permanently altered the art of caricature in England. From the cruel and often grotesque caricatures made popular by the likes of Gillray and Daumier, Leslie Ward made caricature acceptable and, indeed, necessary to the who’s who of Victorian high society.

Leslie Ward was born at Harewood Square, London (on the site of what is now Marylebone Station), on 21 November 1851. He was exposed to the artistic life from birth as his father, Edward Matthew Ward, and mother, Henrietta Ada Ward, were both professional artists. His father produced historical paintings and his mother was a fashionable painter of portraits.

Indeed, the artistic tradition of Ward’s family stretched back further still.

His maternal grandfather, George Raphael Ward, was a mezzotint engraver and miniature painter, his mother’s great-uncle was John Jackson RA, portrait painter in ordinary to William IV, and his great-grandfather, James Ward, was a versatile painter of landscapes, animals and portraits, engraver, lithographer and modeller. His godfather, Charles Robert Leslie, after whom he was named, was also a Royal Academician and father to George Dunlop Leslie, who won the Royal Academy Schools Silver Medal in 1814.

Ward was strongly in uenced by the artistic environment in which he found himself as a young child. At the age of four, he holidayed in Calais with his parents, and produced what he considered to be his 4rst caricatures, of a number of French soldiers loitering at the docks. As his parents were popular and highly sociable in artistic circles, the young Ward was introduced to a great number of the Victorian period’s most in uential literary and artistic 4gures.

The novelist, Wilkie Collins, was a close friend of his parents, as was his brother, Charles Allston Collins, one of the original members of the Pre-Raphaelite Brotherhood. Other artists who visited his parents’ studios when he was child included Daniel Maclise, Sir Edwin Landseer, John Everett Millais and William Holman Hunt. Ward was also introduced to the Queen and Prince Consort, who made regular visits to the studio. One such visit was during the progress of one of his father’s commissioned pictures, The Visit of Queen Victoria to the Tomb of Napoleon I, which was referred to in The Spectator’s review of the Royal Academy Summer Exhibition in 1858 as ‘a stagey, ashy, vulgar a!air, with scarcely a redeeming point’.

Leslie Ward enjoyed a happy childhood. While he was still young, the family moved from Harewood Square to Upton Park, Slough, a rural environment that he adored. His artistic surroundings nurtured his desire to become an artist. Despite this, and the fact the he was a regular sitter for his parents, Ward never received a single lesson from either. His father was actually keen

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to dissuade him from becoming an artist and wished to see him educated in a more traditional manner. Initially, he attended Chase’s School, Salt Hill, near Slough. However, he did not stay long as the school was soon broken up due to the ill health of the headmaster. As a result, he was sent to study at Eton at a younger age than was planned. At the request of his father, his aptitude and love for drawing was not encouraged whilst he was at Eton. Nevertheless, he

Photograph portrait of Sir Leslie Ward, 1915

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continued to indulge his passion, regularly drawing the school’s masters and his fellow pupils, and so becoming Eton’s uno cial caricaturist. While he was still young, the family returned to London, moving to Kent Villa, Kensington, a large house with two studios one on top of the other for his parents. On school holidays, he spent much of his time watching his parents work there, as well as at the temporary studio erected on the terrace of the House of Lords, where he watched his father paint frescoes for the Houses of Parliament.

At the age of 16, Ward turned his attention to modelling and started a bust of his younger brother, Wriothesley Russell Ward. Working on it in his holidays, he 4nished it in time to submit it to the Royal Academy, where it was accepted and exhibited at the Summer Exhibition of 1867. However, he chose not to follow up on this success, deeming the process too much of a physical and mental strain on him. As a young man, he also indulged in a growing interest in the stage. During his school holidays, he would assist at various playhouses across London by painting scenery and playing in small roles. He 4rst appeared in front of a large audience at the Bijou Theatre in Bayswater as part of an amateur company called ‘The Shooting Stars’, comprised largely of Cambridge undergraduates.

After leaving school at the age of 16, Leslie Ward travelled to Paris with a group of friends, for little more reason than to enjoy himself and soak up the city’s artistic atmosphere. However, his father’s desire to see him installed in a secure vocation resulted in Ward entering the o ce of Sydney Smirke RA, to study architecture. Smirke was a highly respected architect, whose most well-known works include the Carlton Club and the Reading Room at the British Museum. However, the mechanical process of the profession did not appeal to Ward, and his period with Smirke only served to strengthen his resolve to become an artist. After a year, Smirke had completed his work on the exhibition galleries at the Royal Academy’s Burlington House and decided to retire. During this time, Ward had been made a member of the Architecture Association, and his father arranged for him to continue his architectural studies with Edward Barry RA. However, when he was informed that his period of study with Barry would last for another 4ve years, Ward declined the o!er and resolved 4nally to tell his father that he wished to pursue a career as an artist. He found an ally in the painter and Royal Academician, William Powell Frith, a close family friend who agreed to mediate between Leslie Ward and his father. The intervention of Frith at last saw his father relent and give his blessing to his chosen career.

His 4rst commission was to end in unfortunate circumstances. Through his father, Ward obtained work undertaking a series of interior drawings for a family friend, a Mrs Butler Johnson Munro. However, after three months’ work, Mrs Butler Johnson Munro suddenly died, leaving Ward with just a 4ve pound note he had been paid after his 4rst day. He did not have the heart to send a claim for full payment to her executors.

A six-week visit to Lord Lytton at Knebworth, in the company of his parents, gave Ward his 4rst real encouragement that he could succeed as an artist.

During his stay, he painted a watercolour of Knebworth’s great hall and had Lord Lytton sit for a portrait. (He also caricatured his host from memory.)

On his return home, his painting of the great hall was accepted by the Royal Academy and, determined to win his father’s approval, he began his preparation to enter the Royal Academy Schools. This preliminary course of instruction included study at the Slade School of Fine Art, under Professor Edward Poynter. In 1871, he entered the Royal Academy Schools as probationer in Architecture, before becoming a full-time student.

Much of his time at the Royal Academy was spent exhibiting portraits in oil and watercolour and he could easily have made a career in that 4eld. Portraits that he exhibited at the Royal Academy included drawings of his brother, Wriothesley, and his sister, Beatrice. Though he exhibited great talent in portrait painting, and would be elected to the Royal Society of Portrait Painters in 1891, he still held a great love for caricature and continued to draw the various personalities who crossed his path.

Leslie Ward’s association with the society paper, Vanity Fair, began with a garden party hosted by Lord Leven. Here, he observed the eminent zoologist, Professor Richard Owen, who was nicknamed ‘Old Bones’. So taken by what he described as his ‘antediluvian incongruity’, he resolved to caricature him. At this time, Thomas Gibson Bowles, the founder of Vanity Fair, had grown dissatis4ed with the artists working for him the absence of his main caricaturist, Carlo Pellegrini, and was searching for new cartoonists. John Everett Millais, having known of Leslie Ward’s skill and enjoyment in creating caricatures and his admiration for Vanity Fair, called to see a collection of his work. Particularly taken with the caricature of ‘Old Bones’, he urged Ward to submit it to Vanity Fair. He did so, and it was accepted and published in 1873. The cartoon was unsigned, as Bowles did not approve of Ward’s original idea for a signature.

When Bowles handed Ward a dictionary and suggested he search for a pseudonym, the page fell open on the ’S’s’ and his eye was caught by ‘Spy’.

Following the publication of his 4rst cartoon, Leslie Ward became a permanent sta! member at Vanity Fair and he was able to turn his attention ‘whole-heartedly and with in4nite pleasure’ to caricature. When he and Vanity Fair’s other great cartoonist, Carlo Pellegrini, were 4rst introduced at a social event, Pellegrini jokingly told onlookers that he had taught Ward everything he knew. He laughed it o!, knowing it not to be the case, but when numerous journalists believed it to be true and put it into print, Ward grew to regret not correcting the comment. Nevertheless, this 4rst meeting began a lasting friendship and great mutual admiration.

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‘Spy’ was an apt pseudonym for Ward, as he often found himself ‘stalking’ his subjects everywhere from the law courts and Houses of Parliament to society gatherings and theatres of London, before drawing them from memory. In his early days at Vanity Fair, he was often given subjects that were refused by Pellegrini, and his caricatures were often the result of hours of continual attempts, watching his subjects as they walked or drove past. In Thomas Gibson Bowles, Ward found a valuable ally when studying his subjects. As Ward explains, ‘he was so thoroughly a man of the world and withal so tactful and resourceful that I was glad when we worked in company. It was a great help for me, and I was able to employ my attention in observing while he took the responsibility of conversations and entertainment of the subject entirely o! my hands’. In January 1873, Ward received a commission from William Luson Thomas, editor of The Graphic, and contributed a number of portrait drawings to the paper, including those of Sir John Cockburn, Benjamin Disraeli, William Gladstone and Lord Leighton. In 1876, he left The Graphic and worked exclusively for Vanity Fair alongside Pellegrini. When Pellegrini died in 1889, Ward produced virtually every cartoon.

In 1874, his parents had left London and moved to Windsor. As Ward was required to stay in London, he took rooms in Connaught Street, and a studio in William Street, Lowndes Square. As his fame grew and his time became more precious, he began to require many of his subjects to come to this studio and sit for him. This procedure frequently irritated him, as his sitters often made requests as to how they should be portrayed, or complained about the 4nal result. Nevertheless, he continued to accept commissions to produce portraits, partly because he remained greatly fond of the process of portrait painting, but also because it was well paid. In an 1897 interview given by Oliver Armstrong Fry, then editor of Vanity Fair, to Frank Ban4eld of Cassell’s Magazine, it was reported that Ward received between £300 and £400 for a portrait. Later in life, he would regret not allowing himself more time to work in this genre.

The nature of his work and his association with such a reputable society magazine as Vanity Fair meant that Leslie Ward 4gured prominently in the upper echelons of Victorian society. In 1874, he joined the Arts Club in Hanover Square, whose members at the time included Punch cartoonists John Tenniel and Charles Keene. He later became a member of the Orleans Club, the Lotus Club and the Pelican Club. In 1876, he became one of the original members of the Beefsteak Club, a bohemian club founded by Archibald Stuart Wortley. He was elected an honorary member of the Lyric Club, and also joined the newly opened Fielding Club and the Gallery Club, held on Sunday nights at the Grosvenor Galleries. In July 1880, he was invited on a cruise aboard the HMS Hercules by the Duke of Edinburgh, who had seen and admired his caricature of the Admiral Sir Reginald MacDonald, which had appeared in Vanity Fair. In 1890, he was given the honour of a sitting by the Prince of Wales at Marlborough House.

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After many years as a bachelor, Leslie Ward married in 1899 to society hostess Judith Topham-Watney, the only daughter of Major Richard Topham, of the 4th Queen’s Own Hussars. They had initially courted some years earlier, only for her parents to block their engagement on the grounds that Ward was 4nancially unworthy. However, in 1899 they happened to meet again on a train journey, their relationship was rekindled and they were married a few months later at St Michael’s Church in Chester Square. Settling down together in Elizabeth Street, Belgravia, they had one daughter, Sidney.

In 1911, Leslie Ward resigned from Vanity Fair, ending an association with the paper that had lasted almost 40 years. He was soon approached by the paper, The World, who o!ered him not only the same pay that he received at Vanity Fair, but also permission to retain the rights of his original drawings. As a result, he was able to send a collection of his works to the Turin Exhibition at the request of Sir Isidore Spielmann, for which he received a Grand Prix. He also occasionally produced portraits for Mayfair, which Ward described as ‘the only Society journal that I can recall having succeeded in any way on the lines of Vanity Fair’ [Forty Years of ‘Spy’, page 337]. In 1914, he was commissioned by the sta! of the Pall Mall Gazette and The Observer to produce a portrait of their editor, James Louis Garvin.

In 1915, Leslie Ward published his autobiography, Forty Years of ‘Spy’. He was knighted in 1918. He died suddenly of heart failure at 4 Dorset Square, London, on 15 May 1922.

His work is represented in the collections of the National Portrait Gallery.

F u r t h e r re a d i n g : Peter Mellini, ‘Ward, Sir Leslie [pseud. Spy] (1851-1922)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 57, pages 325-326; Leslie Ward, Forty Years of ‘Spy’, London: Chatto & Windus, 1915

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33 H M G E ORGE , KING O F GRE E C E Signed Watercolour and bodycolour with pen and ink on tinted paper 12

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Illustrated: Vanity Fair, 21 October 1876, Sovereigns no 12 Spy’s caricature of King George is a reminder of British, and generally international, involvement in the governance of Greece following its independence from the Ottoman Empire in 1830. At the London Conference in 1832, The ‘Great Powers’ – Britain, France and Russia – recognised the country’s autonomy and established a monarchy in Greece under the Bavarian prince, Otto. He reigned for 30 years, but became increasingly unpopular with native Greek politicians, and was deposed in 1862. He was replaced at the suggestion of the Great Powers by the 17 year old Danish prince, William (1845-1913). He was elected the King of the Hellenes in 1863, and took the regnal name of George. At his urging, Greece adopted a more democratic constitution, and greatly developed its parliamentary process.

In the same year, his sister, Alexandria, married (Albert) Edward, the Prince of Wales and future Edward VII. These personal bonds further strengthened relations between Britain and Greece, and helped maintain George’s reputation among the British people, as exempli4ed by Spy’s gentle caricature, which was published in 1876.

During the nineteenth century there was a desire in Greek politics to unify all areas that had been historically inhabited by the ethnically Greek people. So, in 1897, the Greek population of Crete rose up against its Ottoman rulers, and the Greek Prime Minister, Theodoros Diligiannis, mobilised troops, which invaded Crete and crossed the Macedonian border into the Ottoman Empire. When Greece lost the war that followed, King George considered abdicating. However, when he survived an assassination attempt in 1898, his subjects began to hold him in greater esteem. In 1901, on the death of Queen Victoria he became the second-longest-reigning monarch in Europe.

In 1912, the Kingdom of Montenegro declared war against the Ottoman Empire, Crown Prince Constantine led the victorious Greek forces in support of the Ottoman Empire, in what became known as the First Balkan War. George planned to abdicate in favour of his son immediately after the celebration of his Golden Jubilee in October 1913. However, while walking in Thessaloniki on 18 March 1913, he was assassinated by the anarchist, Alexandros Schinas. Constantine succeeded to the throne.

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34 R E V H ENR M O NTAG U V I L L I ER S Signed Watercolour and bodycolour with pencil 12

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Illustrated: Vanity Fair, 21 August 1902, Men of the Day no 847 Henry Montagu Villiers (1837-1908) held the o ce of Prebendary of St Paul’s Cathedral and later served as the Vicar of St Paul’s Church, Knightsbridge.

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35 COL CH A RLES NA PIER S T U RT Signed Watercolour with bodycolour on tinted paper 12

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Illustrated: Vanity Fair, 25 November 1876, Men of the Day no 142, ‘A Younger Son’ Charles Napier Sturt (1832-1886) was Conservative MP for Dorchester in the period 1856-74. As a Lieutenant-Colonel in the Grenadier Guards, he was severely wounded in 1854 at the Battle of Inkerman, during the Crimean War.

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36 CO LO NEL W I L L I A M CO R NWA L L I S -W EST M P Signed Watercolour with bodycolour 15 ½

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Illustrated: Vanity Fair, 16 July 1892, Statesmen no 595, ‘Denbighshire’ Exhibited: ‘The Long Nineteenth Century: Treasures and Pleasures’, Chris Beetles Gallery, London, March-April 2014, no 140 William Cornwallis-West (1835-1917) was born in Florence, the youngest child of Frederick West of Ruthin Castle, Denbighshire. Following his education – at Eton and Lincoln’s Inn – he returned to Florence and developed his talent as a painter, gaining a reputation as a copyist, and also collecting. On the early death of his elder brother, Frederick, in 1868, he succeeded to the estate of Ruthin, and four years later married 17 year-old Mary Fitzpatrick, who would become a leading socialite (and later have an a!air with the Prince of Wales).

They shared their time between Ruthin and 49 Eaton Place.

West became High Sheri! of Denbighshire (1872), Lord-Lieutenant of Denbighshire (1872-1917), a Justice of the Peace and Honorary Colonel in the 4th battalion of the Royal Welch Fusiliers, and was awarded the Royal Naval Volunteer Reserve O cers’ decoration. In 1885 he was returned to parliament for Denbighshire West, a seat he held until 1892, 4rst as a Liberal and then as a Liberal Unionist.

On the death of his mother in 1886, West came into possession of Newlands Manor, Lymington, Hampshire, and attempted to develop the resort of Milford on Sea in emulation of the Duke of Devonshire’s project at Eastbourne.

His children included George, who was the second husband of Jennie Jerome, mother of Winston Churchill, and then the second husband of the actress, Mrs Patrick Campbell; Daisy, Princess of Pless; and Constance Edwina, Duchess of Westminster.

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37 THE E ARL OF SHRE WSBUR A ND TALBOT Signed Watercolour and bodycolour 12 ¼

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Illustrated: Vanity Fair, 30 July 1903, Statesmen no 758, ‘Cabs’ When only seventeen years old, Major Charles Chetwynd-Talbot (1860-1921) inherited the titles of the 20th Earl of Shrewsbury, 20th Earl of Waterford and 5th Earl of Talbot. Passionate about equestrian sports, he developed an interest in horse-drawn transport and, in London in 1888, founded the Shrewsbury and Talbot Cab and Noiseless Tyre Company; this would grow to 210 cabs and 365 horses. Following his separation from his wife in 1896, she remained at Alton Towers, Sta!ordshire, while he went to live at Ingestre Hall, in the same county. There, in 1903, he founded the Talbot car company in order to import the French Clément car into Britain, which began in 1905. Domestically designed Talbot cars followed from 1906.

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38 LO R D K EN SI NGTO N , M P Signed Ink and watercolour with bodycolour and pencil 13 ¼

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Illustrated: Vanity Fair, 7 September 1878, Statesmen no 281, ‘A Whip’ William Edwardes (1835-1896) was Liberal MP for Haverfordwest in Pembrokeshire during the period 1868-85.

Though succeeding to the title of Baron Kensington in the Peerage of Ireland in 1872, he remained in the House of Commons, as a Whip, a member of the Privy Council and, latterly, Comptroller of the Household (1880-85). Created 1st Baron Kensington in the Peerage of the United Kingdom in 1886, he then entered the House of Lords, and acted as its Liberal Chief Whip in 1892-96.

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39 SI R WALTER F RA NCI S HEL - H U TC H IN S ON , GOVE RNO R O F NATA L , S OU T H AF RIC A Signed Watercolour with bodycolour on tinted paper 6 ¾

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Illustrated: Vanity Fair, 7 July 1898, Men of the Day no 717, ‘Natal’ Spy depicts Sir Walter Hely-Hutchinson wearing the Regalia of the Most Distinguished Order of St Michael and St George.

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40 J U DI C I A L P O L I TENE SS THE RT HON SIR C S C BOWEN

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Illustrated: Vanity Fair, 12 March 1892 After being called to the bar at Lincoln’s Inn in 1861, Charles Synge Christopher Bowen 4rst rose to prominence as part of the prosecution team in the Tichborne Case, a cause célèbre that captured the public imagination in the late 1860s and early 1870s. In 1879 he was appointed a High Court judge in the Queen’s Bench and in 1882 was raised to the position of Lord Justice of Appeal. In 1893, the year after his portrait appeared in Vanity Fair, he was made a Lord of Appeal in Ordinary and a life peer with the title Baron Bowen.

In his youth, he played a single 4rst-class cricket match for Hampshire against the MCC. He is credited with coining the phrase ‘the man on the Clapham omnibus’.

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41 M R FRANK LO CK WO O D, QC MP Signed Watercolour and pencil on tinted paper 7 ½

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Illustrated: Vanity Fair, 20 August 1887, Statesmen no 526, ‘York’ Frank Lockwood (1846-1897) was a famous lawyer and Liberal MP for ork in the period 1885-97. Having been called to the bar in 1872, he went on to become Solicitor-General in Lord Rosebery’s ministry for the year 1894-95, and was knighted at the same time. A talented amateur artist, he published the Frank Lockwood Sketch-book in 1898.

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42 SI R J A M ES TA LO R I NG H A M , M A K T Signed Watercolour with bodycolour and pencil 16 ¼

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Provenance: The Dibben Family, Nash Priory and 4 Smith Square, London SW1 Illustrated: Vanity Fair, 20 February 1886, Men of the Day no 353, ‘Bow Street’ orkshire-born James Taylor Ingham (1805-1890) was called to the bar at the Inner Temple, and initially joined the northern circuit. Becoming a magistrate in London in 1849, he was made Chief Magistrate of London in 1876, sitting at Bow Street. Later that year, he was knighted at Osborne House.

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43 LI N L E SA M BO UR NE Signed Inscribed with title and dated ‘Nov 1891’ below mount Watercolour with bodycolour 12 ½

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Illustrated: Vanity Fair, 16 January 1892, Men of the Day no 528, ‘Sammy’ Linley Sambourne was an artist, cartoonist and illustrator, who would succeed Sir John Tenniel as the political cartoonist of Punch. For a full biography of Linley Sambourne, please refer to The Illustrators, 2015, page 34.

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44 LO R D R AG L A N GEORGE FIT RO HENR SOMERSET

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Illustrated: Vanity Fair, 14 February 1901, Statesmen no 732 Shortly before his portrait appeared in Vanity Fair, the Lord Raglan George Somerset had, in November 1900, been appointed Under-Secretary for War in Lord Salisbury’s Conservative government. His grandfather, Lord FitzRoy Somerset, had served under the Duke of Wellington during the Napoleonic Wars, losing an arm at Waterloo in 1815. He was made Field Marshall of the British Armed Forces in the Crimea, where, in 1854, he was partly responsible for the ill-fated ‘Charge of the Light Brigade’.

George Somerset continued the military tradition of his family by joining the Grenadier Guards and seeing action in the Second Anglo-Afghan War, where he was decorated. In 1902, after serving as Under-Secretary for War, he was appointed Lieutenant Governor of the Isle of Man.

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45 CL E ME NT KING SHO RTE R THREE EDITORS

Signed Inscribed ‘Clement Shorter Esq’ below mount Watercolour with bodycolour on tinted paper 11 ½

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Illustrated: Vanity Fair, 24 December 1894, Men of the Day no 607 A journalist and editor, Clement King Shorter began his career as a sub-editor for the Penny Illustrated Paper and columnist for the Star whilst working as a clerk in the Exchequer and Audit Department at Somerset House.

In 1891, following the retirement of the editor of The Illustrated London News, John Lash Latey, Shorter o!ered himself to the director, William Ingram, for the role and was accepted. Together with Ingram, he founded and became editor of The Sketch in 1892 and, following its acquisition by Ingram in 1893, editor of The English Illustrated Magazine. In the years following his appearance in Vanity Fair, he would become founder and editor of The Sphere (1900) and Tatler (1901).

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46 LO R D STA NL E O F A L DER L E Signed Inscribed with title and dated ‘Oct 1st 1883’ below mount Watercolour with bodycolour 10 ½

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Drawn for but not illustrated in: Vanity Fair Henry Stanley, 3rd Baron Stanley of Alderley (1827-1903), was a historian specialising in European exploration and expansion of the sixteenth century. He was Vice-President of the Hakluyt Society, which published his editions and translations, including Ferdinand Magellan’s The First Voyage Round the World (1874).

Fascinated by all things oriental from a young age, Stanley showed an interest in Arabic while at Eton and – as a con4dent linguist – began to read it at Cambridge. Leaving university after a year, he became précis writer to Lord Palmerston, the foreign secretary, and worked in various positions in the diplomatic service for over a decade. In 1859, he left the service in order to travel in the Near East and Asia, and reached as far as Indonesia. It was also rumoured that he visited Mecca in order to convert to Islam.

Continuing to travel through the 1860s, he made a secret Islamic marriage in 1862, to a Spanish woman, Fabia Fernandez Funes.

(They underwent further marriage ceremonies at the register o ce at St George, Hanover Square, in 1869, and at St Alban’s Roman Catholic Church, Maccles4eld, in 1874. Only after her death in 1905 was it discovered that Fabia was a bigamist, who had already married in 1851, and whose husband did not die until 1870.)

In 1869, Stanley succeeded his father as the 3rd Baron Alderley and took his place in the House of Lords. However, while intending to announce his conversion to Islam, he seems not to have done so and, despite speaking on questions relating to religion and to India, failed to impress his fellow peers.

As a result of his Muslim principles, he closed the public houses on his Cheshire estate, and ensured that churches built or restored on his land, such as that at Llanbadrig, Anglesey, used exclusively geometrical glass. He was also buried according to Muslim rites.

His nephew, Bertrand Russell, described him as ‘de4nitely stupid’, but Muriel E Chamberlain, writing in the Oxford Dictionary of National Biography, has countered that he was ‘brilliant, eccentric, and unstable’ (Matthew and Harrison 2004, vol 52, page 214).

60

3 . Va n i t y F a i r

47 IAN CH A RLES , 8TH E A RL OF S E AF IE LD SHEEP

Signed, inscribed ‘Vanity Fair’ and dated ‘Sept. 29. 1883’ Inscribed ‘This picture belongs to Lady Nina Knowles, presented by the artist ‘Spy’ – Dec 1917’ on reverse Watercolour and bodycolour 13 ¾

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Illustrated: Similar to Vanity Fair, 29 September 1883, Statesmen no 434’ Ian Charles Ogilvy-Grant was a Conservative politician and the 27th Chief of Clan Grant. His portrait in Vanity Fair is titled ‘Sheep’ after the nickname given to him while he was serving in the First Regiment of Life Guards between 1869 and 1877. He sat in the House of Lords until his death at the age of 32, just a few months after he appeared in Vanity Fair.

As he was unmarried and childless, the earldom passed to his uncle, James Ogilvy-Grant. The present portrait was produced

by Leslie Ward in 1917 as a gift to Lady Nina Knowles, the daughter of Francis Ogilvy-Grant, the 10th Earl of Sea4eld.

61

3 . Va n i t y F a i r

48 EG ERTO N C A STL E HE INSISTS THAT HIS PEN IS MIGHTIER THAN HIS SWORD

Signed Watercolour and bodycolour 14

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Illustrated: Vanity Fair, 9 March 1905 Born into a wealthy publishing family, Egerton Castle was an author and swordsman, and was a leading 4gure in the revival of the art of historical fencing. In 1885, he wrote Schools and Masters of Fencing: From the Middle Ages to the Eighteenth Century, the standard reference on the sport, and captained the British epeé and sabre teams at the 1908 Olympic Games. He also found fame as writer of 4ction, co-authoring several novels with his wife, Agnes. A number of these novels, including The Pride of Jennico (1897), Rose of the World (1905) and The Bath Comedy (1900), were later adapted into silent 4lms.

62

Brock Brothers

4. Brock Brothers

4

B RO C K B RO T H E R S C E B ROC K

Charles Edmund Brock, RI (1870-1938)

H M B ROC K

W

Henry Matthew Brock, RI (1875-1960)

hile retaining distinct artistic personalities, the brothers, Charles and Henry Brock, developed a mutually supportive working relationship.

As a result, they became leading illustrators of historical subjects, and especially of eighteenth and early nineteenth-century literature.

For many generations, the Brock family farmed an area lying a dozen miles to the south of Cambridge. This tradition was broken by Edmund Brock who, as a reader in medieval and oriental languages for Cambridge #niversity ress, lived in London and later in Cambridge itself. In turn, none of his seven children returned to farming. 1f those that embarked on some kind of artistic career, the most successful were the illustrators, Charles and Henry.

to develop a degree of historical accuracy much greater than that of their model Hugh Thomson, and so dominate the so-called ‘costume’ school.

Though they worked side by side, and often illustrated di erent editions of the same book, Charles and Henry still managed to project distinct artistic personalities. Charles produced a delicate, often broken, line that retained something of the quality of his original sketches; it is perhaps best exempli ed by his drawings for The Works of Thackeray and The Works of Lamb (both 1902-3).

Against this delicacy may be set Henry’s strong sense of design, put to good use in a large number of cartoons for Punch (1905-60) and posters for the D’1yly Carte 1pera Company (1920s).

If Charles was the more technically versatile, sometimes working in oil, Henry tackled a wider range of subjects, being well known as an illustrator of stories of adventure (including those by 9tevenson and 9cott). And despite their a nity and mutual a ection, Henry had to continue to work long after the death of his brother. Charles died in Cambridge on 28 February 1938, while Henry retired only in 1950, when his eyesight began to fail. He died on 21 July 1960. The brothers had both been elected to the membership of the Royal Institute of ainters in Water Colours, Henry in 1906, Charles two years later, in 1908.

Charles Brock was born in Holloway, London, on 5 February 1870. 9oon after the birth of the second son, Richard, the family moved to Cambridge, and Henry was born there on 11 July 1875. Brought up in a strict rotestant tradition, the children went regularly to the Zion Chapel and attended the local Church of England 9chool before moving to Cambridge Grammar 9chool.

Despite their great aptitude for art from an early age, neither Charles nor Henry attended art school. Charles studied for a while under the sculptor, Henry Wiles, but Henry developed through his close association with Charles who, even after leaving his family home, returned every day to work in its studio.

Charles illustrated books from 1891 and established himself three years later with an edition of Gulliver’s Travels published by Macmillan. In the same year, Henry embarked on his career by working with Charles on the illustrations to a history textbook, also for Macmillan. This encouraged the publisher to commission both Charles and Henry as contributing illustrators to a new project, the ‘Macmillan 9tandard 6ovels’, alongside such established gures as Hugh Thomson. In 1895, Charles came into direct competition with Thomson when he was asked to illustrate Austen’s Pride and Prejudice for this series. In the same decade, Charles and Henry also illustrated an edition of Austen’s novels (Dent), so impressing their vision of eighteenth and nineteenth century England upon the public.

At the turn of the century, the Brock family moved to Arundine House, making it their permanent home and soon building a large studio in its garden.

Here the brothers assembled the large collection of ‘props’ that enabled them

64

H M BRO CK

Henry Matthew Brock, RI (1875-1960)

49 (opposite) H 1 1 ’ M TH #MB Signed Ink and watercolour, 13 ½ ' 1 0

I6CHE9

4. Brock Brothers

65

4. Brock Brothers

These illustrations (6os 50-55) were probably drawn for 9eeley's Elzevir series. 9eeley & Co, founded in 1744, was one of Britain's oldest and longest standing publishing rms. Amongst its many publications were reprintings of works published in the 17th and 18th centuries by the Dutch publishers, Elzevir.

50 J 1H 6 M ILT1 6 Signed Inscribed with title below mount Pencil and watercolour

51 M 1 6TA I G 6 E Signed Inscribed with title below mount Watercolour with ink

6 ½

6 ½

66

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4. Brock Brothers

52 G1L D9 M ITH Signed Inscribed with title below mount Watercolour with crayon

53 WILLIAM BLA E Signed Inscribed with title below mount Watercolour with pencil, crayon and ink

6 ¼

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67

4. Brock Brothers

54 RE E RE6 D R H B A R H AM Signed Inscribed with title below mount Watercolour and crayon 6 ½

68

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55 DE Q # I 6C E : C16FE99I169 1F A6 E6GLI9H 1 I#M EATER

Signed Inscribed with title below mount Watercolour with crayon and bodycolour 6 ¾

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4 ¾

I6CHE9

4. Brock Brothers

C E BRO CK

Charles Edmund Brock, RI (1870-1938)

TH E L A 9 T E 9 9A 9 1F ELIA The Last Essays of Elia was the second volume of essays written by Charles Lamb, published in 1833 by Edward Moxon following the publication of Essays of Elia in 1823. These editions were complied from Charles Lamb’s essays that had rst begun appearing in The London Magazine between 1820 and 1825, which he had written under the pseudonym ‘Elia’.

56 TH E 9 # ERA66#ATED MA6 Signed, inscribed with title and dated 1899 Inscribed ‘Last Essays of Elia’ below mount Ink 9 ¼

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Illustrated: Charles Lamb, Last Essays of Elia, London: J M Dent & Sons, 1900, page 86

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4. Brock Brothers

57 T H E ITIA B LE I6 F IRM IT IE9 1F 1 LD ME 6 Signed and dated 1899 Inscribed with title and ‘Stage Illusion. Last Essays of Elia. p 193’ below mount Ink

58 9TAG E I L L# 9I 1 6 Signed with initials, inscribed with title and dated 1899 Inscribed ‘Last Essays of Elia. Headpiece’ below mount Ink

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Illustrated: Charles Lamb, Last Essays of Elia, London: J M Dent & Sons, 1900, page 25

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Illustrated: Charles Lamb, Last Essays of Elia, London: J M Dent & Sons, 1900, page 28

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59 A M1DE9 T I61 F F E6 9I E D E 1RT ME6 T D 1E9 6 1T 6 ECE99 A R IL I M L AL1# R Signed, inscribed with title and dated 1899 Inscribed ‘Popular Fallacies. No 1’ below mount Ink

60 L I G H TED 1 # T TH E R EL I C FR1M H I 9 D # 9 T TR E A 9# R E9 Signed and dated 1899 Inscribed with title and ‘Last Essays of Elia. Old China’ below mount Ink

11 ¾

Illustrated: Charles Lamb, Last Essays of Elia, London: J M Dent & Sons, 1900, page 190

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Illustrated: Charles Lamb, Last Essays of Elia, London: J M Dent & Sons, 1900, page 211

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4. Brock Brothers

61 1#R TA LL DI 9 # TA 6T9 H A E A LWA 9 TH E A D A6 TAGE Signed with initials and dated 1899 Inscribed with title and ‘Popular Fallacies VII. Of two disputants, the warmest is generally in the wrong’ below mount Ink 7

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Illustrated: Charles Lamb, Last Essays of Elia, London: J M Dent & Sons, 1900, page 220

72

62 6 E W E AR’ 9 B AT Inscribed ‘Tailpiece to New Year's Coming of Age’ Ink 2

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Illustrated: Charles Lamb, Last Essays of Elia, London: J M Dent & Sons, 1900, page 172

63 I T H A 9 L E A R 6ED T1 G 1 T1 M A R E T Signed and dated 1899 Inscribed with title and ‘Last Essays of Elia. Popular Fallacies XII’ below mount Ink; 8 ¾ ' 6 I 6 C H E 9 Illustrated: Charles Lamb, Last Essays of Elia, London: J M Dent & Sons, 1900, page 235

Fairy & Fantasy

5. Fairy & Fantasy

5

F A I RY & F A N T A S Y F LO R E NC E H A R R I S ON Florence Susan Harrison (1877-1955)

F

lorence Harrison's fantasical illustrations for children combined Pre-9aphaelite in uences with the practices of n-de-siècle poster artists. <ssociated with the publisher, Blackie and Son, throughout her career, Florence Harrison's work ranged from illustrations of her own poetry for children, to 9omantic literary texts by 9ossetti, 8ennyson and Morris, to one of her most celebrated creations, the 1912 book, El n Song.

For a biography of Florence Harrison, please refer to The Illustrators, 2014, page 146 F ur th er reading : Mary Jacobs, ‘Florence Susan Harrison’, Studies in Illustration, Imaginative Book Illustration Society, no 46, winter 2010, pages 22-59 (with a bibliography of published illustrations)

65 (above) < N0 SO H G 6 <L L G0 < L I 8 8 L G B O 2

Nos 64-75 are all executed in ink and are all illustrated in Florence Harrison, El n Song, London: Blackie & Son, 1912

64 8 HG F<I 9 F LO- G9 S IN H G 9 H <N 0 4 ¼

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Illustrated: page 82, ‘The Changelings’

74

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IN6HGS

Illustrated: page 41, ‘The Gargoyle and the Chestnut Tree’ 67 (below right) O N G I NO-, O N G I NO-, - H O H < S NG v G9 SGG N 8 H G SNO4 ¼

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Illustrated: page 59, ‘A Snowy Day’

66 8H G F< I9 FLO-G 9 S I N H G9 H < N0 4 ¼

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Illustrated: page 82, ‘The Changelings’

5. Fairy & Fantasy

68 (above left) F< I 9I GS P L < I N 3 ¼

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B 8HG MO O N

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Illustrated: page 6 69 (above centre) P L < I N < P I PG 4 ½

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Illustrated: last page 70 (above) O 9 < S < 9I v G9 9 GG0 SO M G -<8G9- F< I9 <8H G9 S 8O M < G < FL" 8G FO 9 M " SI 6 <I 9 5

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Illustrated: page 127, ‘The Runaway Snowman’ 71 (left) H G 8" 9 NG0 H I S G N8 L G H G < 0 < N0 S<- " S S 8G < L I N I N 4 ½

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Illustrated: page 119, ‘A Christmas Dream’

75

5. Fairy & Fantasy

72 F< I 9 I N < 9O S G B " SH 3 ¼

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Illustrated: page 12

73 (left) 8 H GI 9 G <9 S SO P O I N 8G0, LO N , < N0 8H I N 2 ¼

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Illustrated: page 85, ‘The Changelings’ 74 (right) - I L L O " 6O M G < N0 L I v G - I8 H MG I N M L I8 8 L G N " 9 SG9 Inscribed with title below mount 5

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Illustrated: page 73, ‘Thistle Tassel’

75 - G - I L L -O 9 FO 9 O " - I 8H P LG < S" 9 G 2

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Illustrated: page 90, ‘Pixy Work’

76

5. Fairy & Fantasy

H O N O R A PPL ETON

H

Honor <ppleton (1879-1951)

onor <ppleton represented childhood innocence without resorting to sentimentality, most notably in her illustrations to Mrs 6radock’s ‘Josephine’ stories. 8hese are, for the most part, an exquisitely naturalistic depiction of a young girl's life, with occasional, but increasing suggestions that her dolls are also ali/e.

Honor <ppleton was born at 30 St Michael’s Place, Brighton, Sussex, on 4 February 1879, the third of four children of the 9e/d John <ppleton and his wife, eorgina (née -ilkie). By 1891, her father had died, and she had mo/ed with her mother and siblings to London, and had settled at 41 Gdith 9oad, Fulham, London. Ha/ing shown a talent for art from an early age, she studied at the National <rt 8raining School, South ensington, and then at Frank 6alderon’s School of <nimal Painting, at 54 Baker Street, where she gained a scholarship. 8his was followed by a brief period in the studio of Sir <rthur 6ope 9<.

In January 1901, <ppleton enrolled at the 9oyal <cademy Schools, at the same time as her elder sister, <lice. She seems to ha/e attended intermittently until 1906, during which time her work was recommended by John -atson Nichol.

She also in/ol/ed herself in the social life of the schools, by joining its Ladies Hockey 6lub. She was skilled at the game, and also played for Sussex, her home county. -hile still a student, <ppleton began her career as an illustrator, publishing The Bad Mrs Ginger with rant 9ichards in 1902. G/ol/ing her own distincti/e style through the assimilation of such nursery artists as ate reenaway, <nnie French and early Mabel Lucie <ttwell, she established herself professionally eight years later with Blake’s Songs of Innocence (Herbert and 0aniel, 1910).

She died at Brooklands Nursing Home, Haywards Heath, on 30 0ecember 1951, and was the subject of a memorial show held at Ho/e Public Library in the following year.

F u r t h e r re a d i n g : Alan Horne, ‘Appleton, Honor Charlotte (1879-1951)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, https://doi.org/10.1093/ref:odnb/69285

8he /ery successful exhibition of work by Honor <ppleton which was held by 6hris Beetles allery in 1990 was the /ery rst since her memorial show in 1951. It was accompanied by a 72-page fully-illustrated catalogue, which included an essay and bibliography.

By 1911, <ppleton was li/ing at 3 ventnor villas, Ho/e, Sussex, with her mother and elder sister, 9achel, and she remained at that address throughout her career. Shrewd and independent, she tra/elled only on matters of business, and was content to stay locally with her sister, <lice, and her husband in their home in -i/els eld. She was acti/e in her local community, both artistically and socially, and was a member of the Sussex -omen’s <rt 6lub. 0uring wartime, she worked as a nurse for the 6i/il 0efence.

6ontinuing to keep herself well-informed about the work of her contemporaries, <ppleton subscribed to Percy Bradshaw’s correspondence course, The Art of the Illustrator, in 1917. 0uring the following three decades she illustrated o/er 150 books. -hile the best known of her early illustrations were for the ‘Josephine’ series, published by Blackie, to texts by Mrs 6radock, she produced much other ne work. In the 1930s and 40s, she mo/ed away from nursery subjects to concentrate upon children’s /ersions of literary classics for eorge Harrap.

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5. Fairy & Fantasy

76 < B I 8 O F S89 IN 0IvI0 G 0 8H G <9 MIG S Signed Inscribed with title below mount Watercolour with pencil 8 ½

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IN6HGS

Illustrated: H C Craddock, Josephine and Her Dolls, London: Blackie and Son, 1916, frontispiece Exhibited: ‘Honor C Appleton (1879-1951)’, Chris Beetles Gallery, London, May 1990, no 5

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77 J O SG P H I NG ’ S 0 O L L S Signed with initials Ink 10 ½

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Illustrated: H C Craddock, Josephine and Her Dolls, London: Blackie and Son, 1916, title page

5. Fairy & Fantasy

78 HO- 8HG H"9 9IG0!

Signed Inscribed with title below mount Watercolour with bodycolour, 9 ½ + 7 I N 6 H G S Illustrated: Mrs H C Cradock, Josephine’s Pantomime, London: Blackie and Son, 1939, facing page 14 Exhibited: ‘Honor C Appleton (1879-1951)’, Chris Beetles Gallery, London, May 1990, No 217

79 - I L L I <M P " 8 8 H G 6 < P O N H I S O- N H G <0 Signed and inscribed with title below mount Watercolour with bodycolour 9 ½

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Exhibited: ‘Honor C Appleton (1879-1951)’, Chris Beetles Gallery, May 1990, No 73; ‘The Illustrators’, The Brook Gallery, Budleigh Salterton Literary Festival, September 2010

79

5. Fairy & Fantasy

80 8O-< 90S G v G NIN 8 IMG . . . . OLG L" - OIG 6OM GS Signed, inscribed with title and dated 1920 Watercolour 9 ¼

80

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81 <" 8" M N Signed and inscribed with title Watercolour 5 ½

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5. Fairy & Fantasy

EDM U N D D UL AC

T

Gdmund 0ulac (1882-1953)

he multi-talented artist, Gdmund 0ulac, contributed more than a dash of French panache to the illustration of Gnglish gift books. 0e/eloping an exquisite palette and eclectic style, that referenced Japanese prints and Persian miniatures, he complemented the work of his chief ri/al, <rthur 9ackham.

For a biography of Gdmund 0ulac, please refer to The Illustrators, 2017, pages 63-64 His work is represented in numerous public collections, including the British Museum, the 6artoon <rt 8rust, the Imperial -ar Museum, the Museum of London, the victoria and <lbert Museum, the Fitzwilliam Museum (6ambridge); and the New ork Public Library and 8exas "ni/ersity.

Fu r th er re ading : Edmund Dulac: Illustrator and Designer, Sheffield City Art Galleries, 1983; James Hamilton, ‘Dulac, Edmund [Edmond] (1882-1953)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 17, pages 168-170; Ann Conolly Hughey, Edmund Dulac. His Book Illustrations. A Bibliography, Potomac: Buttonwood Press, 1995; Colin White, Edmund Dulac, London: Studio Vista, 1976

82 I S I0O9G 0G L < 9< Signed, inscribed ‘Apollon Isidoros’ in Greek and dated 1917 Signed, dedicated ‘To S A Serenissime Madame La Princesse de Monaco’ and dated 1917 below mount Watercolour with bodycolour 13 ½

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In 1892 the song writer Isidore de Lara was praised for his opera, The Light of Asia.

Se/en years later he dedicated another opera, Messaline, to the Princess of Monaco.

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5. Fairy & Fantasy

MA RG A R ET TA R R A NT Margaret -inifred 8arrant (1888-1959)

F

rom the late 1900s, Margaret 8arrant was preoccupied with chronicling innocent childhood in its many moods and its great /ariety of acti/ities. From 1920, her talents were channelled by her most important business relationship, with the Medici Society, which still publishes her books, cards and calendars today. 8hough her approach could seem highly idealised, e/en romanticised, its success lies in the degree to which it was grounded in close obser/ation and the discipline of drawing from life.

For a biography of Margaret 8arrant, please refer to The Illustrators, 2014, page 162 F ur th er reading : John Gurney, Margaret Tarrant and Her Pictures, London: The Medici Society, 1982; Claire Houghton, ‘Tarrant, Margaret Winifred (1888-1959)’, in H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 53, pages 791-792

83 I L L" S89 <8G0 LG 8 8G9 Signed and dated ‘13 VIII 49’ Pencil and ink with watercolour on paper 8

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IN6HGS

“Troon” Wonham Way Gomshall 13 VIII 49 Dear Mrs Schoemann I was walking down the road today, and looking at some laurel leaves, I wondered whether they could be preserved in glycerine for the winter, as was suggested in the book you sent me. Suddenly I had a dreadful thought – I could not remember writing to thank you for it. Did I? If not, I am terribly sorry.

Margaret W Tarrant

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5. Fairy & Fantasy

84 8OM 8H "M B Signed Watercolour with ink and bodycolour 7 ¼

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Exhibited: ‘The Turn of Women Artists 1837-2018’, Chris Beetles Gallery, London, March-April 2018, no 142

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5. Fairy & Fantasy

D OROTH Y F I TC H EW

D

0orothy Fitchew (1889-circa 1976) orothy Fitchew was a landscape and gure painter and illustrator, specialising in natural history subjects.

0orothy Fitchew was born in 6amberwell, the daughter of the illustrator and art editor, Gdward Hubert Fitchew (1851-1934). By 1910, the family was li/ing at 8he Oriels, -idmore, Bromley, ent. From there, she sent ‘large and elaborate watercolours of Shakespearean and legendary subjects’ (Simon Houfe) to the 9oyal <cademy and other leading exhibition /enues in the years 1911-15.

By 1930, Fitchew was working as an illustrator, in that year collaborating with 6harles Folkard on an edition of nursery rhymes. Increasingly, she specialised in natural history subjects, her work as an illustrator appearing in such books as W J Stokoe’s Mother Nature’s Wild Animals (1939), S B -hitehead’s In Your Flower Garden (1947) and M 6 6arey’s Wild Flowers at a Glance (1949). She also wrote and illustrated Good Health to the Garden (1946).

By 1949, Fitchew was a member of the Quekett Microscopical 6lub, and li/ing at 30 8he Fairway, Bickley, Bromley, ent. In 1976, the club’s journal recorded her death.

Her work is represented in the collections of the Natural History Museum.

85 F< I 9 IG S 0<N 6I N -I 8H < <9 L <N 0 O F FLO-G 9 S Signed Ink and watercolour 13 ¼

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Early 20th Century Illustrators & Cartoonists

6. Early 20th Century Illustrators & Cartoonists

6

E A R L Y 2 0 T H C E N T U RY I L L U S T R A T O R S & C A RT O O N I S T S

W ILLIAM HEAT H RO BIN SO N william heatR robinson (1872-1944)

H

eatR robinson is a RouseRold name, and a byHoSd foS a design oS constSuction tRat is ‘ingeniously oS Sidiculously oveS-complicated’ (as de ned by The New Oxford Dictionary of English, 1998, page 848). Yet, Re Has also a RigRly distinctive and veSsatile illustSatoS, HRose HoSk could toucR at one extSeme tRe Somantic HateScolouSs of a 1ulac oS rackRam, at anotReS tRe sinisteS gSotesqueSies of a Peake, and at yet anotReS tRe eccentSicities of an Kmett.

(oS a biogSapRy of william heatR robinson, please SefeS to The Illustrators, 2018, page 22.

Kssays on vaSious aspects of heatR robinson’s acRievements Rave appeaSed in pSevious editions of The Illustrators: on Ris illustSations to Rabelais in 1996, pages 112-113; on tRe SelationsRip of Ris illustSations to tRose of >StRuS rackRam in 1997, pages 124-125; on Ris illustSations to The Arabian Nights Entertainments in 1999, pages 73-74; and on one of Ris illustSations to Twelfth Night in 2000, pages 17-18.

Geoffrey Beare, William Heath Robinson, London: Chris Beetles, 2011, fully illustrated catalogue, paperback, 163 pages

86 Th K NK w B > NT AN 0 B K1 (< r rK1 / =AN 0 Th K (A 0 / rK Signed Ink and watercolour 13 ¾

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AN=hKC

Illustrated: The Sunday Graphic, 27 January 1929; W Heath Robinson, Absurdities. A Book of Collected Drawings, London: Hutchinson & Co, 1934

86

6. Early 20th Century Illustrators & Cartoonists

TRe =RSis Beetles 0alleSy Ras mounted a numbeS of signi cant exRibitions of tRe HoSk of william heatR robinson, including: 1. ‘william heatR robinson (1872-1944)’, =RSis Beetles 0alleSy, 5aScR 1987 (HitR a fully illustSated catalogue) 2. ‘TRe BSotReSs robinson’, =RSis Beetles 0alleSy and tRe royal (estival hall, (ebSuaSy 1992 (HitR a fully illustSated catalogue) 3. ‘william heatR robinson (1872-1944). 50tR >nniveSsaSy KxRibition’, =RSis Beetles 0alleSy, CeptembeS 1994 4. ‘TRe 0adget King’, 5ancResteS =ity >St 0alleSies, heaton hall, 5ay-<ctobeS 2000 5. ‘w heatR robinson’, 1ulHicR PictuSe 0alleSy, LinbuSy room, NovembeS 2003 (to complement 1ulHicR’s oHn exRibition of william heatR robinson) 6. ‘heatR robinson at Nunnington hall’, National TSust, Nunnington hall, NoStR YoSksRiSe, July 2005 7. ‘=ontSaptions. william heatR robinson (1872-1944)’, =RSis Beetles 0alleSy, June->ugust 2007 (to launcR a volume of caStoons publisRed by 1uckHoStR) 8. ‘william heatR robinson 1872-1944’, =RSis Beetles 0alleSy, 5ay-June 2011 (HitR a fully illustSated catalogue – see catalogue image) 9. ‘TRe Anventive >St of william heatR robinson’, =RSis Beetles 0alleSy, 5aScR->pSil 2016

87 CA 0 N C <( = hrA C T5 > C Signed and inscribed with title Ink and watercolour 14 ½

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87

6. Early 20th Century Illustrators & Cartoonists

MAX BEERBO HM

CiS 5ax BeeSboRm (1872-1956)

E

qually valued as a caSicatuSist and HSiteS, 5ax BeeSboRm sustained an elegant detacRment in aSt and life. TRougR tRe tone of Ris dSaHings is often ligRtly Hicked, it is also a ectionate, foS Re Rated to Hound Ris subjects, most of HRom Re kneH and liked. >s a Sesult, Re Has on safest gSound in satiSising aStists and HSiteSs of tRe past, and in making many self-caSicatuSes. (oS a biogSapRy of 5ax BeeSboRm, please SefeS to The Illustrators, 2014, page 89.

88 0 K = h KCTK rT< N Inscribed ‘G K C’ Pencil 9 ¼

'

6 ½

AN=hKC

Drawn on reverse of ‘Villino Chiaro Rapallo’ headed paper

89 (opposite) P / B L A = AT Y

5r Ch>w T< ThK L>/rK>TK : ‘ Br> < ! wATh</T >NY BL>rNKY,

Br> < ! B/T L<<K hKrK : Y</ ’ LL NK Kr =/T 5K </T /NLKCC Y</

Br<>1=>CT.’ Signed, inscribed with title and dated 1929 Watercolour and ink

12 ¼

'

14

AN=hKC

Illustrated: Manchester Guardian, 23 November 1929 Exhibited: ‘Sir Max Beerbohm’, Leicester Galleries, London, 1952, no 138 Literature: Rupert Hart-Davis (compiler), A Catalogue of the Caricatures of Max Beerbohm, London: Macmillan, 1972, no 1511, page 136 TRe pSesent HoSk Has executed afteS tRe publication of robeSt BSidges’ (poet lauSeate 1913-1930) ‘TRe Testament of Beauty’ in 1929. robeSt BSidges and 0eoSge BeSnaSd CRaH HeSe botR membeSs of tRe BB= >dvisoSy =ommittee on Cpoken KnglisR, but CRaH Has also a successful bSoadcasteS.

88

6. Early 20th Century Illustrators & Cartoonists

89

6. Early 20th Century Illustrators & Cartoonists

LAWS ON WOOD

L

LaHson wood rA (1878-1957)

aHson wood Has an accomplisRed caStoonist, illustSatoS and posteS designeS. he gained gSeat populaSity HitR Ris RumoSous illustSations of animals, including dinosauSs and monkeys. TRe gingeS ape, 0San’pop, pSoved a paSticulaS favouSite on botR sides of tRe >tlantic. (oS a biogSapRy of LaHson wood, please SefeS to The Illustrators, 2020, pages 46-47.

90 > L L C=<T= h N< 6 >LL C=<T=h ThrA(T. > B>0 - PAPK =h>5PA<N rK1/=AN0 hAC 0>C BALL

Signed and dated 23 Inscribed with title on reverse Watercolour and bodycolour 14

90

'

10

AN=hKC

91 L K > K Th K r KC T T< / C Signed Inscribed with title and ‘Gran’pop – up to date’ on reverse Watercolour 17 ¼

'

13 ¼

AN=hKC

6. Early 20th Century Illustrators & Cartoonists

92 > L L </ T ( <r '5 > C Signed Inscribed with title on reverse Watercolour 14 ½

'

11 ¾

AN=hKC

93 CK T TL A N0 Th K > NN/> L >==< / NTC Signed Inscribed with title on reverse Watercolour 15

'

11 ¾

AN=hKC

91

6. Early 20th Century Illustrators & Cartoonists

M A B E L LU CI E ATTWE LL 5abel Lucie >ttHell (1879-1964)

M

abel Lucie >ttHell developed ReS oHn imaginative, and often amusing, imageSy tRSougR annuals and postcaSds. TRen, as ReS populaSity incSeased, sRe applied it to a Hide Sange of pSoducts. CRe Has a RouseRold name by tRe 1920s, by HRicR time no Rome Has complete HitRout an >ttHell plaque oS money-box biscuit tin. (oS a biogSapRy of 5abel Lucie >ttHell, please SefeS to The Illustrators, 2020, page 88

94 Th K PA'AK PA= N A= Signed Watercolour 13 ¼

92

'

10 ¾

AN=hKC

6. Early 20th Century Illustrators & Cartoonists

5>B KL L/ =AK >T T w K LL’ C B >T h r< < 5 P L > / K KveSy batRSoom sRould Rave one, and foS oveS fty yeaSs most did.

Please remember – don’t forget – Never leave the bathroom wet. – TRe HasRable batRSoom plaque became tRe most populaS image of tRis centuSy’s best loved illustSatoS, 5abel Lucie >ttHell.

Nor leave the soap still in the water That’s a thing we never ought’er.

At sold in RundSeds of tRousands tRSougRout Ralf a centuSy because it Rad all tRe elements tRat made 5abel Lucie >ttHell a success: simplicity of design, stSiking colouS, cRaSm and cute kids, but above all a message. 5abel Lucie Has an illustSatoS HRo kneH RoH to communicate. TRe message Has classless: betHeen tRe waSs all levels of society bougRt it and Rung it in tRe batRSoom as a jokey talisman foS good beRaviouS. At may be a piece of bossy doggeSel but it is fun and Has beloved of landladies fSom Blackpool to BognoS, Roping to soften tRe edge of tReiS Segimented Romeliness.

Nor leave the towels about the oor, Nor keep the bath an hour or more (Som =ambSidge to Kensington 0oSe motReSs puScRased it in oSdeS to contSol tRe batRing excesses of all tRe family, a 5oses tablet foS middle-class ablutions. Andeed, tRe nanny may Rave Secited it to ReS pink-skinned cRaSge and so insulated an even closeS SelationsRip betHeen cleanliness and godliness, but it Has essentially a message fSom tRe gSoHn-ups to tReiS soapy, soaking peeSs, an attempt to take tRe steam out of tRe family battlegSound.

When other folks are wanting one – Please don’t forget – it isn’t done!

5abel Lucie’s dictums aSe fSom tRe moutRs of babes and toddleSs, but diSected to tRe sopRisticated and Segulated adult HoSld. TRe cRubby, pink-cReeked and moon-faced little beings intoned tRe SRymes in all tRe pictuSes, but it Has tRe caSefully obseSved demeanouS and postuSe of tRese cute aScRetypes tRat HeSe tRe only cRildisR components. TRe sentiments HeSe foS a HoSld faS less spontaneous. =RSis Beetles

Chris Beetles, Mabel Lucie Attwell, London: Chris Beetles Ltd, 1997

93

6. Early 20th Century Illustrators & Cartoonists

95 A ’ 5 h <PAN 0 0< < 1 (>Ar AK C >r K wKLL < N Th K w>Y T< B r AN 0 Y< / 0< <1 (<rT/ NK ( <r K KrY 1>Y Watercolour and bodycolour 7

'

12 ¾

AN=hKC

Provenance: Estate of Mabel Lucie Attwell and by descent Illustrated: Design for Postcard no 2028, for Valentine of Dundee Literature: Chris Beetles, Mabel Lucie Attwell, London: Pavilion Books, 1988, page 74-75; John Henty, The Collectable World of Mabel Lucie Attwell, London: Richard Dennis, 1999, page 55 Exhibited: ‘Mabel Lucie Attwell’, Chris Beetles Gallery, 1984, no 20

96 P L K > C> NT 1r K > 5 C – Cw KK T r KP < CK > L L Th K B K1 – >N 1 > LL Th K = L< ’ C Signed Watercolour and bodycolour 7 ¾

'

12 ¾

AN=hKC

Provenance: Estate of Mabel Lucie Attwell and by descent Illustrated: Design for Postcard no 657, for Valentine of Dundee Literature: Chris Beetles, Mabel Lucie Attwell, London: Pavilion Books, 1988, page 78-79; John Henty, The Collectable World of Mabel Lucie Attwell, London: Richard Dennis, 1999, page 45

94

6. Early 20th Century Illustrators & Cartoonists

97 CL K KPY hK > 1 Ink with pencil and bodycolour on board 8 ½

'

6 ¼

AN=hKC

Provenance: Estate of Mabel Lucie Attwell and by descent Illustrated: Design for Postcard no 2828, for Valentine of Dundee, 1929 Literature: John Henty, The Collectable World of Mabel Lucie Attwell, London: Richard Dennis, 1999, page 61

98 > N ’ Y< / K N<w w h >T 5 KN > r K! Signed Watercolour, bodycolour and pencil 11 ¼

'

9 ¼

AN=hKC

Provenance: Estate of Mabel Lucie Attwell and by descent Illustrated: Design for Postcard no 335, for Valentine of Dundee Literature: Chris Beetles, Mabel Lucie Attwell, London: Pavilion Books, 1988, page 29; John Henty, The Collectable World of Mabel Lucie Attwell, London: Richard Dennis, 1999, page 43 Exhibited: ‘Mabel Lucie Attwell’, Chris Beetles Gallery, 1984, no 5

95

6. Early 20th Century Illustrators & Cartoonists

99 A ’ 1 L A K K T< CK K 5< r K < ( Y< / – Y< / CwK K T Th A N0 Signed Watercolour and bodycolour 7 ¼

'

10 ¼

AN=hKC

Provenance: Estate of Mabel Lucie Attwell and by descent Illustrated: Design for Postcard no 615, for Valentine of Dundee Literature: John Henty, The Collectable World of Mabel Lucie Attwell, London: Richard Dennis, 1999, page 70

100 >/ CT AN ’ C CK KN Signed Watercolour and bodycolour 9 ¼

'

15 ¾

AN=hKC

Provenance: Estate of Mabel Lucie Attwell and by descent Illustrated: Design for Postcard no 1299, for Valentine of Dundee Literature: Chris Beetles, Mabel Lucie Attwell, London: Pavilion Books, 1988, page 108-109; John Henty, The Collectable World of Mabel Lucie Attwell, London: Richard Dennis, 1999, page 51 Exhibited: ‘Mabel Lucie Attwell’, Chris Beetles Gallery, 1984, no 70

96

6. Early 20th Century Illustrators & Cartoonists

101 1 A 1 Y</ KN<w A ’ 5 > L C < > 0 <<1 =< <K? Signed Watercolour with bodycolour

102 K KK P < N K KK P AN 0 < N – w<TK Kr Y< / 1 < AT A C C/ r K T< B K w r< N 0 Watercolour with bodycolour

9 ½

13

'

7 ¼

AN=hKC

Provenance: Estate of Mabel Lucie Attwell and by descent Illustrated: Design for Postcard no 3277, for Valentine of Dundee Literature: John Henty, The Collectable World of Mabel Lucie Attwell, London: Richard Dennis, 1999, page 63

'

9 ¼

AN=hKC

Provenance: Estate of Mabel Lucie Attwell and by descent Illustrated: Design for Postcard no 3862, for Valentine of Dundee Literature: John Henty, The Collectable World of Mabel Lucie Attwell, London: Richard Dennis, 1999, page 65

97

6. Early 20th Century Illustrators & Cartoonists

E H S H EPA R D

W

KSnest hoHaSd CRepaSd (1879-1976)

Rile K h CRepaSd is noH best SemembeSed foS Ris immoStal illustSations to Winnie-the-Pooh and The Wind in the Willows, Re Has a Hide-Sanging aStist and illustSatoS, HitR an unsuSpassed genius foS SepSesenting cRildSen, and an undeSSated talent foS political caStoons. (oS a biogSapRy of K h CRepaSd, please SefeS to The Illustrators, 2018, page 41

(oS essays on vaSious aspects of tRe aStist’s acRievements, see The Illustrators, 1999, pages 151-152; The Illustrators, 2000, pages 28-32; and The Illustrators, 2007, pages 199-200

98

103 /> r r KL L AN 0 Th r< / 0 h Th K >0 KC Signed twice Ink 12 ½

'

19

AN=hKC

104 (opposite) Th K Y B / ALT Ch APC , 1953 Signed twice and inscribed ‘To Keith Mackenzie from Ernest H Shepard Sept 1968’ and ‘The poem by C Fox Smith in Punch January 21st 1953’ Ink 13

'

10

AN=hKC

Illustrated: Punch, 21 January 1953

6. Early 20th Century Illustrators & Cartoonists

99

6. Early 20th Century Illustrators & Cartoonists

105 A r rKP r KCCA B L K h >L (: ‘ N<w Th K N , hK KL , =L/B hK - K- K L ! ’ h < CTA L K < A = K (r< 5 ThK = r<w 1: ‘’ KK L Y Kr CKL (, YK r C L AP P K rY L A T TL K B L A 0hT Kr ’ Signed and inscribed with title Ink 13 ¾

'

9 ¼

AN=hKC

106 (opposite above) Ch K = h < CK > PA N K <N K Pencil 8

'

6

AN=hKC

Preliminary drawing for Ernest Howard Shepard, Drawn from Memory, London: Methuen & Co, 1957, page 120

107 (opposite below) h <w = h r A CT5 > C = / CT< 5 C = > 5K >B < /T ThKCK 1ATTAKC ... N<w K'=L/CA KLY KNLA KN ThK AN1/CTrA</C CKr >NT- 5>A1

Signed with initials Inscribed with title below mount Ink with pencil 4 ½

'

6

AN=hKC

Illustrated: Illustrated London News Christmas Number, 9 November 1956, page 41

100

6. Early 20th Century Illustrators & Cartoonists

108 h > 1 < N = K 0 A KN hA 5 > P KNNY Signed with initials Inscribed with title below mount Ink with pencil 6 ½

'

5

AN=hKC

Illustrated: Ernest Howard Shepard, Drawn from Memory, London: Methuen & Co, 1957, page 20

101

6. Early 20th Century Illustrators & Cartoonists

F OUGA S S E

=ySil KennetR BiSd, =BK (1887-1965) knoHn as ‘(ougasse’

A

s caStoonist, aSt editoS and editoS, KennetR BiSd tSansfoSmed tRe style of Punch. his oHn contSibutions paSed doHn Ruman activity HitR sucR economy as to suggest tRe essence of modeSn life. his appSoacR also Rad a signi cant in uence on posteS aSt foS botR public infoSmation and adveStising, as seen ReSe in Ris HoSk foS London TSanspoSt [no 109]. (oS a biogSapRy of (ougasse, please SefeS to The Illustrators, 2009, page 77. his HoSk is SepSesented in tRe collections of tRe London TSanspoSt 5useum and tRe &>.

F ur th er reading : Bevis Hillier (ed), Fougasse, London: Elm Tree Books, 1977; Peter Mellini, ‘Bird, (Cyril) Kenneth [pseud. Fougasse] (1887-1965)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 5, pages 818-820

109 w K 1 <N ’ T PL >Y 0> 5 K C AN T hK r<> 1 C < w hY 1< w K LK T </ r = h AL1 rK N ?

Inscribed with title Ink and watercolour 29

'

19

AN=hKC

Illustrated: Design For a Transport Appeal Poster, circa 1939-1945 Literature: P Herbert (Introduction), A School of Purposes, A Selection of Fougasse Posters 1939-1945, London: Methuen & Co, 1946, page 33

102

6. Early 20th Century Illustrators & Cartoonists

110 L/N N<N T> LK Ink 1 ¾

'

3 ¼

AN=hKC

111 T>K K > = > r B< N Ink 1 ¾

'

3 ¼

AN=hKC

Illustrated: Punch, 28 July 1954, page 133

Illustrated: Punch, 2 March 1955, page 275

Farmers’ contributions under the new fertilizer subsidy scheme have been announced by the Ministry of Agriculture, and rural inns are loud with excited comment on the news that the contribution rate is £2 13s 6d a ton for nitro-chalk ‘Provided that this amount shall be increased or decreased by five shillings for each one per centum by weight (and proportionately for any fraction thereof) by which the water-soluble phosphoric acid (p205) content is above or below eighteen per centum by weight of the fertilizer.’

Good platform phrases don’t crop up every day, so Mr Butler’s remark about doubling our standard of living has been seized on eagerly by political speakers. already Mr Geoffrey Lloyd, Minister of Fuel and Power, has tried it on a Birmingham audience, and Mr Harold Watkinson, Parliamentary Secretary to the Ministry of Labour, has fired it off successfully at a meeting in Bristol. No one so far has asked what it means however. If it simply means two of everything instead of one, it should be remembered that political speakers will inevitably be included.

112 (r K Ch >N 1 Thr/C T( /L T h AN K AN 0 Ink 2

'

3

AN=hKC

Illustrated: Punch, 4 December 1957, page 643 Fresh and thrustful thinking on the nation’s economic mess was perhaps never more urgently needed than last week, when, fortunately, a grateful public learned that Mr Grimond was condemning high taxation, Mr Gaitskell prescribing expanded production as the cure for inflation, Mr Watkinson asserting that a continued race between wages and prices could ruin us all, and Mr Thorneycroft sponsoring an illustrated booklet advocating stable prices at home and a strong pound abroad.

113 B</ Ink 2

'

/ K T, P L K > CK

3 ¼

AN=hKC

Illustrated: Punch, 29 June 1955, page 780 A Home Office announcement says that Major Lloyd George has thanked the police for their efforts during the railway strike, and a G.P.O announcement says that the Postmaster-General has thanked the Post Office staff for theirs. It has not yet been decided who is to propose the vote of thanks to the public.

103

6. Early 20th Century Illustrators & Cartoonists

H M BATEM A N

H

henSy 5ayo Bateman (1887-1970)

5 Bateman establisRed Ris inimitable style befoSe tRe (iSst woSld waS HRen, as Re put it, Re ‘Hent mad on papeS’, by dSaHing people’s mood and cRaSacteS. TRis culminated in ‘TRe 5an wRo ...’, Ris famous seSies of caStoons dSamatising social ga es. (oS a biogSapRy of h 5 Bateman, please SefeS to The Illustrators, 2020, page 56

his HoSk is SepSesented in numeSous public collections, including tRe BSitisR 5useum.

F u r t h e r re a d i n g : Anthony Anderson, The Man Who Was H M Bateman, Exeter: Webb & Bower, 1982; John Jensen, ‘Bateman, Henry Mayo (1887-1970)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 4, pages 299-301

114 = > r1 P L >Y K r C : ‘ 1 A >5< N1 C’ Signed Ink and watercolour 9 ½

'

9

AN=hKC

Exhibited: Langton Gallery, November 1978, no 37

104

6. Early 20th Century Illustrators & Cartoonists

115 Th K 1<5AN >NT CK ' Signed Inscribed with title below mount Ink and watercolour 13

'

9 ½

AN=hKC

105

6. Early 20th Century Illustrators & Cartoonists

116 w A (K ( w h < h > C C< 5K ThA N0 ‘< N ’ hKr h / CB >N 1): ’> N1 5 A N1 ! A ( h K B K >TC Y< / A Ch >LL 1 < Th K C> 5 K! ’ Signed Inscribed with title below mount Ink and watercolour 14 ¼

'

10

AN=hKC

The Tatler, 23 September 1931, page 535; H M Bateman, Considered Trifles: A Book of Drawings, London: Hutchinson & Co, page 33

106

6. Early 20th Century Illustrators & Cartoonists

117 Th K A N(Kr A<r AT Y =<5PL K ' Signed and dated 1923 Inscribed with title below mount Ink and watercolour 14

'

9 ¾

AN=hKC

Illustrated: Life, 29 November 1923 Exhibited: ‘Caricatures by H M Bateman’, Leicester Galleries, London, February-April 1974, no 75

107

6. Early 20th Century Illustrators & Cartoonists

118 A L L A 5 AT>B L K r> N0 K Signed Ink and watercolour 12 ½

'

9 ¼

AN=hKC

119 Th K 0 Ar L w h < Th < / 0 h T Ch K w< /L1 L AK K > CN >P Ch <T < ( Th K P rA N = K Signed and dated 1922 Ink 14

108

'

9 ¾

AN=hKC

6. Early 20th Century Illustrators & Cartoonists

120 J/C T A (A >B LK PrA1K Signed Ink and watercolour 12 ½

'

9 ¼

AN=hKC

121 wA = KK T K KKPKr : ‘ h<w ’ C T h>T !’ / 5PA rK wATh > 0L > CC <( 0 / AN N K C C: ‘ KrY rK( rKChAN 0!’

Signed Ink and watercolour 13

'

10

AN=hKC

Illustrated: Design for an advertisement for Guinness, 1930s

109

6. Early 20th Century Illustrators & Cartoonists

DAV I D LOW

D

CiS 1avid >lexandeS =ecil LoH (1891-1963)

avid LoH Has consideSed tRe most outstanding BSitisR political caStoonist of Ris geneSation. >ble to captuSe Secognisable likenesses HitR gSeat economy, Re pSoduced tRe de nitive image of a numbeS of leading guSes of tRe day. >nd Re did so HitR a subtle combination of Sidicule and insigRt, SatReS tRan exaggeSation and condemnation. > key featuSe of Ris appSoacR Has tRe use of sucR symbols as tRe stSong but stubboSn T/= caStRoSse and tRe SeactionaSy KnglisRman, =olonel Blimp.

1avid LoH Has boSn in 1unedin, NeH Zealand, on 7 >pSil 1891, tRe tRiSd son of fouS cRildSen of tRe businessman, 1avid BSoHn LoH, and Ris Hife, Jane (née (lanagan). Kducated at tRe Boys’ higR CcRool, =RSistcRuScR, Re made Ris debut HitR tRe =RSistcRuScR political Heekly, The Spectator, at tRe age of 11 and, in 1908, became tRe papeS’s political caStoonist. LateS, Re moved to tRe Canterbury Times (1910) and tRen tRe Cydney Heekly, The Bulletin (1911). >t The Bulletin, Ris tecRnique bene ted fSom tRe in uence of will 1yson and NoSman Lindsay, so tRat Ris lampoon of tRe >ustSalian PSime 5inisteS, william hugRes, entitled The Billy Book (1918), pSoved to be a bestselleS. TRe success encouSaged LoH to move to Kngland, in tRe folloHing yeaS, HReSe Re began to HoSk foS tRe Star, evening stablemate of tRe libeSal Daily News. he establisRed Rimself HitR tRe device of tRe tHo-Readed LibeSal/ToSy =oalition >ss. An 1920, Re maSSied 5adeline 0Sieve Kenning, of NeH Zealand.

TRey Hould Rave tHo daugRteSs. An 1927, LoH became political caStoonist foS tRe Evening Standard and, tRougR a Cocialist, Has given full independence on HRat Has a veSy =onseSvative publication. TRis fSeedom led to tRe cSeation, in 1934, of Ris most famous cRaSacteS, =olonel Blimp, tRe epitome of BSitisR =onseSvativism. 1uSing tRe 1920s and 30s, Re also pSoduced tHo seSies of liteSaSy and political caSicatuSes foS tRe New Statesman. <n leaving tRe Evening Standard, Re spent a sRoSt, unRappy time at tRe Daily Herald (1950-53) HReSe, RoHeveS, Re did pSoduce anotReS of Ris most contSoveSsial images: tRe T/= caSt-RoSse. witR some Selief, Re Has taken on by tRe Manchester Guardian in 1953 and Semained tReSe until Ris deatR in London on 19 CeptembeS 1963.

LoH’s populaSity as a neHspapeS caStoonist cSeated, fSom veSy eaSly on, a maSket foS books of caSicatuSes; tRose publisRed aSound tRe peSiod of tRe Cecond woSld waS aSe paSticulaSly impSessive examples of Ris incisive cSiticism. he Rad total command of Ris medium, botR aStistically and intellectually, and Has consideSed tRe most outstanding BSitisR political caStoonist of Ris geneSation. TRis position Has o cially acknoHledged in 1962, HRen Re Has knigRted. his HoSk is SepSesented in numeSous public collections, including tRe BSitisR 5useum, tRe National PoStSait 0alleSy and tRe &>; and tRe BSitisR =aStoon

110

>ScRive, univeSsity of Kent (=anteSbuSy). his papeSs aSe in tRe Beinecke LibSaSy (Yale univeSsity).

F u r t h e r re a d i n g : Marguerite Mahood, ‘Low, Sir David (Alexander Cecil) (b Dunedin, April 7, 1892; d London, Sept 20, 1963)’, Grove Art Online, 2003, https://doi.org/10.1093/gao/9781884446054.article.T052166; Colin Seymour-Ure, ‘Low, Sir David Alexander Cecil (1891–1963)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2008, https://doi.org/10.1093/ref:odnb/34606; Colin Seymour-Ure and Jim Schoff, David Low, London: Secker & Warburg, 1985

CK = rK TLY AN Th K 1K > 1 < ( N A0 h T <n 11 1ecembeS 1936, tRe day tRat tRis caStoon appeaSed in tRe Evening Standard, King KdHaSd AAA o cially abdicated tRe tRSone, ending a Seign tRat Rad lasted just 327 days. PSime 5inisteS Ctanley BaldHin Rad announced tRe abdication in tRe =ommons tRe day befoSe. KdHaSd Rad SelinquisRed tRe tRSone in oSdeS to maSSy tRe >meSican socialite wallis Cimpson, HRo Has in tRe pSocess of divoScing ReS second Rusband. TRougR it is geneSally accepted tRat KdHaSd and Cimpson Rad been loveSs since 1934, tRe a aiS did not become public tRSougR tRe BSitisR pSess until 2 1ecembeS 1936, a little oveS a Heek befoSe KdHaSd’s abdication. Kven HRen tRe couple spent tRe summeS of 1936 togetReS Rolidaying in tRe 5editeSSanean, an event Hidely coveSed in tRe >meSican and KuSopean pSess, tRe BSitisR pSess Semained silent. <n 16 NovembeS, KdHaSd met HitR Ctanley BaldHin at BuckingRam Palace to infoSm Rim of Ris decision to maSSy Cimpson and Has told by tRe PSime 5inisteS tRat Ris maSSiage to a tHice divoScée Hould be Sejected by tRe goveSnment, tRe countSy and tRe KmpiSe, and tRat tRe King’s public standing Hould be iSSevocably damaged. wRen tRe stoSy bSoke in tRe pSess on 2 1ecembeS, tRe King did Seceive some suppoSt foS Ris HisRes, not least fSom winston =RuScRill and tRe pSess baSons, LoSd BeaveSbSook and LoSd rotReSmeSe, HRo believed KdHaSd Rad a SigRt to maSSy HRomeveS Re HisRed. =RuScRill and BeaveSbSook even tSied to Sally suppoSt in PaSliament, tRougR only 40 5Ps sided HitR tRe King. BotR tRe LabouS leadeS, =lement >ttlee, and tRe >ScRbisRop of =anteSbuSy, =osmo Lang, suppoSted BaldHin’s opposition to tRe maSSiage. >s 1avid LoH’s caStoon suggests, tReSe Has a belief tRat tRe King’s sudden abdication Has dSiven by tRe

6. Early 20th Century Illustrators & Cartoonists

PSime 5inisteS, Ctanley BaldHin, HRo Rad so stSongly opposed tRe union and, as Has tRougRt, Rad pSessuSed tRe King to abdicate. LoH’s caStoon also suggests tRat tRe silence of tRe BSitisR pSess on tRe matteS until just eigRt days befoSe tRe abdication Has announced meant tRat BaldHin Has able to pSess Ris peSceived desiSe foS abdication unencumbeSed by public opinion, HRicR may Rave been moSe sympatRetic to tRe King tRan tRe goveSnment Hould Rave Roped.

122 CK=r K TLY, AN Th K 1K >1 < ( NA 0 h T Signed and inscribed with title Ink and pencil 12 ¼

'

18 ¾

AN=hKC

llustrated: Evening Standard, 11 December 1936

111

6. Early 20th Century Illustrators & Cartoonists

>PPL A= > NT C ( <r T h K J < B An 5aScR 1936, PSime 5inisteS Ctanley BaldHin’s National 0oveSnment appointed tRe Sst 5inisteS foS =o-oSdination of 1efence, a position establisRed in Sesponse to cSiticism tRat BSitain’s aSmed foSces HeSe undeSstSengtR in compaSison to Nazi 0eSmany. > vocal cSitic of BaldHin’s peSceived Seluctance toHaSds SeaSmament Has winston =RuScRill, and many expected Rim to be appointed to tRe position to oveSsee tRe pSocess. An tRe end, on 13 5aScR 1936, BaldHin named CiS TRomas Anskip as tRe neH 5inisteS, a politician HitR an exclusively legal tSack SecoSd and no expeSience of militaSy matteSs. >n unknoHn souSce at tRe time Has quoted as calling it ‘tRe most cynical appointment since =aligula made Ris RoSse a consul’.

PublisRed a little oveS a Heek befoSe tRe neH 5inisteS foS =o-<Sdination of 1efence Has announced, CiS 1avid LoH’s caStoon appeaSed at a time of mucR speculation amongst jouSnalists and commentatoSs oveS HRo Hould be cRosen foS tRe Sole. TRe caStoon suggests a conceSn felt by a BSitisR public tRat laSgely suppoSted a policy of paci sm, tRat ceStain guSes in tRe 0oveSnment Hould use tRe Sole and tRe policy of SeaSmament foS moSe aggSessive means, SatReS tRan foS suppoSt of tRe League of Nations as Ctanley BaldHin Rad indicated.

1avid LoH suggests a queue of ideal ‘applicants foS tRe job’ based on tReiS paci st leanings. >ppeaSing in tRe caStoon aSe: TRe HSiteS H G Wells (1866-1946), best knoHn foS HoSks including The Time Machine (1895) and The War of the Worlds (1898). recognised tRSougR mucR of Ris caSeeS foS Ris paci st vieHs – Re SefeSSed to Rimself as ‘an extSeme paci st’ in Ris 1917 HoSk War and the Future – Re lateS became a stauncR suppoSteS of militaSy action against 0eSmany in botR tRe (iSst woSld waS and folloHing tRe Sise of Nazi 0eSmany. TRis is peSRaps suggested by wells looking as if Re Ras failed in Ris inteSvieH. Lord Robert Cecil (1864-1958) Has one of tRe aScRitects of tRe foundation of tRe League of Nations, set up in 1920 HitR tRe pSincipal mission to maintain HoSld peace. he HoSked tRSougRout tRe 1930s to pSomote disaSmament in KuSope despite tRe gSoHing tRSeat of Nazi 0eSmany. An 1937, Re Has aHaSded tRe Nobel Peace PSize. > scRolaS and an intellectual, Gilbert Murray (1866-1957) Has a Hell-knoHn Rumanist and seSved as pSesident of tRe KtRical /nion (noH humanists /K) fSom 1929 to 1930. TRougR Re did not consideS Rimself a paci st, Re Has a leadeS of tRe League of Nations Cociety and tRe League of Nations /nion, HRicR campaigned foS an inteSnational oSganisation of nations HitR tRe aim of pSeventing HaS. Norman Angell (1872-1967) Has one of tRe pSincipal foundeSs of tRe /nion of 1emocSatic =ontSol, a pSessuSe gSoup foSmed in 1914 to pSess foS a moSe

112

Sesponsive foSeign policy and opposed to militaSy in uence in goveSnment. he Has an executive foS tRe woSld =ommittee against waS and (ascism fSom 1933, tRe yeaS Re Has aHaSded tRe Nobel Peace PSize. >s a pRilosopReS and HSiteS of in uential HoSks sucR as Brave New World (1932), Aldous Huxley (1894-1963) Has knoHn duSing tRis peSiod foS Ris HSitings on paci st tRemes. TRese HoSks included Eyeless in Gaza (1936), Ends and Means (1937) and An Encyclopaedia of Paci sm (1937). he Has also a pSominent membeS of tRe Peace Pledge /nion, BSitain’s leading paci st oSganisation.

5ost famous as tRe autRoS of tRe Winnie-the-Pooh collection of cRildSen’s stoSies, A A Milne (1882-1956) Rad been a paci st in tRe lead up to tRe (iSst woSld waS, but enlisted voluntaSily and saH action on tRe westeSn (Sont. TRe RoSSoSs Re Hitnessed stSengtRened Ris anti-HaS stance, and in 1934 Re HSote Peace with Honour, a paci st denunciation of HaS. C E M Joad (1891-1953) Has a pRilosopReS and bSoadcasteS HRo Rad become a Hell-knoHn guSe in society tRSougR Ris populaSising of pRilosopRy, publisRing Sst Guide to Modern Thought (1933) and tRen Guide to Philosophy (1936). he Rad been an outspoken pSoponent of paci sm befoSe tRe (iSst woSld waS and in tRe 1930s, despite being a stSong opponent of Nazism, Has also Smly against militaSism and SeaSmament. 1uSing tRis peSiod Re became a suppoSteS of paci st oSganisations sucR as tRe No 5oSe waS 5ovement and tRe Peace Pledge /nion.

Philip Noel-Baker (1889-1982), Has also closely involved in tRe foSmation of tRe League of Nations, seSving as LoSd =ecil’s assistant and HoSking Rimself as a SenoHned campaigneS foS disaSmament. he also seSved as assistant to tRe (oSeign CecSetaSy >StRuS hendeSson HRilst Re Has PSesident of tRe woSld 1isaSmament =onfeSence in 0eneva in 1932 to 1933. > talented atRlete in Ris youtR, PRilip Noel-BakeS SepSesented BSitain in tRe 800m and 1500m at tRe 1912 <lympics in CtockRolm and tRe 1920 <lympics in >ntHeSp, Hinning a silveS medal in tRe 1500m at tRe latteS. Ctyled as tRe ‘CupeSintendent of 0oldeSs 0Seen (iSe BSigade’, bSinging up tRe SeaS in tRe queue to be inteSvieHed is Sir David Low Rimself. TRougR Re Has stSongly against appeasement in tRe face of KuSope’s dictatoSs, Ris pSesence ReSe suggests a belief tRat Re tSusted Ris oHn convictions moSe tRan tRose in tRe Sunning foS tRe Sole.

123 (opposite) > P P L A = >NT C (< r Th K J < B Signed and inscribed with title Ink with pencil 12 ½

'

18 ½

AN=hKC

Illustrated: Evening Standard, 6 March 1936

6. Early 20th Century Illustrators & Cartoonists

124 (detail) h 0 w KL L C Drawn on headed letter paper: Easton Glebe, Dunmow Pencil 8

'

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AN=hKC

Illustrated: Preliminary drawing for The New Statesman h 0 wells, Sented Kaston 0lebe in 1unmoH fSom 1910-1928 and it Has duSing tRis time tRat wells Rad a 10 yeaS a aiS HitR rebecca west. Kaston 0lebe Has on tRe Kaston Lodge estate HRicR belonged to Ris fSiend and felloH socialist tRe =ountess of waSHick.

113

6. Early 20th Century Illustrators & Cartoonists

PONT

0SaRam LaidleS, >rAB> (1908-1940), knoHn as ‘Pont’

F

olloHing in tRe Punch tSadition of 0eoSge 1u 5auSieS and (Sank reynolds, 0SaRam ‘Pont’ LaidleS excelled at satiSising tRe BSitisR middle classes.

BefoSe Ris pSematuSe deatR at tRe age of just 32, LaidleS Rad establisRed a Seputation as one of tRe nest caStoonists of tRe tHentietR centuSy HitR Ris acute obseSvations of ‘tRe BSitisR =RaSacteS’. (oS a biogSapRy of Pont, please SefeS to The Illustrators, 2014, page 130

125 A T <==/ r C T< 5 K , J<C K P h A NK 1 K >r , T h >T Y</ 5 A 0h T h > K LK( T C< 5 K ThAN 0 AN T hK < KN Signed Inscribed with title below mount Ink 8

'

11 ½

AN=hKC

Provenance: The Victoria Wood Collection Illustrated: Pont, Most of Us Are Absurd, London: Collins, 1946, page 88

114

126 w K 5 / CT < N N< >==< /NT P K r5 AT >NY<N K T< 0A K / C > Ch < = K , 5 r P K5 B r A 1 0 K . Th K L K > CT Ch < =K <( > N Y C< rT w< / L 1, A N < / r P r KCK NT C T>T K < ( h K >LTh , B K C/ r K T< K A L L / C A 5 5 K1A >TK LY Signed Ink 10 ½

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Illustrated: Punch, 21 October 1936, page 461

6. Early 20th Century Illustrators & Cartoonists

127 A < N LY J/C T C>w AT AN TA 5K , BY J< K !

Signed Ink 12 ¾

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Illustrated: Punch, 21 November 1934, page 579

115

6. Early 20th Century Illustrators & Cartoonists

128 Th K B r AT A Ch =h> r >= TK r L< K <( 1/5B >NA5>LC

Signed Ink 7

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Illustrated: Punch, 10 October 1934, page 396; Pont, The British Character, London: Collins, 1938, page 50

116

Edward Ardizzone

7. Edward Ardizzone

7

E DWA R D A R D I Z Z O N E

E DWA R D A R DI ZZONE

H

Edward Ardizzone, CbE FA FGH (1900-1979)

ighly o(servant and immensely humane, the work of Edward Ardizzone is in direct descent from the nest French and English illustrators of the nineteenth century. Geveloping as an artist from 1930, Ardizzone made his name as an illustrator through his contri(utions to The Radio Times and then with Little Tim and the Brave Sea Captain, which proved to (e one of the most signi cant picture (ooks pu(lished (etween the wars. Doon considered one of the greatest illustrators of his generation, he also gained a reputation as an J cial War Artist. Versatile and productive, he produced paintings, sculptures, etchings and lithographs, and worked as a designer.

For a (iography of Edward Ardizzone, please refer to The Illustrators, 2019, page 79.

Paul Co has drawn a personal homage to Edward Ardizzone and the Maida Vale pu(s that he (oth frequented and illustrated in Maurice Gorman’s The Local and Back to the Local, (1939 and 1949). Ardizzone’s illustrations proved to (e a valua(le social record of post-war pu( culture, capturing the quintessential characters and architecture of a London su(ur(. Please see chapter 15, pages 233-240

DEL F- P J FMF AH M, C H FC A 1 9 2 9 Oil on canvas 19

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Provenance: Artist’s family by descent: Private Collection Exhibited: ‘Edward Ardizzone RA 1900-1979: A Centenary Celebration’, Ashmolean Museum, Oxford, September-November 2000, no 34; ‘This depicts Ardizzone in his late twenties at the beginning of his career as an artist. Remembered by most as jolly, rotund and bald, this is a rare representation of him with a full head of hair and relatively slim.’

(Edward Ardizzone RA 1900-1979: A Centenary Celebration, Oxford: Ashmolean Museum, 2000, [unpaginated])

129 (opposite) ML E b AF M AH G Signed with initials Watercolour, bodycolour and pencil 7

118

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7. Edward Ardizzone

119

7. Edward Ardizzone

N7F DE M AMHL GA

by Christianna Brand Christianna brand was the pseudonym of Mary Christianna Milne (1907-1988), (est known for her series of novels featuring detective Hnspector Cockrill, and for the Nurse Matilda series of (ooks for children, which were illustrated (y her cousin Edward Ardizzone.

Later made into the Nanny McPhee lms starring Emma Mhomson, the Nurse Matilda (ooks feature the hideously ugly Nurse Matilda, who is employed as a governess (y Mr brown to manage his many and very naughty children.

Nurse Matilda uses her magic and forci(le personality to teach the children how to (ehave. Christianna brand wrote two sequels; Nurse Matilda Goes to Town and Nurse Matilda Goes to Hospital.

Nos 130–146 are all e ecuted in ink and are illustrated in Christianna brand, Nurse Matilda, Leicester: brockhampton Press, 1964

130 MF D b FJW N WA D VE F. DW E E M AN G D L E NE V EF CJ 7 LG b EL HE VE M L AM M L E C L HLG FE N WE F E FE A LL. N A7G L M .. D L E JP E N E G L E F E . ED WHG E A NG DA HG, ‘ JL G E AF , W L AM L AV E MLE . b EEN GJHN G N JW ? ’ 10 ¾

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Illustrated: page 8

120

7. Edward Ardizzone

131 N 7 F D E MAMH L GA 3 ¾

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Illustrated: facing title page

132 ‘ GJJG E VENHN G , MF AN G MF D b FJWN , H A M N7F D E M AM HLGA .’

133 N 7 F D E MAMH L GA LJ J $ EG ML EM A L L JV EF 7 H E ML. W H ML L EF b L AC $ , b E AG. E . E D ; AN G ML EN DL E ML 7 M P EG J N C E M J FE J N ML E FLJ J F W H ML L E F DMH C$ .

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Illustrated: page 23

121

7. Edward Ardizzone

134 M LE H F LA NGD DEH EG 7 P M LE HF D P JJN D AN G G JW N W E NM ML E P J F F H GG E , DM7FF, DM7F F, DMJ G G E , D MJG G E , JN MJP JF ALL ML AM b FE A G A NG b 7 M M EF .

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Illustrated: page 30

135 ML E C L HL G F EN P 7 FFE G A NG b L E W, ML EH F C L EE $ D b 7 LG E G, ML E H F E . E D G J G G L E G. 2

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Illustrated: page 31

136 W L EN N7 F DE M AMH L GA W EN M 7P MJ ML E D CL J J L FJ J M MJ b EG H N ML E FH F DM M J F NH NG’ D L EDDJ N , ML E C LH LG FE N W EF E DH M MH NG A L L A FJ 7 NG ML E L7 GE MA b L E A D G J J G A D G J L G .

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Illustrated: page 33

122

7. Edward Ardizzone

137 ‘ J L GE AF , H MLHN$ MLE G J G D N E E G MJ b E LE M J7 M,’ ANG b ENM GJWN A NG MJ J$ M LE M b. M L E D C F7 F F D JF ML E H F P H NAFJFED A NG LEG ML E M MJ M L E G JJF AN G G JW N ML E D MA HF D A NG HNMJ M LE G A FG E N : AN G P7 D L E G M LEM J7M D H GE ANG CLJ DEG M LE G AFG E N G JJF JN M LE M .

138 H F ML E . W F HG G L E G ; ANG H F ML E . MH P P E G b AC$ WA F G D J N L. j7 DM ML E L H M ML E DM b H M, ML E W L J L E C L AH F WE N M JV EF W H ML A CF A DL A NG L A NG E G ML EM J N ML E FLJ J F W H ML ML E H F L EG D H N ML E A H F – A NG ML EFE ML E . DM7 C$!

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123

7. Edward Ardizzone

139 N E x M M J FNHN G MLE CL H LG FE N WJ7 LG N ’ M G E M 7 P 4

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140 .J 7 NEE GN ’ M ML H N$ ML AM F FJ M ML E N J N MLE b FJW N C L HL G FEN W EF E A LWA.D G J J G – H NGE E G ML E . W EF E N ’ M !

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Illustrated: page 48

124

7. Edward Ardizzone

141 A NG HN M LAM VE F. HN D MAN M, J7 M JF ML E $ H MC L E N , L EL M E MEG H N DA7 C E- PA N D , L7NG Ab J7 M W HM L b A$HN G -M HN D , A FM EG W H ML FF. H NG - PAN D A NG FJ L L H NG PHN D A NG b FJJ M D AN G M JP D A N G FL AM- H FJ N D ANG A L 7 G E PAH F J F C 7 F L H NG MJ NGD GA D LE G L J P P HM M AN G CJJ$ . . .

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125

7. Edward Ardizzone

142 b. MLE MH M E ML E JM LE F VHLL AG E C L HLG FE N AFFH V E G, ML E b FJW N D W E F E AL L LJLLHN G A bJ 7M F7 b b HN G M L E HF D MJMAC L D ANG C F. H NG J 7 M, ‘ JW !

JW! JW !’ ... ‘ W E WEFE WAFNEG N E V EF MJ E AM bJ.,’ D AHG M L E b FJW N D , ‘ANG NJW W E L AVE ANG MLE G FJW N - 7 P D W EF E 7 HM E FH GL M: L E ’ D G H V EN 7 D AWF7L PAHN D ,’

143 DL E L AG b EE N ML H N$ H N G M LH D JV EF , DL E DA H G, ANG L A G CJ M E MJ ML E CJ N C L7 DH J N ML AM M F A N G MF D b FJW N L AG MJ J M AN. C LH LG FE N 6 ¼

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126

7. Edward Ardizzone

144 HN M LE G FAWHN G - FJJ M , CJ N DMA b L E FH G G D L A G E x P L A H NEG M AM MEF D A NG M F b FJW N L AG G JN E 7 P MJ ML E N7 F DEF. MJ D7 M M J N ML E C L H L G FEN . ML E . FH L E G H N AN G D MJJG HN A FHN G J N ML E GF AW H NG - FJ JM C A FP E M. ‘ HM ’A D b E EN F E P JFME G MJ M E ,’ DA H G CJ N DMA b L E FH G G D , LJ J $ H N G GJW N AM ML EM FE P FJACL F 7 LL., ‘ M LAM .J 7 ’ V E AM E 7 P ML AM .J 7 N G G F EEN ; L A G ’ H M FJ F .J 7 F G HN N EF ? ’ 4 ¼

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127

7. Edward Ardizzone

145 NJW ML E . W EF E F E A L L. F7 NNH NG AWA. AN G ML E FE WA D NJML H NG MJ b E G J NE A b J 7 M H M b7 M j 7 DM MJ $ EEP J N .

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146 A NG AM ML AM M JME N M, j7 D M A D M L E . W EF E ML H N$ H NG H M – CJ 7 L GN ’ M L EL P MLHN$HN G HM – D L E G AVE JN E L A D M M L 7 M P W H ML L EF DMH C $ J N ML E G FJ 7 NG A NG – W LAM G J .J7 M L HN $ L AP P EN EG? ML AM MJ JML J F L EF D FL E W J 7 M, A NG L ANG EG J N M LE F LJJF AM M LE CL H LG FE N ’ D FEE M. A NG H M b EG A N MJ G FJW . . .

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128

Postwar Illustrators & Cartoonists

8. Postwar Illustrators & Cartoonists

8

P O S T W A R I L L U S T R A T O R S & C A RT O O N I S T S ROWL A ND EM ETT

R

Frederick Rowland Emett, 3BE (1906-1990)

owland Emett established himself as the creator of elegant and whimsical cartoons during the 1930s, while working as an industrial draughtsman. >n 1951, he reached a wider public with his designs for 4he Far 4ottering and 3yster 8reek Railway, which was sited at Battersea Park during the Festival of Britain. -radually, he converted more of his illustrations into increasingly

130

comple three-dimensional machines. Both drawings and inventions helped cheer a nation fed up with years of austerity.

For a biography of Rowland Emett, please refer to The Illustrators, 2019, page 105.

147 A H A R R3* > 7- P R3 =P E 8 4 3 F M 3 74 P 1 E A = A 7 4 Signed and inscribed with title and further extensively inscribed Ink and watercolour; 17 ½ x 25 > 7 8 H E =

8. Postwar Illustrators & Cartoonists

ME RVY N PEA KE

T

Mervyn Peake (1911-1968)

hough already developing as a painter, Mervyn Peake established himself as a writer and illustrator in 1939, with Captain Slaughterboard Drops Anchor, a comic fantasy intended for children. 4his revealed that he had an outstanding talent for the grotesque, and was ready to align himself to Romantic tendencies in British art. He applied that talent to a broad range of visual and verbal forms, central to which was his ‘-ormenghast’ trilogy, an e traordinary imaginative achievement detailing a parallel world.

His work is represented in numerous public collections, including the >mperial *ar Museum; and the *ordsworth 4rust (-rasmere).

4he Mervyn Peake Archive, which includes original drawings, is held by the British 1ibrary.

Fu r th er re ading : John Batchelor, Mervyn Peake. a biographical and critical exploration, London: Duckworth, 1974; Colin Manlove (rev Clare L Taylor), ‘Peake, Mervyn Laurence (1911-1968)’, in H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004, vol 43, pages 269-271; John Watney, Mervyn Peake, London: Michael Joseph, 1976; G Peter Winnington (ed), Mervyn Peake. The Man and His Art, London: Peter Owen Publishers, 2006; G Peter Winnington, Vast Alchemies. The Life and Work of Mervyn Peake, London: Peter Owen Publishers, 2000; Malcolm Yorke, Mervyn Peake: My Eyes Mint Gold: A Life, London: John Murray, 2000

78 1 E - E 3 R- E Uncle George became so Nosey That we bought him a Tea-Cosy To defend ourselves, and bring Confusion to the evil thing; Which angered him so much, we had To tie him to a blotting pad Which soaks his energy away From dawn to dusk, and dusk to day, Until he’s now so out of joint That he can never see the Point.

148 78 1 E - E3 R- E Inscribed with title and poem on separate sheet Ink 10

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131

8. Postwar Illustrators & Cartoonists

I ONI C US Joshua 8harles Armitage (1913-1998), known as ‘>onicus’

W

orking as ‘>onicus’, Joshua 8harles Armitage is probably best remembered for the covers that he produced for a Penguin paperback edition of the books of P - *odehouse and for the many cartoons that he contributed to Punch. However, he was a varied and proli c illustrator, cartoonist and painter who has been admired for his craftsmanship and clarity of vision.

cover designer, and developed long associations with several publishers, notably 8hatto & *indus, +ent, Hodder & =toughton, *illiam imber, Macmillan, 3 ford niversity Press and Penguin Books. He designed covers for the last of these from 1968, including 58 for titles by P - *odehouse, which probably became his most famous achievement as an illustrator.

Joshua 8harles Armitage was born in the coastal town of Hoylake, 8heshire, on 26 =eptember 1913, the son of the sherman, Joshua Armitage, and his wife ( ate) 1ouise (née 8ooke). At the time of his birth the family was living at 42 -roveland Avenue, Hoylake, and it would remain his home until his marriage.

A member of the Royal 1iverpool -ol ng 8lub, Armitage produced many watercolours of gol ng subjects, including a set that was reproduced in 1971 and issued in a portfolio entitled 100th Open Championship at Royal Birkdale.

He was also commissioned to produce 12 watercolours for the 3 ford and 8ambridge 8lub in 1ondon.

>n 1929, a 8heshire 8ounty Art =cholarship enabled Armitage to study at 1iverpool 8ity =chool of Art, where his teachers included *ill Penn. 3n completing the course in 1935, he worked as an art teacher in junior instruction, and also began to show work at the e hibitions of the 1iverpool Academy of Arts. >n 1939, he married 8atherine Buckle, and they initially lived with her mother at 31 Marmion Road, Hoylake. 4hey would have two daughters. +uring the =econd *orld *ar, Armitage served in the Royal 7avy, though problems with his eyesight prevented him from obtaining a commission. After a spell working on minesweepers, he spent most of the war as a gunnery instructor in 1iverpool. 7evertheless, he continued to develop as an artist, producing a design for a mural for a naval canteen, which became the rst of his two e hibits at the Royal Academy of Arts (1943 & 1945), and other naval subjects, shown at the Royal 8ambrian Academy of Art, 8onway (also 1943 & 1945). He also contributed cartoons to the Admiralty sponsored monthly, The Ditty Box: The Navy’s Own Magazine, and was still in service when he began to submit them to Punch. 4he rst appeared on 29 March 1944. >t was the >onic columns that appeared in its background that gave Armitage the idea of using ‘>onicus’ as his pseudonym.

Following demobilisation, Armitage returned to teaching art, while continuing to contribute to Punch, in an association that would last over 40 years, and yield more than 350 drawings. His nal teaching position was as an instructor at *allasey =chool of Art in the years 1948-50, and from 1950 he worked full-time as a freelance artist. 4he many periodicals for which he worked include Amateur Gardening, Dalesman (covers for 17 years), Lilliput, Radio Times, the Financial Times and Tatler. He also produced advertisements, including images of stately homes and coaching inns for Martins Bank that he drew in the early 1950s. >n the late 1940s, Armitage began to illustrate a wide range of books, the earliest of which was probably -eo rey 1owis’s Ruthless Roger’s School for Pirates (1948). He worked on nearly 400 books in all, either as illustrator or

132

8ontinuing to live in Hoylake throughout his life, including many years at 34 Avondale Road, Armitage became President of the local +eeside Art -roup. He died on 29 January 1998, surviving his wife by a decade.

His work is represented in the collections of the British 8artoon Archive ( niversity of ent, 8anterbury).

149 4H E - 3 1 + M A ER ’ = H 3 =E , FR3 74 A 7+ B A8 83 E R Signed Ink and watercolour 9

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Illustrated: Iirmelin Sandman Lilius, The Goldmaker’s House, Oxford University Press, 1977, cover Stamped on reverse with J.C. Armitage (Ionicus), 34 Avondale Road, Hoylake, Cheshire, 051-632-1298

8. Postwar Illustrators & Cartoonists

133

8. Postwar Illustrators & Cartoonists

150 4H E B R A == B34 41 E Signed Ink 5

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Illustrated: Radio Times, 5 April 1954

151 . . . * H 3 *3 1 + 7 ’ 4 E A4 H > = P 3 R R> + -E Signed Ink 2

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Illustrated: Radio Times, 23 November 1956

134

8. Postwar Illustrators & Cartoonists

RO NA L D S EA R L E

E

Ronald *illiam Fordham =earle, 8BE (1920-2011)

qually inspired by a wide range of e perience and a great knowledge of the history of caricature, Ronald =earle honed an incisive graphic skill to develop an unparalleled graphic oeuvre, an oeuvre that has made him one of the most popular and in uential cartoonist-illustrators.

For a biography of Ronald =earle, please refer to The Illustrators, 2018, page 94.

For essays on various aspects of Ronald =earle’s achievement, see The Illustrators, 1999, pages 228-230; and The Illustrators, 2000, pages 40-42.

8hris Beetles -allery published Russell +avies’s Ronald Searle. >n the 2003 edition of the 1990 biography, Russell +avies and Ronald =earle added corrections and brought up to date the e hibitions list and bibliography.

8hris Beetles -allery also held the major tribute e hibition, ‘Ronald =earle Remembered’, in May-June 2012. >t was accompanied by a 200 page fully illustrated paperback catalogue, containing newly researched essays and notes.

152 P== 4 ! *A7 7A B = 3ME = 1P H R ?

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Illustrated: Sunday Express, 22 April 1951

135

8. Postwar Illustrators & Cartoonists

153 M> += M M ER M A+ 7E == Ink and watercolour 54 ¾

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3n loan from a Private 8ollection

154 (opposite) 8 A4 4A > 7- 4 E A Signed and dated 1993 Ink and watercolour with pencil 15 ¾

136

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16 ½

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8. Postwar Illustrators & Cartoonists

137

8. Postwar Illustrators & Cartoonists

155 P E 4= Signed Ink and watercolour 15 ¾

138

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8. Postwar Illustrators & Cartoonists

156 E7 -A R+E !

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157 B >R + A4 P >A 73 Signed Ink 10 ½

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139

8. Postwar Illustrators & Cartoonists

158 1 A*RE78E 3F ARAB >A , A >R8 R A F 4MA 7 R3 ==: – A 1 E8 - > 7 7E == Signed and inscribed with title and ‘Punch, issue May 18’, ‘[Ross]’ and ‘(Haymarket Theatre)’ Ink 18

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Illustrated: Punch, 18 May 1960

140

8. Postwar Illustrators & Cartoonists

159 4 H E P> PE=! 4HE P>PE= !

4 H E E+> 7B R-H >74 E R7 A4>3 7A 1 F E=4> A 1 3F + RAM A 3 PE7 = 43M3 RR3* Signed, inscribed with title, and ‘News Chronicle, Saturday cartoon issue, August 21’, and dated 1954 Ink 21 ½

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Provenance: Peter & Pat Crofts Collection Illustrated: News Chronicle, London Literature: Ronald Searle, Merry England, Perpetua Books: London, 1956, pages 106-107

141

8. Postwar Illustrators & Cartoonists

160 4H E - R EE7 =*A R+ Signed, inscribed with title and dated 1954 Ink and watercolour 22

x

15 ¼

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Illustrated: News Chronicle, London, 24 July 1954 ‘Saturday Sketchbook’; Merry England, Etc, London: Perpetua Books, 1956, pages 58 and 59

142

8. Postwar Illustrators & Cartoonists

N O R M AN TH ELWEL L 7orman 4helwell (1923-2004)

N

orman 4helwell is arguably the most popular cartoonist to have worked in Britain since the =econd *orld *ar. 4hough almost synonymous with his immortal subject of little girls and their fat ponies, his work is far more wide ranging, perceptive – and indeed prescient – than that association suggests.

For a biography of 7orman 4helwell, please refer to The Illustrators, 2020, page 154.

Fu r th er re ading : Mark Bryant, ‘Thelwell, Norman (1923-2004)’, H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2008, https://doi.org/10.1093/ref:odnb/93356

Having mounted major e hibitions of the work of 4helwell in 1989 and 1991, 8hris Beetles encouraged further interest in the artist in 2009 with ‘4he +e nitive 4helwell’ and its accompanying catalogue. 4he 100-page catalogue surveys all aspects of his career, through 177 illustrations, an appreciation, a biographical chronology and a full bibliography.

7os 161 & 162 were produced as part of a marketing campaign for Biore 1aboratories 1td.

Biore were developers of a cream called Biosone -A, which was similar to hydrocortisone cream.

161 A 7 > 48H F 3R 1> 3 R >8E Signed Ink and watercolour 7 ¾

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143

8. Postwar Illustrators & Cartoonists

162 =PA8 E A-E >48 H Signed Ink and watercolour with bodycolour 9 ½

144

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8. Postwar Illustrators & Cartoonists

163 > RE =31 E 43 B E A -3 3 + B3 Signed and inscribed with title Ink with bodycolour 3 ½

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Illustrated: Preliminary drawing for Belt Up: Thelwell’s Motoring Manual, London: Eyre Methuen, 1974, page 60 Exhibited: ‘Thelwell: Huntin’, Shootin’, Fishin’, Sailin’, Farmin’, Golfin’, Gardenin’ ...’, Chris Beetles Gallery, London, September 1990

164 4H E H 3R =E > = M A7 ’ = B E= 4 F R> E7 + Ink 2 ½

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Illustrated: Norman Thelwell, Penelope Rides Again, London: Methuen, 1989 Exhibited: ‘Norman Thelwell: Huntin’, Shootin’, Fishin’, Sailin’, Farmin’, Golfin’, Gardenin’...’, Chris Beetles Gallery, London, September 1990

145

8. Postwar Illustrators & Cartoonists

165 3 +3 7 ’ 4 8 A R E A +A M 7 *HA4 > 13 3 1 > E Signed and inscribed with title Ink 5 ¼

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Exhibited: ‘Norman Thelwell: Huntin’, Shootin’, Fishin’, Sailin’, Farmin’, Golfin’, Gardenin’...’, Chris Beetles Gallery, London, September 1990

166 > F 4H E FA R M ER = EE= A 1 1 4H E 1> 4 4E R *E ’ E + R3 P P E + – H E ’ 1 1 B E 1> > + !

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Exhibited: ‘Norman Thelwell: Huntin’, Shootin’, Fishin’, Sailin’, Farmin’, Golfin’, Gardenin’...’, Chris Beetles Gallery, London, September 1990

146

8. Postwar Illustrators & Cartoonists

C H A RL ES KEEPI NG

A

8harles *illiam James eeping (1924-1988)

s an illustrator and lithographer, 8harles eeping produced dynamic and emotive images. He became particularly well known for his work on historical novels for children, and produced the rst full edition of +ickens to be illustrated by a single artist. He also wrote the te ts to his own highly memorable picture books.

8harles eeping was born in 1ambeth, East 1ondon, on 22 =eptember 1924.

His secure and happy upbringing had an unusually important e ect in shaping both the man and the artist. >n spending his childhood in a house that overlooked an active stable yard, he became a frequent and accurate observer of horses and carts. *hile, in working as a gas meter rent collector in areas of poverty, he gained the e perience that made him the perfect modern artist to illustrate the work of 8harles +ickens. eeping attended the Frank Bryant =chool for Boys, in ennington, leaving at the age of 14 to become apprenticed to a printer. 3n the outbreak of the =econd *orld *ar, he was conscripted into the Royal 7avy. *hen the war was over, he studied art at the Regent =treet Polytechnic (1946-52), where he met the designer and illustrator Renate Meyer, whom he later married. He

took various jobs, including cartoonist on the Daily Herald, before starting working as a book illustrator. >n 1956, he was commissioned by the 3 ford niversity Press to illustrate stories for children written by Rosemary =utcli e, and with the encouragement of the doyenne of children’s book editors, Mabel -eorge of 3 P, was launched on a career which for three decades made him one of the best known and more proli c illustrators (1960-1980s).

He made brilliant use of colour and the new printing techniques, using a mi ture of gouache, tempera, watercolour and inks. He was an early enthusiast for Plasticowell, the grained plastic sheets designed by the printers, 8owells of >pswich, for lithographic illustrations. eeping won the ate -reenaway award for Charley, Charlotte and the Golden Canary (1967), and again for The Highwayman (1981); he was a prize-winner in the Francis *illiams Award for Tinker, Tailor (1968), and for evin 8rossleyHolland’s The Wildman (1976); and he won the Emil Award for 1987 for Jack the Treacle Eater. His commitment to the immense project to illustrate the complete +ickens for the Folio =ociety was total, and he completed it just before his death on 16 May 1988.

F u r t h e r re a d i n g : Douglas Martin, Charles Keeping: an illustrator’s life, London: Julia Macrae Books, 1993

167 >4 ’ = A 13 7- , 13 7- *A 43 4 >PPER A R Signed and dated 74 Ink and pencil; 4 x 9 ½ > 7 8 H E = Illustrated: Charles Keeping, Cockney Ding Dong. A Song Book, Harmondsworth: Kestral Books/EMI Music Publishing, 1975, page 169 -rowing up in ennington and au hall, 8harles eeping and his large, e tended family would frequently have a =aturday night ‘ding dong’ (cockney rhyming slang for ‘song’), where they would sing around the piano, drink, eat and be merry. *ishing to record and preserve the songs he grew up with, he produced a fully illustrated book of song and sheet music.

Cockney Ding Dong was published in 1975 by estrel Books, in collaboration with EM> music publishing.

147

8. Postwar Illustrators & Cartoonists

168 83 8 7 E + > 7 - + 3 7 Signed and dated 74 Inscribed ‘Altogether Songs’ and ‘159’ below mount Ink 11 ½

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8 ¾

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Illustrated: Charles Keeping, Cockney Ding Dong, Harmondsworth: Kestral Books/ EMI Publishing, 1975, page 159, ‘Altogether Songs’

148

8. Postwar Illustrators & Cartoonists

L A R RY 4erence Parkes (1927-2003), known as ‘1arry’

L

arry was the cartoonist’s cartoonist, highly respected by his peers for his consistently funny work, and cherished by them for his a ability. >n the autobiographical Larry on Larry, My Life in Cartoons (1994), he wrote, ‘> seem to have the reputation for a being a beer-swigging Brummie cartoonist’, and while each particular of that statement may have been true, its overall spirit suggests an essential modesty. He even e pressed some reservations about the increasing seriousness with which cartooning was being taken, and yet was steeped in the history of his profession and, more widely, in the history of art. 4his combination of the easygoing and the erudite informed much of his work, in content and draughtsmanship, and he will long be remembered for both his frequent depiction of an Everyman gure, ‘1arry’s man’, and his parodies of famous works of art.

Published in 1994, Larry on Larry, My Life in Cartoons is an autobiography of the man known as the cartoonist’s cartoonist, told through his work.

For a biography of 1arry, please refer to The Illustrators, 2014, page 226.

169 -E 4A*A B3B =1 E > -H Signed Ink and watercolour 9 ½

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149

8. Postwar Illustrators & Cartoonists

170 (left) H ER R H > 41 ER - 3 > 7 - 43 H > = R > 7- => +E = E A4 > 7 4HE 3 1 M P > 8 = B 3x > 7- =4A + > M .

B ER 1 > 7 1 9 3 6 Signed and inscribed with title Ink and watercolour 9 ¼

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171 (below left) > A 1 + > – 4H E F 3 34B A11 =E A =3 7 Signed Watercolour 9 ¾

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172 (below right) E1 E8 4> 3 7 FE ER Signed Ink and watercolour 9 ½

150

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8. Postwar Illustrators & Cartoonists

173 (right) A +>F F >8 14 1> E B -RA HA M = 4 H E R1 A7 + Signed Ink 6 ¼

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174 (below left) -1 A =-3* =8 H 331 Signed Ink 6

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175 (below right) R3 +>7 ’ = JA8 R = = E 11 Signed Ink 5 ¾

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151

8. Postwar Illustrators & Cartoonists

JOH N BUR NI NGH A M

J

John Mackintosh Burningham (1936-2019)

ohn Burningham was arguably the greatest British creator of picture books since the =econd *orld *ar, with an oeuvre that ranges from Borka (1963) through Mr Gumpy’s Outing (1970) to late achievements that include Motor Miles (2015) and Mouse House (2017). Popular with all ages, he sometimes aimed a subject particularly at adults, as with John Burningham’s Champagne (2015).

For a biography of John Burningham, please refer to The Illustrators, 2018, page 117.

152

>n +ecember 2016, the 8hris Beetles -allery mounted its own major selling retrospective of work by John Burningham. >t was accompanied by a fully-illustrated 88-page catalogue, containing an appreciative essay, a chronology and a comprehensive bibliography.

176 B 3 R A *A = =3 3 7 ER FR > E7+1 *> 4H 4 H E 8 A P 4A >7 , FR E + A 7+ 3 F 83 R =E *> 4H F3* 1 ER Bodycolour with ink and elements of collage 16 ½ x 25 ½ inches Illustrated: John Burningham, Borka: The Adventures of a Goose with No Feathers, London: Jonathan Cape, 1963, [unpaginated]

William Scully

9

9. William Scully

W I L L I A M S C U L LY

W ILL I A M S C UL LY

D

William scully (1917-2002)

uring a career that <panned almo<t 60 year<, William scully forged a reputation a< one of the mo<t proli c and widely publi<hed cartooni<t< of the twentieth century. 9i< loo<e but carefully con<idered cartoon< were quinte<<entially &riti<h in their humour, but with a <tyle and wit that could <tand compari<on with the great cartooni<t< of The New Yorker. 9i< editor at Punch, William 9ewi<on, de<cribed hi< work a< ‘Marvellou<ly free and autographic but with a tight control over the u<e of tone. 7ou are alway< aware of <pace in a scully drawing.’

William scully wa< born on 12 June 1917 in Dlke<ton, Derby<hire, the <on of a builder and amateur arti<t. After graduating from =ottingham school of Art, he worked a< a pipe-te<ter at an ironwork< for four year< and then for <even year< in an arti cial <ilk factory, before having hi< r<t cartoon< accepted by the Bystander. During the second World War, he <erved in the Army Brdnance Corp<, al<o becoming Art Iditor of the army magazine AIM from 1943 to 1945. &etween 1945 and 1946, he worked on the <ta of the magazine Soldier, <et up by Jame< Friell, the political cartooni<t of The Daily Worker who worked under the p<eudonym ‘Gabriel’.

For almo<t 60 year<, William scully’< cartoon< appeared weekly in publication< including Punch, Spectator, Sketch, London Opinion, Men Only, Lilliput and Tatler a< well a< in the New Yorker. For many year<, ‘scully’< iew’ appeared in the Sunday Telegraph. 9i< cartoon< were <till being publi<hed until only week< before hi< death in =ovember 2002, at the age of 85.

177 A 9 , D: G D / &7, s B 7B 6 >B B M : s C 6 : : D I ’ s A D DCI Signed and inscribed with title Ink, watercolour and bodycolour 13

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Illustrated: Punch, December 1988, cover

154

9. William Scully

178 (above) A/ s B A 6A/D FDID 6AC , D sI I Signed and inscribed with title Ink and watercolour 9 ¼

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179 (above right) 7B6 ’ :I !:I > > 7 >B 6G9 A =D :I sD/DI = >. D ’ M s 6 :I 7B6 ’ / / s >A= D 6 ! >B >9I 9A A: D s BF 9 B s! D>A/ > :I A> MI = > Signed and inscribed with title Ink and watercolour 9

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180 (right) >9 A> WA s 7B 6: BF F DCI , I x ! :I s s D= G > 9 I D: CB= C I : = A= D s7M !A>97 – F B : M I , > 9A> D s Signed and inscribed with title Ink and watercolour 10 ½

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155

9. William Scully

181 (above left) :A>9 I: >9 A = A =D G 9 > B F s D / I=C I D WB 6 / D I I = W I/CB M I A FI W D / /- CB = s DDI: I D : I M A: s Signed and inscribed with title Ink and watercolour 9 ½

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182 (above) D DD sA ! ! :B I B F W 9 A> 7B 6 sA7, & 6 > D W D / / D IF I =D >B >9 I DI A>9 7B 6 : : D G9 > >B sA7 D > Signed Ink and watercolour 9 ¼

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Illustrated: Punch, 1996 183 (left) W 9 D / I 7B 6 W I: I B 6 > & B & I: :7 ! 9 B =I D A &B 6 > >9I & I= s B = ! :B J I C >. & I:> :B ss C A / / I D >B CB =FD : M /6 = C9 , A =D 7B 6 : W D FI ! 9 B =I D >B sA7 s 9 I 9AD = ’ > FB :G D I= 7B 6 FB : 7B 6 : & : I A FA s> >A=>:6 M s Inscribed with title Ink and watercolour with bodycolour; 10 x 8 D = C 9 I s

156

9. William Scully

184 (above) WI / / , & Is> W D C , W I ’ I &B> 9 & I = I F D> > ID F :B M > 9 D s WAGI & A:GA D=D=G s Is sDB= s . D = BW W 9 7 7B6 WA => MB:I , A= D 7B6 =BW W 9 7 D C A= ’ > G D I D> Signed and inscribed with title Ink and watercolour 10

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185 (above right) D :I A/ D s I , >IM! D= s , 7B6 CB6 / D = ’ > ! Bs sD& /7 I x D s > B= W9 A> 7B6 ’ :I WB :> 9 , &6 > 7B6 ’ :I G I > > D=G CB= s D DI: A& /7 MB : I > 9 A= > 9A> A/:I AD7 Signed and inscribed with title Ink and watercolour 9 ¾

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186 (right) D ’ M A F : AD D, sDM!s B = , 7B6 ’ // 9 A I >B G B. WI ’ :I = B> G I A:I D 6! s6F FD CDI=>/7 F B: 7B6 : 9 DG 9 - ! BW I :I D D7 =AMD C D:D I Signed and inscribed with title Ink and watercolour with bodycolour 9 ½

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157

9. William Scully

187 DF D WI: I D= B / I D D= A= 7 s 9 I = A= DG A= D C A= A s s6 : I 7B6 D> WB 6/D & I A> >B! & :AC I > /I I / Signed and inscribed with title Ink and watercolour 8 ½

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Illustrated: Sunday Telegraph, 6 December 1998, ‘Scully’s View’

158

188 D ’ I =I I: D DD I D M7sI/ F. D ’ I A/WA7s =BW= D WA s= ’ > A s GB B D A s D >9 B 6 G 9 > D WA s Signed and inscribed with title Ink and watercolour with bodycolour 10 ¼

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Michael ffolkes

10. Michael ffolkes

10

MICHAEL FFOLKES

MICH A EL F F OL KES

A

Michael olkes (1925-1988)

n adept watercolourist who worked with a free- owing, sensual line, Michael olkes produced elegant, stylish and amboyant cartoons, often featuring mythological subjects and adorned with large, sexy ladies.

Michael olkes was born Brian -avis in London on 6 June 1925, the son of Walter Lawrence -avis, a commercial artist. He attended Leigh Hall College, a boarding school in Essex, before studying under John Farleigh at St Martin’s School of Art from 1941-1943. In 1942, aged 17, he had his rst cartoon published in Punch. On leaving college, -avis worked in various commercial art studios, before joining the Royal Navy in 1943, where he served as a telegraphist in the Far East. Following the end of the Second World War, he returned to his studies, enrolling at Chelsea School of Art in 1946. It was here that he adopted the name ‘Michael olkes’, chosen at random from Burke’s Peerage. It was at this time that his cartoons began appearing regularly in the

Strand Magazine, Lilliput and Punch. He also exhibited at the Royal Academy Summer Exhibition whilst still a student. He turned professional soon after graduating in 1949 and in 1953 he published the rst collection of his cartoons, titled olkes’ anfare! In 1955, he began work with the Daily Telegraph, an association that would last for 30 years, illustrating the ‘Way of the World’ column four days a week, rst with Colin Welch and later with Michael Wharton. In 1960, his work was published in Playboy for the rst time, beginning an association with the magazine that would last for 20 years. He always considered himself a Punch cartoonist at heart and in addition to regularly contributing cartoons; he produced a number of Punch covers and also began producing caricatures to accompany lm reviews from 1961. He considered it one of the greatest honours of his career when he joined the Punch table in 1978.

Ffolkes was also a proli c book illustrator, collaborating on over 50 books, including his own works, olkes Fauna (1977) and olkes’ Cartoon Companion to Classical Mythology (1978). An exhibition of his cinema caricatures was held at the National Film Theatre, London in 1982, and his autobiography was published in 1985 to coincide with further exhibitions at the Palace Theatre and Royal Festival Hall. Ffolkes’ work continued to appear in numerous publications throughout his career, such as Country Fair, Spectator, Private Eye, New Yorker and Reader’s Digest. He died in London on 18 October 1988.

189 W H AT - O 'O , M E A N , NO ?

Signed and inscribed with title Watercolour and ink 10 ½

160

%

12 ½

INCHES

10. Michael ffolkes

191 O H H I M , H E ’ S T H I N NO E I L Signed and inscribed with title Watercolour and ink 8 ¾

%

10

INCHES

190 W E L L , WHERE -O 'O, T H IN IT S H O, L- O? Signed and inscribed with title Watercolour and ink 11 ¼

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9 ¾

INCHES

192 I LO E 'O,, B,T I -O N ’ T T H I N W E ’ R E T H E S A M E S P E C I E S Signed and inscribed with title Watercolour and ink with bodycolour 10

%

14 ¼

INCHES

161

10. Michael ffolkes

193 S T RAI HT O R W ITH A LIT T LE P IE T ' ?

Signed and inscribed with title Watercolour and ink 10 ½

%

13 ¼

INCHES

194 (above right) E O R E , I TH I N 'O , ’ E WATC H E- O NE W C F IE L- S M O I E TO O M A N' Signed and inscribed with title Watercolour and ink 10 ½

%

8 ½

INCHES

195 (left) B, S I NESS I S TER R I B L E Signed and inscribed with title Ink with watercolour 11

%

7 ½

INCHES

196 (right) ALCO H O L B A RO M E TER Signed Watercolour and ink 9 ¼

162

%

6 ½

INCHES

10. Michael ffolkes

198 A L I T TL E M O R E O F E % H I B I T B , SER J E A NT Signed and inscribed with title Watercolour and ink 8 ¾

197 I T ’ S A B O ,S -O M ESTIC B, R , N -' W IT H O, T AN ' q,AL I T ' B,T I THIN 'O, ’ L L B E S T , P E F IE - B' T H E P R I C E Signed with initials and inscribed ‘after Th’ Watercolour, ink and collage 13

%

8 ½

INCHES

Illustrated: Punch, 26 October 1977, front cover

%

9 ¾

INCHES

199 H E AT T E M P T E - TO A - - SA LT Signed and inscribed with title Watercolour and ink 10

%

9 ¼

INCHES

163

10. Michael ffolkes

200 (left) TH E I - S SA' I ’ M AT TR I B, TE - TO FR A NC I S B ACO N Signed Watercolour, ink and collage 24

%

20

INCHES

Illustrated: Punch, 28 March 1979, front cover

201 (above) E % TR AO R- I NA R', TH E ' ’ E B EEN A RO , N- FO R CE N T, R I E S Signed and inscribed with title Watercolour and ink 11

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11 ½

INCHES

202 (left) I WO , L - N ’ T SA' TH AT 'O , -O N ’ T S AT I S F ' M E , EO R E . I T ’ S J , ST TH AT, O N TH E W H O L E , I WO , LP R EFER A L A R E R A I O L I Signed, inscribed ‘ffor George’ and dated ‘25 II 81’ Watercolour, ink and collage 9 ½

164

%

13 ½

INCHES

John Glashan

11 . J o h n G l a s h a n

11

JOHN GLASHAN JOH N GL A S H A N

J

Nos 203-217 are all Provenance: the Artist’s Estate

John glashan (1927-1999)

ohn glashan was best known as the creator of the cartoon strip, ‘genius’, which developed a cult followin durin its ve-year run in the Observer.

Bis passion for ne watercolour paintin allowed him to develop his world of tiny ures inhabitin beautiful, vast, baroque interiors and sweepin landscapes.

6or a bio raphy of John glashan, please refer to The Illustrators, 2017, pa e 216.

203 D CN CNg FA . > E 6D A @D 2 E D NE ; B D ;A NF@ FD . E FB E = EN FA E D 6 AF FEN FC D N Signed Watercolour with ink and bodycolour 11

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Illustrated: Spectator, 28 September 1991

166

11 . J o h n G l a s h a n

204 A AE= E NF D PCN CD N PD > > A E )E A> @ F B AF N CN E D7 F D 6 FEN P ED P> E ;D 7>D . E =DN F E NF FD >C) E 7 N D EA A P E AP E F7A > @B D;EA D 6 = A A .DN g AAN 7 > E @ , P D; D E AE D g > A @ @ , ;B C FE - BDF CADN @BA A D @ AN D NDN -@ P E = C6 C= . A= F EA CA , PAD)CDED FBAF F ;D PEA=ENF D6 FBE ;DA>D’ @ PDP7> AFCDN BAD A==E@@ FD A =DN @FANF @7PP>: D6 ANFC 7E @C>)EA;AAE

Signed Watercolour with ink and bodycolour 16 ½

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21 ¼

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Illustrated: Spectator, 9 February 1991 Literature: John Glashan’s World, London: Robinson Publishing, 1991, page 42

167

11 . J o h n G l a s h a n

205 2AN DD E@ NDF >C) E .: . AE AD A>DN E Signed Watercolour with ink and bodycolour 10 ½

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14 ¾

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Illustrated: Spectator, 30 July 1994

168

11 . J o h n G l a s h a n

206 @D2E FC 2E@ C 6EE> FBAF C ;DN ’ F . E A. >E FD = AAA: D N ; C FB 2: ;D A Signed Watercolour with ink and bodycolour 14 ½

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Illustrated: Spectator, 25 June 1994

169

11 . J o h n G l a s h a n

207 ‘ ; B D A AE :D7?’ ‘ C A2 gD D. A ND :D7 ? ’ ‘ C A2 A 2A @FE A D 6 A E >C g CDN .’ ‘ A E> C gCD N? ;BAF ’ @ F BAF? ’ Signed Watercolour with ink and bodycolour 15

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Illustrated: Spectator, 6 June 1992

170

11 . J o h n G l a s h a n

208 ‘ 6 E E> C N g >E@@ g7C>F :, N D; ? ’ ‘ :E @ , FB A N :D7 .’

Signed Watercolour with ink 11

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Illustrated: Spectator, 20 March 1993

171

11 . J o h n G l a s h a n

209 FB E ;A) E@ D 6 PA CN =D7 A @ E FB AD7gB FBE . AA CN > E g A= : D 6 gA A PE A N D gA ACN 7N @BE AFBED NEA)E E N D @ B :PD DEA 2 C= AA CN @;C>> @ ; C>> FD >D)E DD;N C N @ A NE DA AC N

172

Signed Watercolour with ink and bodycolour 10 ¾

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14 ¼

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Illustrated: Spectator, 31 December 1994

11 . J o h n G l a s h a n

210 ‘ :D7 ’ )E BA D A B E A D JD .? CF @ 7 CF @ :D7 .’ ‘ :E @ , C 6 EE> ) EA: AE> A x E D AN D =D26 DAFA. >E . F B E : ’ )E 2 ADE 2E =BACA2 A N D6 F BE . AN AN D F B E : ’ )E A @ ED 2E FD @ FAND 6 D A PAA>CA 2 E NF. DN @ AF 7 ADA:, C ;DN A P A Cz E 6 DA . A> >AD D 2 DAN =C N g . . .’

Signed Watercolour with ink 10 ¾

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Illustrated: Spectator, 19 March 1994

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11 . J o h n G l a s h a n

211 C 6 :D7 BA D FBE =BDC= E D6 DN >: DN E ;DA D FD 7 @ E 6D A F BE AE@F D 6 :D 7A >C6 E , ; B C= B DN E ;D7 > D :D7 P C = ?

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Illustrated: Spectator, 18 September 1993

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212 BE B , B E B , BEB Signed Watercolour with ink and bodycolour 10 ¼

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213 FB E 6A)D 7ACFE 6 D A F B C @ : E AA @’ F 7 AN E A P AC z E C @ , ‘ FA. >E >:CNg D N CF @ @ CD E ; CF B ; ACF CN g DN C F ’ .: @E. A @FC A N )E >= AD Signed Watercolour with ink and bodycolour 14 ¾

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Illustrated: Spectator, 12 November 1994

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214 =D2E AND 2EE F 2 : NE ; D Dg – B E ’ @ A = AD@ @ . E F ;E E N A PCA A NBA A N D A = B E E FAB Signed Watercolour with ink and bodycolour 11

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Illustrated: Spectator, 1 June 1991

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11 . J o h n G l a s h a n

215 F BE 2D @F E x=CFC Ng B E A) : ;E Cg B F =DN F E @ F D6 A > > FC 2 E , ;C > > FA E P> A= E DN @AF 7 ADA: N Cg B F . E F ; E E N ; C N @FD N ( AE FCNA DE FA=B EA) CE A E g A AAD AN D >E AD: ( . AACN ;A @F EA) . EE gA A)E Signed Watercolour with ink and bodycolour 11

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Illustrated: Spectator, 7 November 1992

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11 . J o h n G l a s h a n

216 A ;AF=B ED E F F >E . E N E ) E A .DC>C N g Signed Watercolour with ink 10 ¾

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Illustrated: Spectator, 8 June 1991

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217 C F ’ @ 2 E FB:> AF ED 2 A A:, N CN E B 7 N D AE D AN D 6 C6 F : E C gB F 2C > > CD N , F ;D B7N D AE D AN D @ E )E N F :- DN E F B D 7 @A ND, FB A EE B7NDA ED A ND 6 DAF :- @ Cx F B CN >C N E FD FB E FB AD NE . . .

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Illustrated: Spectator, 11 November 1989 Literature: John Glashan’s World, London: Robinson Publishing, 1991, page 12

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Willie Rushton

12. Willie Rushton

12

W I L L I E RU S H T O N

WILL I E RUS H TON

P

William George Rushton (1937-1996)

roli c and highly successful not only as cartoonist and illustrator, but also as writer, actor and comedian, Willie Rushton began his career at the forefront of the 1960s satire boom as a co-founder of the magazine Private Eye. He achieved lasting fame on the BBC television series That Was the Week That Was, alongside the likes of David Frost, before garnering a cult following on the BBC Radio 4 game show, I’m Sorry I Haven’t a Clue, from 1974 until his death. He was the author and illustrator of a number of bestselling books, such as How to Play Football: The Art of Dirty Play and Pigsticking: A Joy for Life.

Willie Rushton was born in Chelsea, London, on 18 August 1937, the only child of John Atherton Rushton, a publisher, and his wife Veronica (neé James).

He attended Shrewsbury School from 1950, where he met his future Private Eye colleagues Richard Ingrams and Christopher Booker. He showed an early talent for cartooning by producing illustrations for The Wallopian, a satirical version of the school magazine The Salopian, which he produced with Ingrams and Booker. He struggled academically however, claiming to have failed his mathematics O-level seven times. His failure to achieve a Latin O-Level cost him the chance to join his friends at Oxford, and instead he served his two years of national service. He returned to civilian life as a solicitor’s clerk in 1959. During this time he regularly sent cartoons to Punch, none of which were accepted. After quitting his job as a clerk, he worked at the Liberal News, producing the weekly strip, ‘Brimstone Belchers’, between June 1960 and March 1961, and a weekly political cartoon until 1962. He had remained in contact with his friends at Oxford, where Ingrams#was editing two magazines,#Mesopotamia#and#Parson’s Pleasure, to which#he#contributed cartoons. Between them they conceived the idea for a London-based satirical magazine whilst in a Chelsea pub, and the rst issue of#Private Eye#was published on 25 October 1961, with Rushton producing all the illustrations.

Early issues of the paper were put together in#Rushton’s#bedroom in his mother’s house in Kensington.

Having developed a taste for acting whilst accompanying his friends from Shrewsbury in a well-received revue at the Edinburgh Fringe, Willie Rushton made his professional stage debut in 1961 in Spike Milligan’s The Bed-Sitting Room, at the Marlowe Theatre in Canterbury. Not long after, he appeared in cabaret with Richard Ingrams, John Wells and Barbara Windsor at the Room at

182

the Top, a nightclub above a department store in Ilford, east London. Here, Rushton’s impersonation of Prime Minister Harold Macmillan caught the attention of a BBC producer and, from November 1962 to December 1963, he appeared in the BBC programme That Was the Week That Was, which drew in audiences of up to 13 million and found him immediate fame. In 1965, he met Arlene Dorgan while hosting the variety entertainment show New Stars and Garters. They married in 1968 and together had one son. Though That Was the Week That Was was cancelled in 1964, he continued to work regularly on television, appearing in Not Only… But Also with Peter Cook and Dudley Moore and episodes of popular series such as Up Pompeii! (1970), The Persuaders! (1971) and Colditz (1974). On stage, he appeared in Gulliver’s Travels at the Mermaid in 1971 and 1979, and in Eric Idle’s Pass the Butler at the Globe in 1982. He also had a series of cameo roles in lms such as Magni cent Men in their Flying Machines#(1965) and#Monte Carlo or Bust#(1969). Between 1985 and 1989, Willie Rushton was a regular panellist on the television show Celebrity Squares and a popular story reader on the children’s show Jackanory.

Willie Rushton achieved perhaps his widest following and greatest popularity on BBC Radio 4’s I’m Sorry I Haven’t a Clue, which he joined in 1974 and appeared as a regular team member in every yearly series until his death.

He appeared alongside fellow comedians such as Tim Brooke Taylor, Graeme Garden and Barry Cryer. In 1996, he teamed up with Barry Cryer, in their own show, Two Old Farts in the Night, performing to full audiences at the Edinburgh Festival, Royal Albert Hall and Royal Festival Hall.

Having not been involved in Private Eye since the later years of the 1960s, Willie Rushton returned in 1978 to illustrate ‘Mrs Wilson’s Diary’ and ‘Auberon Waugh’s Diary’. When Waugh moved to the Daily Telegraph in the mid-1980s, Rushton followed, while also contributing to his Literary Review, providing the monthly coloured covers, while at the same time producing fortnightly caricatures for Private Eye’s literary review page. He contributed a regular contents-page illustration to the Independent Magazine, and from 1993 to 1996 drew cartoons for Channel 4’s television series Rory Bremner… Who Else?. He also published a number of his own humorous books, including How to Play Football: The Art of Dirty Play (1968), Pigsticking, a Joy for Life: a Gentleman’s Guide to Sporting Pastimes#(1977),#Bureaucrats: how to Annoy

12. Willie Rushton

Them#(under the pseudonym#R. T. Fishall) (1981), and#Willie Rushton’s Great Moments in History#(1984). The original artwork for this latter work was commissioned as a permanent collection at the Victoria and Albert Museum.

Willie Rushton was a passionate cricket fan throughout his life. He received coaching at Lord’s as a boy, later playing for the Lord’s Taverners, and was a regular team captain on BBC Radio 4’s quiz show, Trivia Test Match, running from 1986 to 1993. His 1984 novel, W. G. Grace’s Last Case, was based on a ctional episode in the life of the great cricketer.

He died from complications after heart surgery at Cromwell Hospital, Kensington on 11 December 1996, aged 59.

218 M A RTI N A M I S A S RO B O CO P Signed with initial and dated 91 Ink 8

No 232, please see page 192

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Illustrated: Literary Review, September 1991, cover, Adam Mars-Jones (reviewer), ‘Times Arrow’ by Martin Amis

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12. Willie Rushton

219 I T ’ S YO R B IRD - B AT H , Ink and watercolour 9 ½

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Illustrated: Frank Ward and William Rushton, Unarmed Gardening.

How To Tame The Thing Outside, London: Macdonald and Jane’s, 1977, page 117, ‘Finding Something To Do’

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Illustrated: Frank Ward and William Rushton, Unarmed Gardening.

How To Tame The Thing Outside, London: Macdonald and Jane’s, 1977, page 100, ‘Squirting’

12. Willie Rushton

221 A TAL E OF HORT I C LT R A L E S PI ONAGE Ink 9 ½

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Illustrated: Frank Ward and William Rushton, Unarmed Gardening. How To Tame The Thing Outside, London: Macdonald and Jane’s, 1977, page 40, ‘Escape Routes Survivors’

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12. Willie Rushton

‘I refer, Mr Chairman, to the lavatory at the Nursery End – the Gentlemen’s lavatory, I hasten to add – with the corollary that the term “Gentlemen” is used advisedly as a close inspection of the building will reveat that it is no more than a Post Restante for every homosexualist — every pervert –’ ‘Are you suggesting, Sir, that homosexualists pursue the Noble Game?’

(Marylebone Versus the World, page 41)

222 M I N TES O F TH E M CC B I LD I N GS A ND WO R K S CO M M I T TE E Ink 10

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Illustrated: William Rushton, Marylebone Versus the World, London: Pavilion, 1987, page 40

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12. Willie Rushton

223 SN OOKER POTTING AND P TTING

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Illustrated: William Rushton, Pigsticking. A Joy For Life, A Gentleman’s Guide to Sporting Pastimes, London: Macdonald and Jane’s, 1977, ‘Snooker’, page 116

224 F RE D D IE T R E MAN AN D E RIC MORE C AMB E Ink 8 ½

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Illustrated: Fred Trueman, The Thoughts of Trueman Now, London: Macdonald and Jane’s, 1978, page 9

187

12. Willie Rushton

225 P NC H ’ S R EL A NC H PART Y Signed with initial Text signed by Auberon Waugh Ink 4 ¼

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Illustrated: Daily Telegraph, 7 September 1996, ‘Way of the World’ by Auberon Waugh

188

226 TH E B EST TH I NG S O N TEL E V I SI O N Text signed by Auberon Waugh Ink; 5 ¾ 5 ¼ I N C H E S Illustrated: Auberon Waugh, The Diaries of Auberon Waugh, London: Private Eye, 3 August 1979 Exhibited: ‘Private Eye Cartoonists: the 50th Anniversary’, Chris Beetles Gallery, London, October-November 2011, no 125

12. Willie Rushton

227 TO B RI G HTO N WITH A H G E PART Y O F LO R D G N O M E ’ S MI NI ON S WHER E W E C E L E B RATE P.G . WO DEHO S E ’ S C E N T E N ARY W ITH A F E A S T IN TH E ROYA L PAVILIO N Signed with initial and dated 81 Text signed by Auberon Waugh Pen and ink 4 ½

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Illustrated: Private Eye, 23 October 1981; Auberon Waugh, The Diaries of Auberon Waugh, London: Private Eye/Andre Deutsch, 1985, page 133 Exhibited: ‘40 Years of Private Eye’, Chris Beetles Gallery, London, OctoberNovember 2001, No 124; ‘Private Eye Cartoonists: the 50th Anniversary’, Chris Beetles Gallery, London, October-November 2011

228 TH E A STRA LIA N S Signed with initial and dated ‘92 Ink 7

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Illustrated: Sunday Telegraph

189

12. Willie Rushton

Harold had a go at joining the Common Market. ‘I cannot see’, he said over a cup of tea, ‘how General de Gaulle can say “No”.’

General de Gaulle said ‘NON!!’. ‘I hadn’t thought of that,’ said Harold, helping himself to a spoonful of Delikat. Then he devalued the Pound. ‘This’, he said, ‘does not mean the Pound in your pocket has been devalued.’ You couldn’t help liking the old rogue. Well, some didn’t and he lost an election to Edward Heath. But four years later he was back. This time by three votes and still pu ng away on his pipe. In public that was. The moment he was back in Number Ten, it was out with the jukebox and Party Tim! You’d never have guessed from all this just how grim things were, with talk of Military Coups, the International Monetary Fund cancelling our overdraft, and the KGB under the kitchen table at Number Ten. It was all very confusing, certainly for a cat.

(Humphrey, The Nine Lives of the Number Ten Cat, page 22)

229 ‘ L E T ’ S B O O GY ! ’ C R IE D HARO LD, ‘ L E T ’ S B O P TO TH E B E AT. A ND C AT, TH ROW THO SE S E V E N M I C E I N TO T H E S T R E E T ’ Ink 10 ½

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Provenance: Dr Aidan Mcgennis Illustrated: Willie Rushton, Humphrey, The Nine Lives of the Number Ten Cat, London: Pavilion Books, 1995, page 23

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12. Willie Rushton

The dustmen stopped working. All the gravediggers stopped working. I refused to leave the premises. It was very unpleasant out. Chaos. Certainly Un t for Cats.

In a way, you had to admire old Jim. In the middle of all this, like Lord Nelson before him, Jim said, ‘I see no chaos’. Admittedly, when he said it he was on his way back from a Summit Conference in sunny Guadeloupe.

He then lost a vote of ‘no con dence’ in the House of Commons by one vote, the one vote being a mad Scots Nat, thus ushering in One Hundred Years of Mrs Thatcher.

(Humphrey, The Nine Lives of the Number Ten Cat, page 26)

230 ‘THEY’RE ALL ON STRIKE’ SAID HONE S T JIM , ‘ E C E P T T E N B L A S T E D M ICE . GE T RID OF T H E M , C AT!’ ‘ I ’ M G OI NG SLOW ’ I SA I D ‘ B T N AME YO R P R I C E ’ Ink 9 ½

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Provenance: Dr Aidan Mcgennis Illustrated: Willie Rushton, Humphrey, The Nine Lives of the Number Ten Cat, London: Pavilion Books, 1995, page 27

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12. Willie Rushton

231 S AI NTLY LIVES A ND G R ESO M E DE ATH S Signed with initial and dated 1993 Ink 10

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Illustrated: Literary Review, August 1993, cover, Brian Masters (reviewer), Jacobus De Voragine, The Golden Legend, Princeton: Princeton University Press, 1993

192

232 (left) TH E END Ink 3 ¼

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Illustrated: Jon Talbot, Elephant on the Line!, London: Kaye and Ward, 1979 Exhibited: ‘Quick on the Draw, Drawings by Willie Rushton’, Shrewsbury Museum & Art Gallery, April 2004, No 20

233 J OA N SM I TH , A DA M A ND E V E Signed with initial Ink 11

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Illustrated: Literary Review, November 1996, cover, Lisa Jardine (reviewer) of Joan Smith, Hungry For You: From Cannibalism To Seduction, London: Chatto and Windus, 1996

The Americans

13. The Americans

13

THE AMERICANS W I L L I A M S TEI G

T

William steig (1907-2003)

he American artiMt, William steig, rMt made hiM name with hiM highly original cartoonM for The New Yorker, and he worked regularly for that magazine for Meveral decadeM. Gradually, he widened hiM reputation with hiM work aM a draughtMman and Mculptor. >hen from hiM MixtieM, he gained an entirely new audience – and many prizeM – aM an illuMtrator and writer of popular children’M bookM, including Shrek! (1990), which proved the baMiM for the phenomenally popular MerieM of animated lmM. .or a biography of William steig, pleaMe refer to The Illustrators, 2020, page 180.

F u r th er reading : Claudia J Nahson, The Art of William Steig, Yale University Press, 2007

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234 ( II > >A I W B .I Signed Inscribed with title below mount Ink

235 A CCA / I1 1 I (A I s A / I A2 >B .2 1 A; (I Signed Inscribed with title below mount Ink

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13. The Americans

CoM 234-237 are all illuMtrated in William steig, Till Death Do Us Part: some ballet notes on marriage, Cew York: Duell, sloan and Pearce, 1947

236 W A I C Y; 2 AC D B W I9I Y;2 C G , (AG GBI Signed Inscribed with title below mount Ink 5 ½

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237 B A1WAYs P 2 > ( Y .; ;> B C B > Signed Inscribed with title below mount Ink 5 ¼

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195

13. The Americans

BU D H A NDEL S M A N

J

John /ernard AandelMman (1922-2007)

/ AandelMman achieved great popularity on both MideM of the Atlantic aM a cartooniMt for The New Yorker, Punch and Playboy. >hough perhapM beMt known in the 2 aM the creator of the Mtrip, ‘.reaky .ableM’, which ran for 11 yearM in Punch, hiM meticulouM line and particularly the Mharp, dry wit of hiM captionM Mtood him out aM one of the neMt and moMt memorable New Yorker cartooniMtM of the twentieth century.

J / AandelMman waM born /ernard AandelMman in (anhattan, Cew York, on 5 .ebruary 1922. AiM father, (ax AandelMman, waM born in Cew York of JewiMh Aungarian immigrantM and taught IngliMh at the JameM (onroe Aigh school in the /ronx. AiM mother, Dinah (née /irnbaum) waM alMo a teacher. AiM MiMter, Idith, waM eight yearM hiM Menior and would become a journaliMt and writer working under the nom de plume Idith AnderMon. Ae began drawing cartoonM aM a young boy, and had decided upon a career aM a comic Mtrip artiMt by the age of ten.

AM a child, AandelMman grew up in the /ronx and waM educated in the /ronx public Mchool MyMtem, before Mtudying at the Art studentM’ 1eague from 1938 to 1942. After the 2sA entered the second World War, he enliMted brie y in the 2s Army Air 4orpM, though he waM diMcharged in 1945 due to hiM Mu ering from aMthma. 1ater that year, he enrolled at Cew York 2niverMity to Mtudy electrical engineering. Aowever, in 1946, he left univerMity in order to purMue a career aM a commercial artiMt, and began working aM a typographic deMigner in variouM Cew York advertiMing agencieM. At thiM time, he alMo began working aM a freelance cartooniMt, Mubmitting cartoonM to magazineM and newMpaperM Much aM Playboy, Esquire and The Saturday Evening Post. AM a cartooniMt, he began to uMe the profeMMional name ‘J / AandelMman’. Ae had alwayM diMliked the name given to him at birth, and aM an adult had adopted the name John, though he waM known informally aM ‘/ud’. Bn 1960, he began freelance cartooning full-time and the following year Mubmitted hiM rMt cartoon to The New Yorker, beginning an aMMociation with the magazine that would continue for 45 yearM. Bn 1963, he moved to Ingland with hiM wife, Gertrude (née Peck), whom he had married in 1950, and hiM three children, and Mettled in 1eatherhead, surrey.

Ae believed that hiM Mtyle of cartooning and MenMe of humour were more Muited to a /ritiMh audience, and he began contributing regular cartoonM to Punch, aM well aM to the Evening Standard, Observer, New Statesman and Saturday Review. Ae found particular popularity with hiM weekly cartoon MerieM, ‘.reaky .ableM’, which ran in Punch for 11 yearM. AandelMman waM alMo a talented writer and regularly Mubmitted Mhort MtorieM to Punch under an aMMortment of pMeudonymM. AiM cartoonM to Punch were alMo often Mubmitted under a di erent pMeudonym, Much aM ‘> 9 squink’ or ‘A J spoop’, but hiM unmiMtakeable line meant that hiM editorM were never in doubt aM to who the true creator waM.

196

AandelMman maintained a connection to hiM native country and continued to Mubmit cartoonM to The New Yorker, who o ered him a contract in 1967, and to Playboy. Bn 1971, Playboy publiMhed a collection of hiM cartoonM, You’re Not Serious, I Hope, and in 1978 awarded him their award for /eMt /lack and White 4artoon. Ae returned to the 2nited stateM in 1982 and continued to diMtribute hiM cartoonM widely. Ae waM alMo Mought after aM an illuMtrator of bookM for adultM and for children. Ae collaborated with John 4leeMe and the pMychiatriMt 9obin skinner on Families and How to Survive Them (1983) and Life and How to Survive It (1993) and with David .roMt on The Mid-Atlantic Companion (1986).

John 4leeMe referred to AandelMman aM ‘the beMt cartooniMt alive’. >he children’M bookM he illuMtrated included Who’s That Stepping on Plymouth Rock? (1975) by Jean .ritz and The Funny Side of Science (1973) by (elvin /erger. Bn 1992, he created a 10-minute animated lm called ‘Bn the /eginning’ baMed on the 4reation, which waM broadcaMt on //4 televiMion on 4hriMtmaM Ive of that year.

AandelMman continued to appear weekly in The New Yorker until 2006. ;ver the courMe of hiM career he contributed juMt under 1,000 cartoonM for the magazine, along with ve coverM. Ae died of lung cancer at hiM home in southampton, Cew York, on 20 June 2007.

F u r t h e r Re a d i n g : Mark Jacobs, Jumping Up and Down on the Roof, Throwing Bags of Water on People, Garden City, NY: Doubleday, 1980

238 B . B A A I >; A s P I9 ( B ss B ; C .; 9 I I9Y / B >I , D I A9 Is >, WI ’ 11 / I ( A>B CG A11 DAY Signed Ink and watercolour 6 ¼

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Illustrated: The New Yorker, 18 October 1993, page 81

13. The Americans

239 >A I s AB C>1Y / I A>1Is Signed Ink and watercolour with gold pen and collage 12 ½

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Illustrated: Punch, 23 November 1966, front cover

197

13. The Americans

240 (above) > AA> WA s A . BCI 9I P ;9>, / A9/ A9A . /2 > s BC 4 I > A I s I ) Is sP I A DB. . I9 I C > 1 AC G 2AGI s , B P 9;/ A/ 1Y D B DC ’ > 2CDI9 s>AC D A W;9 D ;. B> Signed Ink and watercolour 4 ¾

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Illustrated: The New Yorker, 30 January 1995, page 77

241 (above right) CI I9 ( B CD W A A> B D B D, Y; 2 9 A ; C; 9 . B WAC > >; / I J 2D G ID .; 9 W A ; B A ( , A s A C B C DB B D2A1 Signed Ink and watercolour 6 ½

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Illustrated: The New Yorker, 24 February 1997, page 102

242 (left) B C ( Y Y; 2 CG I9 DAYs , B AA D CI I9 A I A9 D ; . s 2 4A >A B CG s A s 9 A DB 44 A B ; ; 9 A92 G 2 1 A , A CD C;W >A A> B ’ I A I A 9 D ; . >A I( B > A A sC ’ > / 9; 2 G A > ( I A APPB C Iss Signed and inscribed with title Ink and watercolour 7 ½

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Illustrated: Playboy

198

13. The Americans

243 ‘ BC .1 AG9 AC>I DI1B4 >; ’, BC D I I D ! Y;2 C I I 9 (B s s A C ;PP ; 9>2CB> Y >; sA ;W ;. . Y;2 9 4 1 A s sB4 A1 ID 24 A>B; C , D; Y; 2?

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244 >A I9 I B > B s! Y; 2 sII ? 9 BG A > >A I9 I B C >A I >A1 (2 D ! ‘ .II D A 4; 1 D A CD s>A 9 I A .I I9 ’ Signed and inscribed with title Ink and watercolour with bodycolour

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Illustrated: The New Yorker, 17 January 2000, page 62

199

13. The Americans

245 W A A> A G1; 9 B; 2 s s 2 C sI >, I A? AC D Y;2 4; (P 1 AB C A/ ;2 > >AI BC D ;. W;91 D B ’ I G B I C Y;2 Signed and inscribed with title Ink and watercolour with bodycolour 12

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Illustrated: Playboy, May 1970, page 189

246 >A IC B sA BD, ‘ C;, DA ( C B >! B ’ I s>B 1 1 G ;> s; (I B C>IG 9 B > Y ! ’ A CD B 9 I.2 sID >; P 2 > B C A CY ( ; 9 I ( I A> / A1 1 s Signed and inscribed with title Ink watercolour and bodycolour 13 ½

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Illustrated: Playboy

200

13. The Americans

DAVI D L EV I NE

D

David 1evine (1926-2009)

avid 1evine waM widely acknowledged aM one of the greateMt, and moMt in uential, caricaturiMtM of the Mecond half of the 20th century. /eMt known aM the Mta artiMt of The New York Review of Books, he revived the tradition of American political caricature that originated in the nineteenth century with >homaM CaMt, and haM been frequently deMcribed aM equal to Aonoré Daumier. Aowever, he MuMtained an equally diMtinguiMhed career aM a painter, producing gurative oilM and watercolourM in a poetically naturaliMtic Mtyle. AiM love of 4orot and uillard, IakinM and sargent, pervadeM hiM MtudieM of 4oney BMland and the Garment DiMtrict. /ut more fundamental to both hiM paintingM and hiM caricatureM iM the fact that he Maid, ‘B love my MpecieM’. .or a biography of David 1evine, pleaMe refer to The Illustrators, 2010, pageM 277-278

247 (below left) I 9 A P ; 2 C D A CD > s I1 B ;> Signed and dated 71 Inscribed ‘T S Eliot’ on reverse Ink; 12 ½ ) 8 ½ B C 4 A I s Illustrated: The New York Review of Books, 18 November 1971, ‘The First Waste Land’ by Richard Ellmann (A Review of the Waste Land Annotations of Ezra Pound) 248 (below right) sA ( 2 I1 P I PYs Signed and dated 70 Inscribed ‘Pepys’ and ‘N Y Review of Books’ and dated 1970 on reverse Ink; 13 ) 11 B C 4 A I s Illustrated: The New York Review of Books, 8 October 1970, ‘O Calcutta! by Matthew Hodgart, a review of the Diary of Samuel Pepys, edited by Robert Latham and William Matthews

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13. The Americans

249 s A1 ( AC 92s ADBI Signed and dated 96; Inscribed ‘S Rushdie’ on reverse Ink 13 ¾

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Illustrated: The New York Review of Books, 21 March 1996, ‘Palimpsest Regained’

by J M Coetzee (a Review of Salman Rushdie’s The Moor’s Last Sigh); The New York Review of Books, 4 October 2001, ‘Puppet Show’ by John Leonard (a Review of Salman Rushdie’s Fury); The New York Review of Books, 6 October 2005, ‘Massacre in Arcadia’

by Pankaj Mishra (a Review of Salman Rushdie’s Shalimar the Clown); The New York Review of Books, 12 June 2008, ‘In The Emperor’s Dream House’

by Joyce Carol Oates, a review of the Enchantress of Florence by Salman Rushdie

202

250 A A 9; 1D P B C>I9 Signed and dated 70 Inscribed with title on reverse Ink 9 ½

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Illustrated: The New York Review of Books, 4 October 2001, ‘Harold Pinter’s Celebration’ by Daniel Mendelsohn (a review of the productions included in the Harold Pinter Festival at the Lincoln Centre)

13. The Americans

251 4;4; 4AA CI1 Signed and dated 72 Inscribed ‘Chanel’ on reverse Ink 12 ½

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Illustrated: The New York Review of Books, 10 August 1972, ‘Living It Out’

by Jean Stafford (a review of three books about Parisian women)

252 W / Y I A>s Signed and dated 66 Inscribed ‘Yeats’ and ‘NYR’ and dated 1966 on reverse Ink 12 ½

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Illustrated: The London Review of the Books, 6 April 1967, ‘The Politics of Poetry’ by Denis Donoghue

203

13. The Americans

ED S OR EL

E

Idward sorel (born 1929)

dward sorel’M clever and unforgiving Matire iM the product of a lifetime Mpent obMerving and criticiMing the unpleaMant reality of the American Dream. AiM experienceM of recent hiMtory from the Great DepreMMion to Al-Qaeda, and hiM diMdain for the greaMy politicM in between, have lent hiM cartoonM a formidable bite that thoMe hiM junior rarely match.

253 A CD >A I ; s 4 A9 D ; IsC ’ > G ; >; . . .

Signed Ink and watercolour

.or a biography of Id sorel, pleaMe refer to The Illustrators, 2020, page 202.

Illustrated: Vanity Fair, March 2005

204

16

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13. The Americans

254 92PI 9> ( 29D; 4A A s >A I / 1; ;D -s 24 BC G . BICD D9 A4 2 1 A Signed Pencil sketch of Rupert Murdoch on reverse Pastel and pencil 24 ½

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Illustrated: Columbia Journalism Review, May-June 1984, ‘Murdoch Stalks Chicago’ Literature: Ed Sorel, Unauthorized Portraits, New York: Afred A Knopf, 1997, page 127

205

13. The Americans

255 I s>A I9 / I. ; 9I A ss2 I 92 s Signed and inscribed with title Ink and watercolour 13 ½

)

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Illustrated: Drawn for The Festival of Purim, The Jewish Museum, New York, 2008

206

256 Q 2 IIC B 4 >; 9 BA ACD A1 I ) A CD I9 G 9 AA A ( / I 11 Signed Ink and watercolour 16

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Illustrated: New York Observer

13. The Americans

A R NOL D ROTH

A

Arnold 9oth (born 1929)

rnold 9oth iM Murely the moMt imaginative and humorouM graphic of thiM day or any other day. Iven (ax /eerbohm at hiM beMt would have to take a back Meat.’ (George Plimpton, Paris Review)

‘

.or a biography of Arnold 9oth, pleaMe refer to The Illustrators, 2015, page 158.

257 D I >I9G IC> Q 2 IIC Signed Inscribed with title below mount Watercolour and bodycolour 12 ½

)

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Illustrated: TV Guide, New York

207

13. The Americans

258 G A ( Is( AC sA B P Signed Inscribed with title below mount Watercolour with ink 13 ½

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Illustrated: TV Guide, New York

208

13. The Americans

259 >AI 4IC s; 9 Signed Inscribed with title of article below mount Ink and watercolour 13

)

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Illustrated: TV Guide, 8 January 1972, page 6, ‘From No-No! To Yes, Wow!’ by Maurice Zolotow ‘The current television season may not be the most innovative in history, but it is surely one of the most uninhibited. and the fact that we are not more shocked by this is a measure of how far we have come, and how fast, in accepting a television freed of the taboos of yesteryear.’ ((aurice olotow, page 7)

209

13. The Americans

260 PA(PI9ID P9;.IssB;CA1 G;1.I9 Signed Watercolour 5

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Illustrated: TV Guide, New York Exhibited: ‘Hole in One!’, The Atkinson Gallery Southport, May-August 2017

261 9;11I9 DI9/Y Signed with initials Inscribed with title below mount Ink and watercolour with pencil 6 ½

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Illustrated: TV Guide, New York

210

13. The Americans

262 CA 1 ( CA>B; CA 1 A; 4 I Y 1I AG 2 I ) 4;P s Signed and inscribed with title Ink and watercolour 15 ½

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Illustrated: TV Guide, New York

263 / 2 >, A s .; 9 Y; 2 , 4 A A 9 1 B I P ; ( I9A C> Signed Inscribed with title below mount Ink and watercolour 10 ½

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9 ¼

...

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Illustrated: TV Guide, New York, 30 May 1970

211

13. The Americans

EDWA R D KOR EN

E

Idward oren (born 1935)

dward oren iM undoubtedly one of the moMt loved and revered cartooniMtM in the hiMtory of The New Yorker. With hiM rMt cartoon appearing in 1962, he haM Mince produced over one thouMand cartoonM, illuMtrationM and coverM for the magazine. .amouM for hiM wonderfully fuzzy beaMtM, oren delightM in making, in hiM own wordM, ‘the ordinary and mundane hairy and unMhorn’.

.or a biography of Idward oren, pleaMe refer to The Illustrators, 2015, page 170.

212

264 92 P I9>, Y; 2 9 1 A s > 92 C WA s A/ s; 12 >I1Y P 9; .; 2 C D Signed and inscribed with title Ink 11

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Contemporary Illustrators

14. Contemporary Illustrators

14

C O N T E M P O R A RY I L L U S T R A T O R S RIC H A RD S H I R L EY S M I TH

S

Richard shirley smith (born 1935)

elf-taught aP a wood engraver, Richard shirley smith haP drawn upon the inPpirationP of Etalian architecture, theatre, poetry and claPPiciPm to become recogniPed aP one of 6ritain’P nePt claPPical illuPtratorP and engraverP.

Richard shirley smith waP born in KampPtead in 1935, the Pon of a Karley street heart PpecialiPt. GP a young child, he moved with hiP family to 6rimpton, 6erkPhire, where he rPt met the compoPer, 2erald Finzi and hiP wife Joy, an artiPt and writer. Ihe time he Ppent at their home in GPhmanPworth and the roomP there dedicated to reading, compoPition and Pculpture had a profound e ect on the young shirley smith and the FinziP would remain a Ptrong in uence over him throughout hiP career. Ke waP educated at Ihe Kall school in KampPtead, and at Karrow, where he waP taught art by the illuPtrator Maurice Percival. -hilPt boarding at Karrow, he lived next door to the painter and war poet, 5avid JoneP. Gfter completing hiP national Pervice in the Royal Grtillery 6ritiPh Grmy of the Rhine, he Ptudied at the slade school of Fine Grt from 1956 to 1960 under John Gldridge and Gnthony 2roPP. En 1960, Richard shirley smith travelled to Rome with hiP wife, Juliet -ood, whom he had married that year, and Ptudied there for Pix monthP, before travelling to Gnticoli 8orrado, beyond Iivoli, where he taught himPelf wood engraving. -hile in Gnticoli 8orrado, they were viPited by Joy Finzi, who waP working on a group of poemP entitled A Point of Departure, inPpired by her grief at the death of her huPband. shirley smith uPed hiP newly acquired Pkill aP a wood engraver to produce Peventeen engravingP for the poemP, which would eventually be publiPhed in 1967 by 2olden Kead PrePP. Bn hiP return to Mngland, he Phowed thePe engravingP to Gnthony 2roPP, hiP teacher from the slade, who PubPequently introduced him to Faber & Faber and Bxford /niverPity PrePP. En 1963, he held hiP rPt Polo exhibition, at the Mount 2allery in KampPtead.

Kaving Pettled back in Mngland, Richard shirley smith began lecturing part-time at st GlbanP and -atford school of Grt and working aP an extra mural lecturer for =ondon and 6riPtol /niverPitieP. En 1966, aged 27, he became the youngePt Kead of Grt to be appointed at Marlborough 8ollege, a poPition he held until 1971. 6etween 1969 and 1971, he made three rePearch expeditionP to the VillaP of the Veneto, the rePultP of which were publiPhed in a Pet of four educational Plide PtripP, The Story of the Venetian Villas, in 1973.

En 1970, Richard shirley smith waP commiPPioned by John 5reyfuP, the typographer and agent for the =imited MditionP 8lub of Hew &ork, to produce 42 wood engravingP for stephen spender’P The Poems of Percy Bysshe Shelley.

214

-hen thiP edition waP publiPhed the following year, it ePtabliPhed hiP reputation aP one of the country’P leading and moPt Pought after engraverP. En 1973, he illuPtrated =ord 8hePter eld’P Letters to his Son for the Folio society, for whom he alPo illuPtrated the Marl of RochePter’P Perfect and Imperfect Enjoyment (1992) and Bvid’P Metamorphoses (1995). En 1976, he waP commiPPioned to paint a trompe l’oeil for the 5oric Villa in Regent’P Park, =ondon. IhiP would be the rPt of twelve Puch commiPPionP, including one for the Regalian Project at KenPington Palace 2ardenP in 1991. since 2002, he haP completed a three Ptorey mural at sheepdrove in Kungerford, 6erkPhire, entitled The Cycle of Life, and the mural Laskett Shades for hiPtorian sir Roy strong.

Gt the age of fty, in 1985, Richard shirley smith waP celebrated with a RetroPpective Mxhibition that went on diPplay at the GPhmoleon MuPeum in Bxford and the RE6G Keinz 2allery in =ondon, after which the GPhmoleon acquired a complete Pet of hiP wood engravingP. En 1994, the collection The Wood Engravings of Richard Shirley Smith, written by Eain 6ain, waP publiPhed by silent 6ookP. KiP collected bookplateP were publiPhed by Ihe Fleece PrePP in 2005.

En May 1999, 8hriP 6eetleP 2allery held a major Polo exhibition of the work of Richard shirley smith.

KiP work iP reprePented in numerouP public collectionP, including the 6ritiPh MuPeum and the V&G; the GPhmolean MuPeum and 6odleian =ibrary (Bxford) and &ale /niverPity (Hew Kaven, 8I).

HoP 265-273 are all woodcutP and are illuPtrated in stephen spender (ed), The Poems of Percy Bysshe Shelley, 8ambridge: =imited MditionP 8lub, 1971

265 ’ IE s H BIKE H 2 6 / I G =E I I=M 5B-H & B-= Signed and dated ’71 Inscribed ‘Shelley 15’ below mount 3

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2 ¼

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14. Contemporary Illustrators

266 (above) KBM M R’ s K&M H IB IKM s / H Signed and dated ’71 Inscribed ‘Shelley 15’ below mount

267 (above) I K M EH V E IGIE B H Signed and dated ’71 Inscribed ‘Shelley 5’ below mount

3 ¾

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Illustrated: page 305

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Illustrated: page 258

268 (above far right) M/2 GH M G H KE== s Signed and dated ’71 Inscribed ‘Shelley 6’ below mount 4 ¾

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Illustrated: page 132

269 (right) G H5 BHM KMMH P&RG M E 5 - EI K - M 52 M s/6 =EM M Signed and dated ’71 Inscribed ‘Shelley 9’ below mount; 2 , 3 ¾ Illustrated: page 192

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270 (left) IK M I - E HK = E H2 B F IK E HM E HFG HI K G H5 s Signed and dated ’71 Inscribed ‘Shelley 21’ below mount 2 ½

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Illustrated: page 59

271 (right) IK B / K G s I = E K M IB G RB 8 K – 6 / E =I RM F/ 2 M sIB B 5 Signed and dated ’71 Inscribed ‘Shelley 23’ below mount 3 ¾

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Illustrated: page 195 272 (below) IK M B F FMR EH2 Signed and dated ’71 Inscribed ‘Shelley 17’ below mount 2 , 3 E H 8 K M s ; Illustrated: title page

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273 (below) K M= = E s G 8 E I & M/ 8 K = E K M =B H 5 B H Signed and dated ’71 Inscribed ‘Shelley 38’ below mount 1 ¾ , 2 ¼ E H 8 K M s ; Illustrated: page 208

14. Contemporary Illustrators

M IC H A EL F OR EM A N

W

Michael Foreman, B6M R5E (born 1938)

hile Michael Foreman iP perhapP bePt known aP one of the moPt outPtanding contemporary creatorP of children’P bookP, he iP a wide-ranging artiPt, illuPtrating literary claPPicP and working aP a painter.

For a biography of Michael Foreman, pleaPe refer to The Illustrators, 2018, pageP 132-133

274 P M IM R PG H Signed, inscribed with title and dated 1987 Watercolour with pencil, ink and bodycolour 9 ½

,

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Illustrated: J M Barrie, Peter Pan and Wendy, London: Pavilion, 1988

En 2017, 8hriP 6eetleP 2allery mounted a major retroPpective, ‘Michael Foreman: Ielling IaleP’, which waP accompanied by a fully-illuPtrated 140-page catalogue.

Recent B6M recipient and award-winning illuPtrator Michael Foreman haP publiPhed in the laPt year: Please Write Soon: An Unforgettable Story of Two Cousins in World War II, written by Michael RoPen and publiPhed by scholaPtic in Gpril 2022.

Please Write Soon iP a companion book to Poppy Field, written by Michael Morpurgo in 2018, and iP inPpired by a true family Ptory which exploreP -orld -ar EE and the KolocauPt. There Once is a Queen iP another collaboration with award winning author Michael Morpurgo, and waP publiPhed in May 2022 by Karper 8ollinP 8hildren’P 6ookP. Et iP a poetic celebration of Queen Mlizabeth’P reign, for which the publication coincided with the celebrationP for the Platinum Jubilee.

Flying Scotsman and the Best Birthday Ever, written by Michael Morpurgo, markP the centenary year of the famouP locomotive the Flying scotPman. Ihe original illuPtrationP will be exhibited at 5anum 2allery, 5oncaPter, 11 February-17 June 2023 and then journey to 8hriP 6eetleP 2allery for an exhibition in July 2023.

217

14. Contemporary Illustrators

HBG K G H5 IK M = E I I= M M= M P K G HI Noah and the Little Elephant waP publiPhed in 2021 by Karper 8ollinP 8hildren’P 6ookP in aPPociation with the wildlife conPervation charity IuPk. Ihe PenPitive illuPtrationP and heart-warming narrative of the book draw attention to the importance of protecting elephantP againPt poacherP.

HoP 275-287 are all illuPtrated in Michael Foreman, Noa and the Little Elephant, =ondon: Karper 8ollinP, 2021, [unpaginated]

275 (above left) HBG G H5 IKM = E I I= M M= M PKGH I Signed, inscribed with title and dated 2021 Watercolour and pencil 10 ¼

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Illustrated: front cover

276 (left) K M = E K M5 IB -GI8K G = = IK M GM G E H 2 G HEM G = s GI IR G8 IM 5 IB IK M 8B B = -GIM R s B F IKM 2 RM GI R E VM R Signed and dated 2021 Watercolour and pencil 10 ¾

218

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277 HBG =BVM5 6 MEH2 BH I K M R EVM R Signed and dated 2021 Watercolour and pencil 10 ¼

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278 MB sI BF G == , HBG =BV M 5 IB -GI8 K I K M MBI K MR M = MPKG HI G H5 KM R 6 G6& Signed and dated 2021 Watercolour and pencil with bodycolour 10 ½

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220

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279 (opposite above left) 5G 5 IB=5 HBG G 6B /I I K M K / H I M R s - K B s K BI M= M PK GHI s -EIK 2/H s GH 5 P BE s BH GRRB-s IB sIM G= IKMER VG =/G 6 =M I /s K s Signed and dated 2021 Watercolour and pencil 6 ½

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280 (opposite above right) GI FE R sI IKM 6 G 6& M=MP K GH I -G s F RE2 K I M H M 5 -K M H KM sG- HBG , 6/ I I K M H K M RM 8B2 H E s M 5 KE s RE VM R 6 G HK F R EMH5 Signed and dated 2021 Watercolour and pencil 8 ¾

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282 (below) E H IK M HM , I 5G&s G H5 - MM K s , IK M =E I I=M M= M P K G HI 6 M8 G M M H BI J / sI PG RI B F IK M FG ME =&, 6 / I PG RI B F IK M VE = = G2 M = E FM Signed and dated 2021 Watercolour and pencil 16 ½

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281 (opposite below) sBM M I EM Ms KM F B= =B-M5 HBG IB s8 K BB= G H5 JB EHM5 EH IK M P= G&2RB /H5 2GM M s Signed and dated 2021 Watercolour and pencil 10 ½

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221

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283 BH M HE2KI, IKMRM -G s G IR M MM H 5 B/ s sIBRM . E I -G s I K M 6 M2EHHEH2 B F I K M R GEH & s M G s BH GH 5 G== HE 2 K I =BH 2 IK/H5M R 6BB MM 5 GH 5 =E2 K I H EH 2 F = G s K M5 Signed and dated 2021 Watercolour and pencil 9 ½

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284 IK M HM , I M B RHE H2 , IK M R EV M R -G s R/ s K E H2 GH 5 RBG R E H2 G H5 6 /R s IE H2 BV MR IK M 6 G H K s . H BG R GH IB M GK M s/ R M IK GI K E s 6 BGI -G s s GFM FRBM IK M F =B B 5-GIM R Signed and dated 2021 Watercolour and pencil with bodycolour 11

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285 s/55M H=& IMM 6B MM MR2 M 5 F RBM I K M REVM R 6 M =B- K E M . K M K G 5 6 M M H IKM ‘ sB M M IKEH2 sB=E5 ’ 6 M H M GI K H BG’ s F M M I Signed, inscribed with book title below mount and dated 2021 Watercolour and pencil with bodycolour 10 ¼

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223

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286 IK M =EI I=M M=MPKG HI s P= G s K M 5 H BG Signed, inscribed with title below mount and dated 2021 Watercolour, pencil and bodycolour 10 ¼

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287 M BIK MR G H5 6 G 6& M= M P K G HI Signed, inscribed ‘Noa’ below mount and dated 2021 Watercolour and pencil 11

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Illustrated: back cover

224

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P E T ER CROS S

F

Peter 8roPP (born 1951)

rom 1975, Peter 8roPP began to emerge aP an illuPtrator of great originality, making hiP name with bookP that continue to delight children and adultP alike. /nwilling to rePtrict hiP fertile imagination to two dimenPionP, he alPo created a PerieP of eccentric cabinetP of curioPitieP. such richnePP and variety were then directed towardP advertiPing and, in particular, to delightful work for the company -ine Rack. 8roPP’P dry, yet charming viPual-verbal wit haP reached a wide international public through dePignP for greetingP cardP, rPt for 2ordon FraPer (Kallmark 1995-2000) and then for Ihe 2reat 6ritiPh 8ard 8ompany.

For a biography of Peter 8roPP, pleaPe refer to The Illustrators, 2018, page 150

289 IK M E = =/s IR GIB R sssss Signed with initials and dated 2022 Watercolour and pencil 4 ¾

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288 (below left) FRB M 5 E HB sG/ R s IB 5 B R ME 8 M Signed with initials Ink and watecolour 5 ¼

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290 M BIBR E sM5 2 B = F s K B Ms Signed with initials and inscribed with title Watercolour with bodycolour 8

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225

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291 K G R6 BI I= M ’ s 6 MMR K MM P E M- /P P E M Signed with initials and inscribed with title Watercolour with pencil 5 ¼

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292 8 / P 6 BGR 5 =BV M Signed with initials and inscribed with title Watercolour with pencil 4

226

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293 6 G RB = s E H2 E H2 Signed with initials and inscribed with title Watercolour and bodycolour 6 ¾

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294 sB8 E G= 6/6 6 =Ms Signed with initials and inscribed with title Watercolour with pencil 5 ¼

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296 KB- IB M GKM 8 GI 6 G/ 6 =M s Signed with initials twice Watercolour with bodycolour 9 ¼

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227

14. Contemporary Illustrators

A M A NDA H A L L

A

Gmanda Kall (born 1956)

manda Kall iP an award-winning contemporary illuPtrator, particularly renowned for her wonderfully decorative and colourful children’P book illuPtrationP, aP well aP her work for educational publicationP both in 6ritain and Gmerica.

For a biography of Gmanda Kall, pleaPe refer to The Illustrators, 2011, page 356

HoP 297-304 are all illuPtrated in 5awn 8aPey, Little Bear: An Inuit Folktale, 6loomington, Endiana: -iPdom IaleP, 2022

Gmanda Kall, haP over the laPt two yearP produced an abundance of new work.

Little Bear: An Inuit Folktale, publiPhed in 2022 by -iPdom IaleP, iP her latePt illuPtrated picture book; her Pecond collaboration with children’P author, 5awn 8aPey (following Babushka in 2015). Et iP a deeply PenPitive Ptory baPed on an Enuit folktale; Gmanda Kall haP captured the warmth of the characterP in the Ptory, whilPt alPo exquiPitely depicting the Pnow-covered arctic landPcape through the mediumP of watercolour ink and Poft paPtel pencil.

Gmanda Kall haP juPt completed the illuPtrationP for Jennifer 6erne’P book How the Sea Came to Be, an evolutionary tale of Pea. Ihe book will be publiPhed in Gpril 2023 by MerdmanP 6ookP for &oung ReaderP. Ihe 8hriP 6eetleP 2allery will launch thiP beautiful book and diPplay all the remarkable artwork in a Pelling exhibition in Gpril 2023.

297 - K MH sK M s = MP I, IK M 6 M G R 8 / 6 s = M P I 6 M sE 5 M K MR .

G H5 IK M 8 / 6 2 RM Signed Watercolour ink with coloured pencil 7 ½

228

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298 K/ - =/, M& =EI I=M B HM , M & = E I I =M 6 M G R , M& sBH Signed Watercolour ink with coloured pencil 11 ½

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299 sK M sG- G s8 R G P B F F/R . H B, H BI G s8 RG P – EI -G s s KEV MREH 2 , s Q/ M GK EH 2 .

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300 IK M MMH B F I KM V E == G2M P = G& M5 - E IK IKM 6 M G R , P R G8 IE 8 E H2 IKM E R sPB RIs - E IK K EM Signed Watercolour ink with coloured pencil 6

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301 G H B = 5 -B M G H =E V M 5 6& K MR sM= F, G H 5 -G s =B HM=& Signed Watercolour ink with coloured pencil 11

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302 6& sPR EH2 , - K M H I K M 5G&s =M H 2I K M H M 5 GI = G s I, IKM 6 M GR 8B / =5 8 GI8 K s G=M BH GH 5 sM G= 6& K E M sM= F Signed Watercolour ink with coloured pencil 11 ½

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303 “ = E I I= M 6 M GR ”, sK M P / I K MR GR M s G RB / H 5 K E s HM8 K G H5 K M R IM G R s RG H E HIB KE s F/R . “ 6 M G R s 6 M=B H2 E H IK M - E = 5. 2 B. 6 M FR M M . . .”

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304 sK M P / Is K M R G R M s GRB / H5 K E s HM8 K , G H5 IK M & H/ = M Signed Watercolour ink with coloured pencil 11 ½

232

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Paul Cox

15. Paul Cox

15

PA U L C O X PAUL COX

P

Paul William Cox (born 1957)

aul Cox’s uid, immediate draughtsmanship and vibrant colour make him one of the most enjoyable, versatile and sought-after of contemporary illustrators. Well known for his warm and witty contributions to books and magazines, he has ranged in his work as a designer from stamps to stage sets.

Paul Cox was born in London in 1957, the eldest child of architect Oliver Cox CBE, he was raised in Dorset and Hampshire. Paul Cox studied illustration at Camberwell College of Art and then at the Royal College of Art. After graduating in 1982 he worked as a freelance artist, earning success for his distinctive and lively style of illustration and his work is easily recognised on the pages of the Daily Telegraph, Country Life, The Spectator, The Sunday Times Magazine, Punch, The Times, Blueprint Magazine, Vanity Fair and Esquire.

In 1984 Paul Cox began a close professional relationship with the Folio Society, leading to book illustrations that highlight both the warmth and wit of his work.

Volumes include: Jerome K Jerome’s Three Men in a Boat (1992) and 17 novels

by P G Wodehouse. In 2006, he illustrated the 50th anniversary version of Gerald Durrell’s My Family and other Animals. These illustrations formed two exhibitions at the Durrell Wildlife Foundation, Jersey and Chris Beetles Gallery, London.

Chris Beetles held the rst major retrospective of Paul Cox’s work in 2001, with another in 2013 accompanied by the book A Journey Through His Art. In 2011 Paul Cox moved back from Sussex to his beloved capital: I have always loved London. I think its in my blood, and I recognise, belatedly, perhaps, that it was somewhere I shouldn’t have left, but I’m glad I had, because I appreciate it more.

It is the city that has inspired much of his work, amongst the vivid depictions of life in Paris, Rome, and New York.

In 2020 he illustrated The Short, The Long and The Tall, a limited-edition collection of short stories by best-selling novelist Je rey Archer. Paul Cox involves himself with a variety of these collaborative works, including stamp designs for the Royal Mail, set designs for the 50th anniversary production of the musical, Salad Days, a mural for the lecture hall at the Royal College of Surgeons, and a variety of work in the States.

Most recently he has completed a series of work exploring the London pubs drawn and frequented by Edward Ardizzone. He continues to live in Highgate with his wife, with whom he has two children.

234

FOLLOWING IN ARDIZZONE’S FOOTSTEPS

By Robert Bruce It does seem extraordinary. But if you walk around the area of Maida Vale where Edward Ardizzone lived for most of his life the pubs which he so enjoyed and drew incessantly are largely still there. It is perfectly possible to follow in his footsteps and enjoy the beer, the architectural glories, and the amiable humanity he so loved. He lived at the same house on Elgin Avenue, which now sports a blue plaque to him, from 1920 to 1972. He was a disciplined artist and was at his desk by the window early in the morning working on his books, the Little Tim series, or posters for Guinness, or book and magazine illustrations. And at lunchtime he would pop down to a local pub. There he would continue his work, his son recalled, drawing the locals on the back of a cigarette packet, or a beer mat, or whatever came to hand.

These sketches became his pub drawings. And the drawings became books, The Local immediately before the war, and then, the war over, Back To The Local in 1949, both written with Maurice Gorham, an old school chum.

This is what this chapter of paintings by Paul Cox commemorates. ‘There can be no doubt’, Ardizzone’s brother-in-law recorded, ‘that he found the task congenial and he and the author visited the various houses assiduously’. And that is precisely what Paul Cox and I did on some of the hottest days of the summer this year. We stuck to our task. We would visit the Hero of Maida, in Ardizzone’s day called The Shirland, where the winding wooden staircase still exists beneath which in his 1955 etching he shows two delightful old ladies enjoying a drink. We would move to the glory of the Prince Alfred [nos 306-308] with its many original bars, its curving etched glass windows and its snob screens to enable demure ladies to preserve their privacy while buying a drink, and think how amazed Ardizzone would be to learn that it has just been granted Grade II* listing, the second highest grade on the National Heritage List of England. Then to The Warrington [no 309] with its huge circular bar and the grand staircase on which Ardizzone depicted ‘the girls’ in all their ra sh disarray. It was the most enjoyable research that either of us could imagine. In Cox’s depiction of the main bar in the Prince Alfred [no 307] his pint of Guinness is refreshingly in the foreground.

Ardizzone’s son Nicholas once said of his father: ‘It was in pubs he found the humanity that fascinated him, the awed fallible humanity for which he had such a keen visual sense’. Cox has a similarly non-judgemental and sweet attitude to people and he has added to the repertoire of Maida Vale pubs.

One pub, up on the border with St John’s Wood, now converted into a private

15. Paul Cox

house, was The Alma. It was an Ardizzone favourite. He loved the landlord and landlady, the family atmosphere, and the characters attracted to the pub. One would play his cornet at the door, others played the saw, and one would, for a bet, apparently set up a primus stove and fry and then eat his socks on the premises [no 310]. As far as we know Ardizzone never drew the scene, but Paul Cox has. Invariably drawing from exactly the same viewpoint as Ardizzone, Paul has commemorated his work from eighty years ago and celebrated the survival of all these extraordinary and joyous pubs.

Please see Edward Ardizzone in chapter 7, pages 117-128

305 TH E E LG IN ELG I N AVEN E Signed, inscribed with title and dated 22 Ink and watercolour 16

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TH E ELGIN At the other end of Elgin Avenue from their home this would often be a last call on a ramble round the local pubs for Ardizzone, his son and his dog, Toby.

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15. Paul Cox

306 TH E P R I NC E A LFR E D C A STEL L A I N R D Signed, inscribed with title and dated 22 Ink and watercolour 15 ¾

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TH E P R INC E ALF RED Outside the Alfred in the warmth of a summer’s dusk couples gather, bathed by the interior glow through the etched and elaborate glass of the windows.

307 TH E P R I NC E A LFR E D FO R M O SA ST Signed, inscribed with title and dated 22 Ink and watercolour 16 ¼

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The artist’s own pint of Guinness is a tempting stretch away. The Ladies Bar with its snob screens, only found in one other pub in London, is at the far end.

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15. Paul Cox

308 SALOON B A R AT THE P RI N C E A LF RED Signed, inscribed with title and dated 22 Ink and watercolour 15 ½

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The saloon bar of the Alfred is the place to relish the elaborate woodwork around the Ladies Bar and the towering ornate shelves of bottles topped by its clock, which has long ceased working.

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15. Paul Cox

309 TH E WA R RINGTO N H OT E L Signed, inscribed with title and dated 22 Ink and watercolour 16

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T HE WA R RINGTO N H OT E L This is the most epic of Maida Vale’s pubs and this Cox painting echoes one of Ardizzone’s pictures where he depicts himself, the gent on the right, gazing in a slightly worried fashion up at the lady on the grand staircase.

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310 FRY I NG SO C K S AT TH E A L M A Signed, inscribed with title and dated 22 Ink and watercolour 7 ½

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15. Paul Cox

311 TH E B RI D GE HO SE WE S T BO RNE TER RACE Signed, inscribed with title and dated 22 Ink and watercolour 14 ½

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TH E B RID GE HO S E Nightfall again, here at the peaceful Bridge House by the canal at Little Venice. The evening punctuated by the sharp quacks of coots.

312 TH E C L I F TO N C L I F TO N H I L L Signed, inscribed with title and dated 22 Ink and watercolour 15 ½

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TH E C L IF TO N This is the closest you get to a country pub in London. In Ardizzone’s day the long building behind, now occupied by lawyers, was the home of Carlton Film Studios where he had many chums.

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15. Paul Cox

313 TH E WA RW I C K C A STLE WA RW I C K P L ACE Signed, inscribed with title and dated 22 Ink and watercolour 20 ½

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TH E WA RWICK C A ST LE Ardizzone depicted two men walking towards the pub in keen Sunday morning anticipation. Paul Cox also shows two men, this time in the early evening under the antique illuminated lantern.

240

16. Alex

16

ALEX P e a t t i e + Ta y l o r A L EX

Charles Peattie (born 1958) + Russell Taylor (born 1960) Produced by Russell Taylor and Charles Peattie, the Alex strip rst appeared in the London Daily News in 1987. It moved to the Independent later that year, before nding a home at the Daily Telegraph in 1992. The strip celebrated its 30th anniversary with the Telegraph earlier this year.

For over three decades, Alex has followed the daily life of its eponymous lead, a snobbish, narcissistic, materialistic investment banker and those of his friends, colleagues and loved ones. Occurring in ‘real time’, the strip has chronicled all the major news stories, global politics and nancial crises of the last 30 years.

R

ussell Taylor was born in York in 1960. He read Russian at St Anne’s College, Oxford. His rst book, co-authored with Marc Polonsky, was USSR – From an Original Idea by Karl Marx (Faber 1986) – a humorous guide to the Soviet Union, which earned him what is still the most vituperative review of his career (in Pravda).

Russell met cartoonist Charles Peattie at a Christmas party in 1986 for the magazine Direction on which they both worked. Their rst Alex cartoon strip appeared on February 23rd 1987 in the short-lived London Daily News. When that paper folded ve months later Alex transferred to the Independent. In January 1992 he treacherously defected to the Daily Telegraph where he has resided ever since. Alex also appears in newspapers abroad and is particularly popular in Australia and, perhaps surprisingly, in Germany (who says they don’t have a sense of humour?).

After a brief midlife crisis in the late 90s Russell ran the New York Marathon and wrote a book of his experiences The Looniness of the Long Distance Runner (Andre Deutsch 2001). In 2002 he and Charles were appointed MBE for services to the newspaper industry.

In 2007 the pair wrote and produced Alex the eponymous and successful stage play, starring Robert Bathurst, which was performed at the Arts Theatre in London. The play toured the world and returned to the West End in 2008.

In 2010 Russell and Charles wrote a ten week drive time show for Classic FM, which was hosted by Alex (aka Robert Bathurst) and shocked and scandalised

242

the station’s listenership (many of whom seemingly believed that Alex was a real banker).

Russell moonlights by writing lm and TV music (in collaboration with Steve Cooke). Their programmes, mainly very depressing documentaries, have won seven Emmies, seven BAFTAs, an Amnesty International Award and a Prix Italia.

Russell is married to taxidermist, author and promoter Suzette Field. They live in North London with their daughter.

C

harles Peattie was born in 1958. He was educated at Great Walstead Prep School and Charterhouse Public School before studying painting at St Martin’s School of Art. After leaving St Martin’s, Charles began working as a painter of society portraits, but gave up painting professionally in 1985. By this time, he had been submitting gag cartoons to Private Eye for a few years and in 1985 he had begun the cartoon strip ‘Dick’ with writer Mark Warren in the music magazine, Melody Maker.

After meeting Russell Taylor in 1986, the pair published the rst Alex strip in the Daily London News in February 1987. In May of the same year, he began drawing the Celeb strip for Private Eye. Charles would also write the script for the BBC One sitcom series, Celeb, based on the strip. The show starred Harry En eld and Amanda Holden and aired in 2002. In 1999, Charles Peattie would collaborate with Mark Warren on the Grenada television comedy drama Passion Killers, starring Ben Miller and Georgia McKenzie. He also wrote sketches for three seasons of the television sketch show Lenny Henry in Pieces, which ran between 1998 and 2001.

In 2009, Charles produced a series of animated shows designed for telephones, including an animated Alex strip commemorating the Financial Crisis. In 2012, he wrote and drew the Alex Christmas story ‘It’s a Wonderful Crisis’, which ran over the Christmas period in the Daily Telegraph.

In 2014-2015, Charles created animated scenes for the backdrop of a stage adaptation of Christopher Reid’s The Song of Lunch, which ran at The Minerva Theatre in Chichester, starring Robert Bathurst.

Charles married his rst wife in 1988 and married again in 2005. He has two daughters from his rst marriage and two sons from his second. He became a grandfather for the rst time in 2014.

16. Alex

314 (above) L AWRE NCE I S A HUGE CRIC K E T FAN , BU T H I S CO M P L I A N C E D E PA RT M E N T WO U L D N ’ T L E T H I M ACC E P T OUR I N VITA IO N TO TO DAY ’ S T E S T MATC H Signed Ink with coloured pencil

315 (below) M Y W I FE H A S B EEN P U T TI NG P R ESSU R E O N M E TO GO B AC K TO TH E O FFI C E . . .

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Illustrated: Daily Telegraph, 3 June 2022

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Illustrated: Daily Telegraph, 12 September 2019

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16. Alex

316 (above) OUR NE W GR A DUAT E H IRE W H O S E E ME D S O B RIGH T A ND KN OW LEDGE A B LE TU RN S OU T N OT TO B E S O Signed Ink with coloured pencil

317 (below) I N A WAY W E H AV E TH E P ER FEC T M O D ER N R E L ATI O N SHI P I N TH AT W E G E T TO SP END A L L DAY TO G E TH ER Signed Ink with coloured pencil

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Illustrated: Daily Telegraph, 7 June 2022

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Illustrated: Daily Telegraph, 27 June 2022

16. Alex

318 (above) WE L L THE R ECENT TEST S E RIE S AG AIN S T N E W Z E AL A ND H A S PRO DUCED THR EE E N T E RTAIN IN G , COMP E T IT IVE A ND COMPE L LING GA M ES Signed Ink with coloured pencil

319 (below) E V E RYO N E ’ S S AY I N G H OW A M A Z I N G I T WA S TO S E E M ACC A A ND SP R I NG STEEN O N STAG E AT G L A STON BU RY A ND M I C K J AG G ER I N H Y D E PA R K L A ST W EEK . . .

Signed Ink with coloured pencil

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Illustrated: Daily Telegraph, 1 July 2022

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Illustrated: Daily Telegraph, 4 July 2022

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16. Alex

320 (above) I N A WAY I T ’ S G O O D T H AT W E P U T O F F G E T T I N G E NG AGED UNTIL NOW, C Y RU S . . .

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Illustrated: Daily Telegraph, 5 July 2022

321 (below) S O I T ’ S O N LY T H R E E W E E K S T I L L YO U R W E D D I N G , B R I DG E T . . . YO U M U ST B E SO E C I TED. W H ER E AR E YO U G O I NG O N YO U R H O NE Y M O O N? Signed Ink with coloured pencil 4 ½

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Illustrated: Daily Telegraph, 22 July 2022

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Contemporary Cartoonists

17. Contemporary Cartoonists

17

C O N T E M P O R A RY C A RT O O N I S T S

M AC

S

Stanley McMurty, MBE (born 1936), known as ‘Mac’

ince 1971, and for almost 50 years, Mac has produced regular cartoons for the Daily Mail and then its sister paper, the Mail on Sunday. He has always considered that he is essentially apolitical, and that his role is to brighten ‘the dreary news copy of the daily paper … by putting in a laugh’. He has achieved this through clear, realistically drawn images, replete with mimetic detail and social comment.

in two volumes edited by Mark Bryant: 25 Years of Mac (1996) and 50 years of Mac (2018).

Stan McMurtry was born in Edinburgh on 4 May 1936, the son of the commercial traveler, Stanley McMurtry, and his wife, Janet. When he was about the age of 10, he moved with his family to Solihull in Warwickshire, and was educated locally at Sharmans Cross High School for Boys.

Having divorced his rst wife in 1980, McMurtry married Janet Rattle in Maidstone, Kent, in the following year. From that time, he regularly incorporated her likeness into his cartoons. Then, two decades later, in 2003, when he married his third wife, Elizabeth Vaughan, in Kensington, her likeness began to replace that of Janet.

Between 1950 and 1953, McMurtry studied at Birmingham College of Arts and Crafts. Then, having undertaken National Service in the Royal Army Ordnance Corps (1954-56), he moved to Henley-on-Thames, in Oxfordshire, to begin work at Nicholas Cartoon Films, an animation production company newly established by Nicholas and Mary Spargo. By the time of his rst marriage, to Maureen Flaye in 1958, he had become one of the company’s key animators, and would work on two lms that won awards at the Cannes Film Festival. He and Maureen would have one son and two daughters. During his spare time, he began to produce gag cartoons, which he would send to newspapers and magazines, in the hope of their being accepted. Eventually, he had a cartoon published in Today on 7 January 1961.

In 1965, McMurtry left Nicholas Cartoon Films in order to establish himself as a freelance cartoonist. While continuing to contribute cartoons to periodicals, such as Punch and the London Evening News, he also drew strips for children’s comics, including ‘Percy’s Pets’ for Smash and ‘Pest of the West’ for Wham!

In 1968, McMurtry became the topical cartoonist for the Daily Sketch (on the retirement of Norman Mansbridge), and from January 1969 produced a daily cartoon, which he signed ‘Mac’. When the Daily Sketch was absorbed by the Daily Mail in 1971, the editor, David English, chose McMurtry over the Daily Mail’s existing political cartoonist, Wally Fawkes. McMurtry then worked in tandem with John Musgrave-Wood (who signed as ‘Emmwood’), until Musgrave-Wood retired in 1975. From that year, McMurtry drew ve cartoons a week, with John Kent contributing the sixth, then from 1979 drew four a week. From 1978, his cartoons were collected in annuals, and later celebrated

248

During the 1970s, McMurtry also collaborated with Bernard Cookson on comedy scripts for Dave Allen and Tommy Cooper (1973-76), and produced a children’s book, The Bunjee Venture (1977), which provided the source for four animated cartoons by Hanna-Barbera (1984-85).

During the 1980s, McMurtry began to receive the rst of many awards. Most notably, the Cartoonists’ Club of Great Britain voted him Social and Political Cartoonist of the Year (1983, 1984), Cartoonist of the Year (1983, 1988) and Master Cartoonist (2000); the UK Press Gazette named him Cartoonist of the Year (1982, 1984, 1999); the What the Papers Say Awards named him Cartoonist of the Year (2003, 2007); the Cartoon Art Trust named him Political Cartoonist of the Year (2007) and presented him with a Lifetime Achievement Award (2010); and the Society of Editors named him Cartoonist of the Year (2016, 2018). In 2004, he was appointed a Member of the Order of the British Empire. A member of several clubs, he was Chairman of the Saints and Sinners for the year 2015-16.

McMurtry retired from the Daily Mail in 2018, in the year following the death of his third wife, Liz. However, he came out of retirement in December 2020 to work for the Mail on Sunday.

His work is represented in the collections of the British Cartoon Archive, University of Kent (Canterbury).

17. Contemporary Cartoonists

322 OV E R THER E , HA M I SH . T H E STRAN G E CR E ATURES W IT H BUMPS O N THEIR CHEST S , LON G H AIR A ND NO TROOSE R S . I THINK THE Y MU S T B E T H OSE WO M EN THING S WE’VE HEARD ABOUT Signed and inscribed with title Ink and watercolour with bodycolour 15

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22

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Illustrated: Daily Mail, 15 March 2017

323 T H AT ’ S H I T. N O M O R E D RI N KI NG! HAVE YO U M ADE ANY NE W YE A R R E SH OLU TIO N S , VERA ?

Signed and inscribed with title Ink and watercolour with bodycolour 14 ¾

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Illustrated: Daily Mail, 1 January 2015

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17. Contemporary Cartoonists

324 A L L TH AT D R I L L I NG AN D B A NG I NG . I E " P EC T AN GU S NE " T D O O R I S M A KI N G A NOTH ER O F H I S E N E RGY SAV I NG D E V I C ES .

Signed and inscribed with title Ink and watercolour 15

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Illustrated: Daily Mail, 2 August 2017

325 WELL . HERE’ S A L AUGH . IT SAYS O N TH E M ENU ‘G ROPI N G I S AT YO U R OW N R I SK ’ Signed and inscribed with title Ink and watercolour with bodycolour 14 ¾

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Illustrated: Daily Mail, 25 January 2018

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17. Contemporary Cartoonists

326 S CO F F A L L YO U L I K E . I T ’ S M Y D UT Y A S PR ESIDENT O F H I S FAN CLUB TO A RR A NGE LIT T LE SURPRI S ES LIKE THI S Signed and inscribed with title Ink and watercolour with bodycolour 14 ¾

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Illustrated: Mail on Sunday, 19 December 2020, ‘Mac is back!’ (article announcing Mac’s return from retirement)

327 OH NO! HAPPY AND SLEEPY M UST H AVE HA D LINK S W IT H TH E S L AVE TR A DE! Signed and inscribed with title Ink and watercolour 14 ¾

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Illustrated: Mail on Sunday, 19 December 2020, ‘Mac is back!’ (article announcing Mac’s return from retirement)

251

17. Contemporary Cartoonists

MIK E WI L L I A M S

Michael Charles Williams (born 1940)

S

ince his rst cartoon was published in Punch in 1967, Mike Williams has contributed regularly to many periodicals.

His technically con dent watercolour images have an immediate charm, but can also be darkly humorous. He has a particular interest in comic representations of animal life, which he calls his ‘Animalia’, and of historical events.

For a biography of Mike Williams, please refer to The Illustrators, 1999, page 245.

328 (above) NOW DO YO U B ELIE VE ME ?

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329 (above right) RE C YCLING Signed Ink and watercolour 9

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330 (right) ... NO BUT SERIO USLY . . .

Signed and inscribed with title Ink and watercolour 12

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252

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17. Contemporary Cartoonists

E D MC L AC H L A N

Edward Rolland McLachlan (born 1940) Widely regarded as one of the greatest living English cartoonists, Ed McLachlan o ers a comical but often cutting commentary on modern life. From his gormless, baggy-suited businessmen to his ungainly bucktoothed women, his undeniably British sense of humour makes him a master of the macabre with an eye for the ridiculous. In every cleverly observed image, he takes the mundane and delivers the hilariously absurd.

For a biography of Ed McLachlan, please refer to The Illustrators, 2002, page 110.

331 (above) COB B E RDO G AUSTRALIA’ S NO 1

DOG

WALKING SERVICE

Signed Ink and watercolour 7 ½

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Illustrated: The Oldie, issue 414, June 2022

332 I M U ST SAY, TH I S I S TH E M O ST H OSTI LE DESERT I ’ V E E V ER E " P ER I ENC ED Signed and inscribed with title Ink and watercolour 13 ½

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9

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Illustrated: The Oldie, issue 414, June 2022 333 (left) D E R A M B O I S SC H O O L O F B A L L E T Signed Ink with watercolour 7 ½

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Illustrated: The Oldie, issue 415, July 2022, page 67

253

17. Contemporary Cartoonists

334 H E D I D N ’ T WA N T TO G O O N H O L I DAY W I T H H I S FA M I LY TH I S YE A R SO THE Y TOOK T H E D OG IN S T E AD Signed and inscribed with title Ink with watercolour 10

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Illustrated: The Oldie, issue 416, August 2022, page 92

335 W I TH TH E E "O R B I TA NT P R I C E O F SC HO O L U NI FO R M S NOW, H I S NE W O U TFI T H A S GOT TO L A ST H I M U NTI L H E L E AV ES Signed and inscribed with title Ink and watercolour; 8 " 9 ½ I N C H E S Illustrated: Private Eye, issue 1582, 23 September 2022, page 33

336 N OW T H AT ’ S W H AT I C A L L R E A L N O RTHE R N L I G H TS! Signed Ink and watercolour 10 ¼

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Illustrated: The Oldie, issue 412, April 2022, page 63

254

17. Contemporary Cartoonists

337 I C AN ’ T WA IT TO M EE T H IM – I WA S TOLD HE I S A SELF - M A DE M A N Signed and inscribed with title Ink and watercolour

338 N O S N A I L WA S K E P T I N T H I S S H E L L OV E R N I G H T Signed and inscribed with title Ink with watercolour

9

Illustrated: The Oldie

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8 ¼

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Illustrated: The Oldie

339 D O T E L L M E IF I ’ M BO RI N G YOU Signed Ink and watercolour 9 ½

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Illustrated: The Oldie, issue 415, July 2022, page 44

255

17. Contemporary Cartoonists

P E TER B ROOK ES

Peter Derek Brookes, CBE FRSA RDI (born 1943) ‘His target is rarely the ideology of one politician or another. It is the vanity, inanity and mediocrity of the whole damn lot.’

(Matthew Parris, The Times, 13 October 2009)

P

eter Brookes maintains the most consistently high standard of any editorial cartoonist working in Britain today. His daily political cartoons and regular ‘Nature Notes’, produced for The Times, are always inventive, incisive and con dently drawn. They are the fruit of wide experience as a cartoonist and illustrator, and of complete independence from editorial intrusion.

For a biography of Peter Brookes, please refer to The Illustrators, 2009, page 164.

His work is represented in the collections of the British Cartoon Archive (University of Kent).

341 ‘Z ’ I S FO R Z EL EN SK Y Signed and dated ‘9 iii 22’ Ink and watercolour 8

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11

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Illustrated: The Times, 9 March 2022

340 W RE CKING B A LL ...

Signed and dated ‘11 xii 21’ Ink and watercolour 8

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Illustrated: The Times, 11 December 2021

256

342 WO R R I ED A B O U T PE TRO L P R I C ES? TRY THE SE Signed and dated ‘2 iv 22’ Ink and watercolour 8

"

11

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Illustrated: The Times, 2 April 2022

17. Contemporary Cartoonists

343 FAMI LY BUTCHER ...

Signed and dated ‘6 iv 22’ Ink and watercolour 8

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Illustrated: The Times, 6 April 2022

344 T H I S WAR COU LD L A S T Y E AR S , P RIME MIN I S T ER Signed and dated ‘29 iv 22’ Ink and watercolour

345 H I S M A STER ’ S VO I C E Signed, inscribed ‘with acknowledgements ...’ and dated ‘28 ix 22’ Ink and watercolour

8

8

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Illustrated: The Times, 29 April 2022

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Illustrated: The Times, 28 September 2022

346 A H , B O ND M A R K E TS . . . I ’ V E B EEN E "P EC TI NG YO U !

Signed and dated ‘24 ix 22’ Ink and watercolour 8

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11

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Illustrated: The Times, 24 September 2022

257

17. Contemporary Cartoonists

MAT T

Matthew Pritchett, MBE (born 1964), known as ‘Matt’ ‘His genius lies in being witty without being nasty’ (Charles Moore, quoted in Max Davidson,

M

Daily Telegraph, 17 October 2008)

att’s much-loved pocket cartoons provide a consistently original take on the big news stories of the day.

For a biography of Matt, please refer to The Illustrators, 2009, page 185.

Nos 347-356 are all signed, executed in ink and are illustrated in the Daily Telegraph.

347 I ’ M T RY I NG TO O RG A NI SE A N AIRLIF T TO G E T B O R I S O U T O F W E S T M I N STER B EFO R E SO M E TH I NG AW F U L H A P P EN S 4

Matt Pritchett, Matt 2022, London: Seven Dials, 2022

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4

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Illustrated: Thursday 27 January 2022

Illustrated: Tuesday 1 March 2022

349 G E T T H I S OV ER TO FO R EN SI C S

350 TH E Y SAY SO M E A NI M A L S C AN SEN SE W H EN A R I SE I N I N TE R E ST R ATES I S I M M I NENT 4 " 3 I N C H E S ; Illustrated: Friday 6 May 2022

4

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Illustrated: Wednesday 26 January 2022, inside cartoon

258

348 I ’ V E G OT O U R NE W FI" TU R E LI ST. W E P L AY C H I NA , TH EN CHI N A , FO L LOW ED BY C H I NA , CHI N A AN D C H I NA . . .

17. Contemporary Cartoonists

351 A RAT I NGS AGENC Y D OWN GR A DED M Y HAT 5

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Illustrated: Friday 22 June 2012

354 DE DI C ATED TO THE RUS S IAN TROOPS IN UKR A INE 4

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Illustrated: Tuesday 13 September 2022, inside cartoon

352 T H O S E A R E N ’ T T E A R S O F J OY AT S E E I N G YO U , H E ’ S B E E N R E A D I N G AN E CON O M I C FO R EC A ST 4

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353 I ’ M P L E A SED YO U ’ R E A L L EN J OYI N G OUR CENTRAL HEATING, BUT WOULD SO M EB O DY P L E A SE B U Y A DR I N K? 4

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3

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Illustrated: Wednesday 24 August 2022

Illustrated: Saturday 3 September 2022

355 I S A AC N E W TO N D I SCOV ER S T H E Y ’ RE F R AC K I NG NE A R BY

356 TH I S I S YO U R TO RY M P. FO RGE T E V ERY TH I NG I ’ V E SA I D FO R THE PA ST 1 2 Y E A R S

4

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Illustrated: Friday 23 September 2022

4

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Illustrated: Saturday 24 September 2022

259

17. Contemporary Cartoonists

JO NATH A N CUS I CK

Jonathan Kristofor Cusick (born 1978)

O

ver the last decade, Jonathan Cusick has gained a strong reputation for his work as an illustrator, and particularly his arresting caricatures, which seem to hold a comically distorting mirror up to personalities who are prominent in the contemporary worlds of politics and entertainment.

For a biography of Jonathan Cusick, please refer to The Illustrators, 2010, page 275.

357 L ESTER P I G G OT T Signed Acrylic on canvas paper 9 ½

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5 ¼

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Illustrated: Radio Times; 5 May 2001, page 24

260

358 “ SO DO I , I K EE P MI N E I N H ER E . . . FO R L ATE R ” Signed Acrylic on canvas paper 12

"

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17. Contemporary Cartoonists

359 NODDY HO LDER Signed Acrylic on canvas paper 9

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360 (far right) DAV I D BOW IE Signed Acrylic on canvas paper 14 ¾

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Select Bibliography

SELE C T B IB L I O G R A P HY Backemeyer 2005 Sylvia Backemeyer (ed), Picture This: The Artist as Illustrator, London: Herbert Press, 2005

Mallalieu 1976 Huon Mallalieu, The Dictionary of British Watercolour Artists up to 1920, Woodbridge: Antique Collectors’ Club, 1976

Baker 2002 Martin Baker, Artists of Radio Times. A Golden Age of British Illustration, Oxford: The Ashmolean Press & Chris Beetles Ltd, 2002

Martin 1989 Douglas Martin, The Telling Line. Essays on fifteen contemporary book illustrators, London: Julia MacRae Books, 1989

Bryant 2000 Mark Bryant, Dictionary of Twentieth-Century British Cartoonists and Caricaturists, London: Ashgate, 2000

Matthew and Harrison 2004 H C G Matthew and Brian Harrison (eds), Oxford Dictionary of National Biography, Oxford University Press, 2004 (61 vols)

Bryant and Heneage 1994 Mark Bryant and Simon Heneage, Dictionary of British Cartoonists and Caricaturists 1730-1980, Aldershot: Scolar Press, 1994

Peppin and Mickelthwait 1983 Brigid Peppin and Lucy Mickelthwait, The Dictionary of British Book Illustrators: The Twentieth Century, London: John Murray, 1983

Clark 1998 Alan Clark, Dictionary of British Comic Artists, Writer and Editors, London: The British Library, 1998

Price 1957 R G G Price, A History of Punch, London: Collins, 1957

Driver 1981 David Driver (compiler), The Art of Radio Times. The First Sixty Years, London: BBC, 1981 Feaver 1981+ William Feaver, Masters of Caricature. From Hogarth and Gillray to Scarfe and Levine, London: Weidenfeld and Nicolson, 1981 Horne 1994 Alan Horne, The Dictionary of 20th Century Book Illustrators, Woodbridge: Antique Collectors’ Club, 1994 Houfe 1996 Simon Houfe, The Dictionary of British Book Illustrators and Caricaturists 1800-1914, Woodbridge: Antique Collectors’ Club, 1996 (revised edition)

Ray 1976 Gordon Norton Ray, The Illustrator and the Book in England from 1790 to 1914, New York: Pierpoint Morgan Library, 1976 Reid 1928 Forrest Reid, Illustrators of the Sixties, London: Faber & Gwyer, 1928 Souter 2007 Nick and Tessa Souter, The Illustration Handbook. A Guide to the World’s Greatest Illustrators, Royston: Eagle Editions, 2007 Spalding 1990 Frances Spalding, 20th Century Painters and Sculptors, Woodbridge: Antique Collectors’ Club, 1990 Spielmann 1895 M H Spielmann, The History of ‘Punch’, London: Cassell and Company, 1895

Johnson and Gruetzner Jane Johnson and Anna Gruetzner, The Dictionary of British Artists, 1880-1940, Woodbridge: Antique Collectors’ Club, 1986 (reprint)

Suriano 2000 Gregory R Suriano, The Pre-Raphaelite Illustrators, New Castle, Delaware: Oak Knoll Press/London: The British Library, 2000

Khoury 2004 George Khoury (ed), True Brit. A Celebration of the Great Comic Book Artists of the UK, Raleigh, NC: TwoMorrows Publishing, 2004

Turner 1996 Jane Turner (ed), The Dictionary of Art, London: Macmillan, 1996 (34 vols)

Lewis 1967 John Lewis, The 20th Century Book, London: Herbert Press, 1967

264

Wood 1995 Christopher Wood, The Dictionary of Victorian Painting, Woodbridge: Antique Collectors’ Club, 1995 (2 vols)

Cumulative Index (1991-2022)

C UM UL ATI V E I N D E " O F C ATA LOG U ES ( 1991-2022) Dates in bold indicate entire chapters devoted to single illustrators A Abbey, Edwin Austin: 1997 Adams, Christian: 2011 Adams, Frank: 2007 Addams, Charles: 1991, 2015 Ahlberg, Janet: 1992 Aldin, Cecil: 1991, 1992, 1997, 1999 Aldridge, Alan: 2011 Alex (Charles Peattie & Russell Taylor) 2022 Allen, Daphne: 2003 Allingham, Helen: 1996, 1997 Anderson, Anne: 1991, 1996, 2001, 2011, 2012, 2014, 2017 Anton (Beryl Antonia Thompson and Harold Underwood Yeoman Thompson): 1991 Ape (Carlo Pellegrini) 2022 Appleby, Barry: 2010, 2014 Appleton, Honor: 1991, 1992, 1993, 1997, 1999, 2002, 2003, 2007, 2008, 2009, 2010, 2014, 2017, 2018, 2022 Ardizzone, Edward: 1991, 1992, 1993, 1997, 1999, 2001, 2002, 2003, 2007, 2008, 2011, 2012, 2014, 2015, 2017, 2018, 2019 Aris, Ernest: 2007, 2010, 2011, 2019, 2020, 2022 Armour, George Denholm: 2010 Arno, Peter: 2016, 2019 Atkinson, Maud Tyndal: 1997 Attwell, Mabel Lucie: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2012, 2014, 2015, 2017, 2018, 2020, 2022 Austen, John: 1991, 1996, 2012 Ayrton, Michael: 1993, 1997 B V A B: 1991 Bacon, John Henry Frederick: 2012 Badmin, Stanley Roy: 1993, 1997, 2015, 2017 Louis Bailly: 2000

Bairnsfather, Bruce: 1992, 1999, 2007, 2008, 2015 Ball, Wilfrid: 1997 Banbery, Fred: 1999, 2000, 2002, 2017, 2020 Barker, Cicely Mary: 1991, 1992, 1993, 1999, 2018 Barker, Kathleen Frances: 2020 Barrett, Angela: 1992, 1997, 1999 Bartlett, William: 1997 Barton, Rose: 1997 Bastien, A-T-J: 1992 Batchelor, Roland: 1993 Bateman, Henry Mayo: 1991, 1992, 1993, 1997, 1999, 2000, 2001, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2015, 2016, 2017, 2019, 2020, 2022 Batt (Oswald Barrett): 1997, 2011 Bauerle, Amelia: 1991 Baumer, Lewis: 1991, 1999, 2010 Bawden, Edward: 1993, 1997 Baxter, Doreen: 1992, 1997 Baxter, Glen: 1997, 2003 Baxter, William Giles: 1993, 1996, 1999, 2003 Beadle, James: 1997 Beardsley, Aubrey: 1999, 2000, 2008, 2010, 2015 Beardsley, Aubrey, follower of: 1999 Bedford, Francis Donkin: 1997 Beek, Harmsen van der: 1999 Beerbohm, Max: 1992, 1993, 1997, 1999, 2000, 2002, 2007, 2008, 2010, 2011, 2012, 2014, 2017, 2020, 2022 Begg, Samuel: 1992 Belcher, George: 1991, 1992, 1993, 1996, 1997, 1999, 2002, 2003, 2007, 2010, 2011, 2014 Bell, Robert Anning: 1993, 1996, 1999, 2003, 2007 Bemelmans, Ludwig: 2020 Bentley, Nicholas: 1991, 2007, 2017 Bérard, Christian: 2016 Bernard, C E B: 1999, 2002 Berndt, Walter: 2015

Bestall, Alfred: 1993, 1999, 2011 Biro, Val: 2002 Blackmore, Katie: 1997 Blair, Preston: 1993, 1999 Blake, Quentin: 1991, 1992, 1997, 1999, 2001, 2003, 2007, 2008, 2010, 2011, 2015, 2016 Blampied, Edmund: 1992, 1993 Blathwayt, Ben: 1992, 2000 Bliss, Douglas Percy: 1993, 1997 Bond, Simon: 1993, 1997, 2001 Bone, Muirhead: 1992 Bonnec, Alain: 2016 Boswell, James: 1997 Boucher, William Henry: 1993 Bowman, Peter: 1992 Boxer, Mark: 1991, 2017, 2018, 2019, 2020 Boyd, Tracey: 1992, 1993 Bradshaw, Percy: 1992 Brandt, Bill: 2011 Brangwyn, Frank: 1992, 1999, 2020 Brickdale, Eleanor Fortescue: 1991 Brierley, Louise: 1997 Briggs, Raymond: 1993, 2003 Brock, Charles Edmund: 1992, 1993, 1997, 1999, 2010, 2012, 2022 Brock, Henry Matthew: 1991, 1992, 1993, 1996, 1999, 2012 Brockbank, Russell: 2002, 2003, 2007, 2022 Brooke, Leslie: 2009 Brookes, Peter: 1993, 1997, 1999, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2015, 2018, 2019, 2020, 2022 Browne, Gordon: 2003, 2012 Browne, Tom: 1991, 1992, 1997, 1999 Bryan, Alfred: 1993, 1999, 2003 Bull, René: 1991, 1992, 1997, 2019 Bunbury, Henry William: 1993 Burke, Chris: 1993 Burningham, John: 1993, 2002, 2003, 2007, 2017, 2018, 2019, 2022

Butterworth, Nick: 2002, 2003, 2009, 2010 C Caldecott, Randolph: 1991, 1992, 1996, 1999, 2003 Cameron, John: 1992 Cameron, Katharine: 1993, 1997, 2009 Canziani, Estella: 1993, 1996, 1999 Caran d’Ache (Emmanuel Poiré): 1992, 1993, 1999 Carse, Duncan: 1992, 2001, 2010, 2015 Cartlidge, Michelle: 2003 Casson, Hugh: 1991, 1992, 2002, 2003 Cattermole, George: 2012 Chalon, Alfred Edward: 1993 Cham (Amédée Charles Henri de Noé): 1991 Chapman, Charles Henry: 1999, 2002 Chapman, June Crisfield: 2007 Chesterton, Gilbert Keith: 1991, 1993, 2012 Churcher, Walter: 1992 Clark, Emma Chichester: 1999, 2008, 2009, 2010, 2011, 2015, 2017 Clarke, Harry: 1991, 1996, 2007, 2011, 2019 Claxton, Adelaide: 2003 Cleaver, Reginald: 1991 Cloke, Rene: 1996, 1999 Cobb, Rebecca: 2012, 2014 Coïdé (James Tissot): 2009, 2022 Cole, Richard: 1992, 1993 Collier, Emily E: 1996 Collins, Clive: 1993 Conder, Charles, follower of: 1993, 1999 Corbould, Edward Henry: 2003 Corbould, Richard: 2003 Cowham, Hilda: 1993, 1999, 2012 Cox, Paul: 1993, 1997, 2003, 2007, 2009, 2010, 2011, 2014, 2015, 2016, 2018, 2022 Crane, Walter: 1996, 1997, 1999, 2002, 2007, 2008, 2009, 2011

265

Cumulative Index (1991-2022)

Cross, Peter: 1991, 1992, 1993, 1996, 1997, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2011, 2015, 2018, 2019, 2020, 2022 Crowe, Derek: 2007 Crowquill, Alfred: 1993, 2003, 2009 Cruikshank, George: 1991, 1996, 1999, 2011, 2012 Cruikshank jnr, George: 1997, 1999 Cruikshank, Isaac: 1991, 1993, 1996, 1999, 2003, 2014 Cruikshank, Robert: 1993 Cubie, Alex: 1993 Cummings, Michael: 1992, 1997, 1999 Cushing, Howard Gardiner: 1999 Cusick, Jonathan: 2010, 2011, 2012, 2014, 2015, 2018, 2019, 2022

Doyle, Richard: 1991, 1993, 1996, 1997, 1999, 2002, 2010, 2011 Draner, Jules-Renard: 1993 Drew, Simon: 1991, 1992, 1993, 1997, 1999, 2001, 2002, 2003, 2007, 2008, 2010, 2018, 2020 Du Cane, Ella: 1997 Dulac, Edmund: 1991, 1993, 1996, 1997, 2001, 2003, 2007, 2009, 2010, 2012, 2014, 2015, 2017, 2022 Du Maurier, George: 1991, 1992, 1996, 1997, 1999, 2003, 2007, 2009, 2010, 2011, 2012, 2015, 2016, 2017, 2019, 2022 Duncan, John: 1991 Duncan, Walter: 1996 Dunlop, Jessie: 2016 Dyson, Will: 1993, 1997, 1999

D Dadd, Frank: 2015 Dadd, Philip: 1997 Dadd, Richard: 1997 Daley, Mike: 1992 Darrow, Whitney: 2019 Davidson, Victoria: 2003, 2011, 2014 Davis, Jon: 1991, 1992, 1993 Dawson, Eric: 1993 de Grineau, Bryan: 1992 De La Bere, Stephen Baghot: 1991, 1992, 1997, 2001, 2008 Dennis, Ada: 1996 Dickens, Frank: 1993, 1997, 1999, 2003, 2011, 2014, 2016 Dickinson, Geoffrey: 2011 Dighton, Richard: 2014 Dighton, Robert: 2014 Disney, Walt (and the Disney Studio): 1991, 1993, 1999, 2000, 2002, 2003, 2019 Dixon, Charles: 1992 Dobson, Austin: 1996 Donnison, Thomas Edward: 2011 Doré, Gustave: 1997, 1999, 2009 Douglas (Thomas Douglas England): 1992, 1993 Doyle, Charles: 1991, 1992, 1997, 1999, 2002, 2003, 2007, 2009, 2011, 2012

E Earnshaw, Harold: 1996 East, Alfred: 1997 Edwards, Lionel: 1992 Egan, Beresford: 1997 Elgood, George Samuel: 1997 Elliott, James: 1999 Embleton, Ron: 2012 Emett, Rowland: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2003, 2007, 2008, 2009, 2011, 2014, 2016, 2017, 2019, 2020, 2022 Emmwood (John Musgrave Wood): 1991, 1993, 1997, 2002, 2007, 2010, 2011, 2014 Evans, Treyer: 2007

266

F Fantoni, Barry: 2014, 2015 Ferguson, Norman: 1993, 1999, 2003 ffolkes, Michael: 1991, 1993, 1997, 1999, 2014, 2022 Fitchew, Dorothy: 2022 Fitzgerald, John Anster: 1991, 1997, 1999, 2012 Flagg, James Montgomery: 2015 Flanders, Dennis: 1992 Flather, Lisa: 1991 Fletcher, Geoffrey Scowcroft: 1993 Flint, Francis Russell: 1992 Flint, William Russell: 1993

Folkard, Charles: 1991, 1992, 1997, 2003, 2010, 2019 Ford, Henry Justice: 2002, 2003, 2007, 2008, 2009 Ford, Noel: 1993 Foreman, Michael: 1991, 1992, 1993, 1997, 1999, 2001, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2018, 2019, 2020, 2022 Foster, Myles Birket: 1991, 1999 Fougasse (Cyril Kenneth Bird): 1991, 1992, 1993, 1996, 1999, 2003, 2009, 2014, 2015, 2017, 2019, 2022 François, André: 2009, 2014, 2016, 2017 Fraser, Claude Lovat: 1993 Fraser, Eric: 1991, 1992, 1993, 1997, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2017 Fraser, Gordon: 2015 French, Annie: 1991, 1992, 1997, 2003 Frith, Michael: 2010 Frost, William Edward: 1997, 2011 Fulleylove, John: 1996, 1997 Fullwood, John: 1997 Furniss, Harry: 1991, 1992, 1996, 1999, 2003, 2009, 2012 G Gaffney, Michael: 1991 Gardiner, Gerald: 1992, 1997, 2011 Garstin, Norman: 2003 Gaze, Harold: 1999, 2007, 2017 Gerrard, Roy: 2010, 2014, 2015, 2017, 2019 Gibbard, Les: 2011 Gibson, Charles Dana: 1991, 1999, 2017 Gilbert, John: 1993, 1996 Giles, (Carl Ronald Giles): 1991, 1992, 1993, 1996, 1997, 1999, 2001, 2002, 2007, 2008, 2009, 2011 Gilliam, Terry: 1992 Gilroy, John: 1997 Ginger, Phyllis: 1991, 1992, 1993 Glaser, Milton: 2015

Glashan, John: 1993, 2014, 2017, 2018, 2019, 2020, 2022 Goble, Warwick: 1997, 2002, 2007, 2008, 2010, 2011 Godfrey, Bob: 1993 Goldsmith, Beatrice May: 1996 Goodall, John Strickland: 1991, 1996, 1997 Goodwin, Harry: 1992 Gould, Francis Carruthers: 1992, 1996, 1999, 2003, 2009, 2010, 2012 Gould, Rupert Thomas: 1996 Grant, Keith: 2017 Granville, Walter: 1992 Greeley, Valerie: 1992 Green, Charles: 1991, 1997, 1999, 2012 Green, John Kenneth: 1993 Green, Winifred: 1996, 1999 Greenaway, Kate: 1991, 1992, 1996, 1997, 1999, 2000, 2001, 2003, 2007, 2010, 2012, 2022 Gruelle, Johnny: 2015 Guthrie, Thomas Anstey: 1997 H I C H: 1997 Haité, George: 1997 Hale, Kathleen: 1991, 1996, 2003, 2007, 2008, 2009, 2010, 2011, 2020 Hall, Amanda: 2011, 2012, 2014, 2015, 2017, 2019, 2020, 2022 Hall, Sidney Prior: 1991 Halswelle, Keeley: 1997 Hammond, Roy: 2017 Hampson, Frank: 2002, 2003, 2008 Hancock, John: 1999 Handelsman, J B: 2022 Hankey, William Lee: 1992, 1999 Hardy, Dorothy: 1991 Hardy, Dudley: 1991, 1992, 1997, 1999, 2014 Hardy, Evelyn Stuart: 1993 Hargreaves, Harry: 2015 Haro (Haro Hodson): 1991 Harris, Herbert H: 2003 Harrison, Florence: 2007, 2008, 2011, 2014, 2015, 2017, 2019, 2022 Harrold, John: 1993

Cumulative Index (1991-2022)

Hartrick, Archibald Standish: 1999 Harvey, William: 2014 Haselden, William Kerridge: 2010 Hassall, Ian: 1992, 1997 Hassall, Joan: 1992, 2011 Hassall, John: 1991, 1992, 1993, 1997, 1999, 2003, 2011, 2017 Hatherell, William: 1991, 2003 Hawkins, Colin: 1999 Hay, James Hamilton: 1997 Hayes, Claude: 1997 Haywood, Leslie: 1992 Heath, Michael: 1993 Henderson, Keith: 1992, 2015 Hennell, Thomas: 1991 Hennessy, William John: 2019 Henry, Thomas: 1999 Herbert, Susan: 1996 Hergé (Georges Remi): 1991 Hewison, Bill: 2007 Hickson, Joan: 1993 Hilder, Rowland: 1997 Hirschfeld, Al: 2007, 2015, 2016 Hodges, Cyril Walter: 1991, 1993, 1997, 2011, 2017 Hoffnung, Gerard: 1991, 1992, 1996, 1997, 1999, 2007, 2009, 2010, 2011, 2014, 2015, 2017, 2019, 2020 Honeysett, Martin: 1999 Hopkins, Arthur: 1996 Hopwood, Henry: 1997 Houghton, Arthur Boyd: 2002 Housman, Laurence: 1991, 2010 Howitt, Samuel: 1993 Hughes, Arthur: 2003 Hughes, Shirley: 2003 Hughes, Talbot: 1997 Hughes-Stanton, Herbert: 1997 Hunt, William Henry: 1996 Hunt, William Henry, follower of: 1997 Husband, Tony: 2003, 2007 I Illingworth, Leslie: 1992, 1997 Ionicus (Joshua Charles Armitage): 2022 Ivory, Lesley Anne: 1993, 1996

J Jacobs, Helen: 1992, 1996, 1997, 1999, 2002, 2007, 2008, 2009, 2010, 2011, 2014, 2015, 2016, 2017, 2018, 2020 Jacques, Robin: 1991, 1992, 1997 Jak (Raymond Allen Jackson): 1991, 1993, 1997, 1999 Jalland, G H: 1997 Janny, Georg: 1992, 2020 Jaques, Faith: 1991, 2009 Jeffers, Oliver: 2009, 2010, 2011, 2017 Jensen, John: 1991, 1993, 1997, 2008, 2009, 2011 Johnson, Jane: 1991, 1992, 1999, 2007, 2009 Johnstone, Anne Grahame: 1992, 1997, 1999, 2007 Johnstone, Janet Grahame: 1999, 2007 Jon (William John Philpin Jones): 1991 Jones, Jonah: 2014 K Kal (Kevin Kallaugher): 1991, 1992, 2014, 2015 Kapp, Edmond "avier: 1999, 2007, 2011 Keene, Charles: 1991, 1992, 1993, 1997, 1999, 2003, 2007, 2009, 2010, 2011, 2012, 2014, 2015, 2022 Keeping, Charles: 1997, 2012 Kelly, Walt: 2003 Kimball, Ward: 1993, 2003 King, Jessie Marion: 1997, 1999, 2003 Kliros, Thea: 2003 Knight, Laura: 1993 Koren, Edward: 2015, 2019, 2022 L Lamb, Lynton: 1993, 1997, 2007, 2010, 2017 Lancaster, Osbert: 1991, 1993, 1997, 1999, 2003, 2008, 2009, 2011 Langdon, David: 1991, 1993, 1997 Langley, Jonathan: 1999, 2000, 2007, 2010

Langley, Walter: 1997 Lantoine, Fernand: 1992 Larcombe, Ethel: 1999 Larry (Terence Parkes): 1991, 1992, 1993, 1997, 1999, 2003, 2007, 2010, 2011, 2014, 2015, 2019, 2022 Lawson, John: 2015 Lear, Edward: 1993, 1996, 2002, 2003, 2012 Le Cain, Errol: 1997 Lee, Alan: 1991 (insert), 2010, 2017, 2020 Lee, Joseph: 2007, 2015 Leech, John: 1991, 1992, 1993, 1996, 2003, 2007, 2012, 2014 Leete, Alfred: 2014 Leighton, John: 2003 Leith, Barry: 2015 Leman, Martin: 1993 Leonard, Michael: 1991 Leslie, Charles Robert: 1993, 1996 Levine, David: 2008, 2010, 2014, 2015, 2016, 2019, 2020, 2022 Lewis, John Frederick: 1991 Linton, James Drogmole: 1997 Lodge, G B: 1991 Low, David: 1991, 1993, 1997, 1999, 2001, 2007, 2008, 2011, 2012, 2014, 2016, 2018, 2022 Lucas, John Seymour: 1997 Lucas, Sydney Seymour: 1993 Lusk, Don: 2003 Lynch, Bohun: 2007 Lynch, Patrick James: 1992 M Mac (Stanley McMurtry): 2007, 2022 Macbeth-Raeburn, Henry: 1997 Macdonald, Alister K: 1999, 2003, 2017 McDonald, Atholl: 2003, 2007, 2011 Macdonald, R J: 2002 McGill, Donald: 1991, 1992, 1997, 1999, 2010, 2011 Mackenzie, Thomas: 2020 McLachlan, Edward: 1997, 2002, 2003, 2007, 2008, 2010, 2014, 2015, 2018, 2019, 2022 MacWhirter, John: 1997

Maddocks, Peter: 1993, 1997 Magerl, Caroline: 2014, 2018, 2019 Mak, Paul: 2016 Mallet, Dennis: 1991, 2010 Mansbridge, Norman: 1991 Marc: see Boxer, Mark Marks, Henry Stacy: 1991, 1997 Marshall, Herbert Menzies: 1997 Marwood, Timothy: 1999 Matania, Fortunio: 1992 Matt (Matt Pritchett): 2007, 2009, 2010, 2011, 2012, 2014, 2015, 2016, 2018, 2019, 2020, 2022 Matthews, Rodney: 1991, 1993 Mavrogordato, Alexander: 1997 May, Phil: 1991, 1992, 1993, 1996, 1997, 1999, 2003, 2007, 2009, 2011, 2012, 2015, 2017, 2019, 2020, 2022 Mays, Douglas Lionel: 1997, 1999, 2007, 2008 Menpes, Mortimer: 1997, 1999 Meredith, Norman: 1991, 1992, 1993, 1997, 1999 Meugens, Sibyl: 1993 Meyrick, Kathryn: 1991 Midda, Sara: 1991, 1992, 1993, 2003, 2016, 2017, 2020 Mill, W: 1999 Millais, John Everett: 2002 Minnitt, Frank J: 2002 Minton, John: 2003 Moira, Gerald: 1997 Monsell, John Robert: 2003 Moore, Fred: 1993, 1999, 2003 Morrow, Edwin: 1993 Morton-Sale, Isobel: 1999, 2002, 2003, 2007 Morton-Sale, John: 1997, 1999, 2002, 2003, 2007, 2017 Munnings, Alfred: 1991 N Nash, Paul: 1993, 1997 Neasom, Norman: 2014 Nevinson, Christopher Richard Wynne: 2003 Newman, Henry Roderick: 1996 Newman, Nick: 2007 Nibs (Frederick Drummond Niblett): 2008, 2014, 2015 Nichols, Charles: 1993

267

Cumulative Index (1991-2022)

Nicholson, William: 1992, 1999 Nielsen, Kay: 1993, 2001, 2007 Nixon, John: 1999, 2007 Nixon, Kay: 1997 O Odle, Alan: 1991, 1996, 2007, 2010 Oppenheimer, Joseph: 1997 Orrock, James: 1997 Ospovat, Henry: 2002 Outhwaite, Ida Rentoul: 1991, 1999, 2003, 2007, 2008, 2020 Overend, William Heysham: 2014 Oxenbury, Helen: 2003, 2007, 2008, 2009 P Paget, Wal: 2012 Palmer, Harry Sutton: 1991 Papas, William: 2007, 2014 Park, Bertram: 2011 Parsons, Alfred: 1992, 1997 Partridge, Bernard: 1997, 1999, 2002, 2014 Paton, Joseph Noel: 2003, 2015 Payne, David: 1992 Peake, Mervyn: 1997, 2002, 2003, 2007, 2008, 2010, 2012, 2016, 2018, 2022 Pears, Charles: 1991 Pearse, Susan Beatrice: 1996, 2003, 2014 Pegram, Frederick: 1993 Peploe, William Watson: 1996 Peto, Gladys: 1993, 2007 Phiz (Hablot Knight Browne): 1993, 1999, 2003, 2012 Pickersgill, Frederick Richard: 1997 Pinkney, Jane: 2011, 2012, 2014, 2015, 2016 Pisa, Alberto: 1997 Plauen, E O: 2016 Pogany, Willy: 1992 Pollard, N: 1991, 1996 Pont (Graham Laidler): 1991, 1992, 1993, 1996, 1999, 2014, 2016, 2017, 2018, 2019, 2020, 2022 Potter, Beatrix: 1991, 2002, 2007, 2010, 2011, 2020 Poy (Percy Hutton Fearon): 1999, 2007, 2009, 2010, 2011, 2014

268

Prance, Bertram: 2003 Preston, Chloë: 1999, 2007 Protheroe, Thomas: 1992 Pullen, Alison: 1993 Purton, William, 2015 Pyne, Ken: 1993 Q Quiz (Powys Evans): 1993, 2007 R Rackham, Arthur: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2015, 2017, 2018, 2019, 2020 Raemaekers, Louis: 1992, 1999 Ralston, William: 2015 Raven-Hill, Leonard: 1992, 1997, 1999, 2003, 2007, 2010, 2012, 2015 Reed, Edward Tennyson: 1993, 1996, 1999, 2003, 2007, 2011, 2012, 2014, 2015 Reid, Stephen: 2003, 2012 Reitherman, Wolfgang: 1993, 1999, 2003 Réthi, Lili: 2007 Reynolds, Frank: 1991, 1992, 1993, 1996, 1997, 1999, 2001, 2002, 2003, 2007, 2008, 2010, 2011, 2015, 2020 Richards, Frank: 1992 Ricketts, Charles: 1993, 2009 Ridegewell, William Leigh: 2003 Rimington, Alexander: 1997 Ritchie, Alick: 1992 Roberson, Peter: 1992 Robertson, Henry: 1997 Robinson, Charles: 1992, 1993, 1996, 1997, 1999, 2003, 2007, 2010, 2011, 2014, 2015, 2017 Robinson, Thomas Heath: 2003, 2011, 2017 Robinson, William Heath: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2022 Rosoman, Leonard: 1997, 2011, 2018 Ross, Tony: 1999

Roth, Arnold: 2015, 2016, 2020, 2022 Rothenstein, William: 1997 Rountree, Harry: 1991, 1992, 1993, 1997, 1999, 2001, 2003, 2007, 2010 Rowlandson, Thomas: 1991, 1993, 1996, 1999, 2003, 2007, 2014 Rushton, William: 2003, 2022 Rutherston, Albert: 1992 S Sainton, Charles Prosper: 1997 Salaman, F J B: 1999 Salmon, J M Balliol: 1999 Sambourne, Linley: 1996, 2003, 2007, 2010, 2015 Sandy, H C: 1991 Saul, Isabel: 1997 Scarfe, Gerald: 1991, 1992, 1993 Schulz, Charles Monroe: 1991, 1992, 1997, 2019 Schwabe, Randolph: 1997, 2016 Scully, William: 2022 Searle, Ronald: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2002, 2007, 2008, 2010, 2011, 2012, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2022 Severn, Arthur: 1996 Shackleton, William: 2007 Shannon, Charles: 1999 Sheldon, Charles Mill: 1999 Shaw, Byam: 1991, 1997, 2014 Shepard, Ernest Howard: 1991, 1992, 1993, 1996, 1997, 1999, 2000, 2001, 2002, 2003, 2007, 2008, 2009, 2010, 2011, 2012, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2022 Shepard, Mary: 2014 Shepherd, Thomas Hosmer: 2014 Shepherd, William James Affleck: 1993 Shepperson, Claude: 1997, 2007, 2010, 2012 Sheringham, George: 1992, 1997, 2007 Sherriffs, Robert Stewart: 1997, 2007, 2009, 2010, 2011, 2014 Sillince, William: 1991, 2003, 2014

Sime, Sidney Herbert: 1991, 1996, 1999, 2009, 2011, 2017 Simmons, John: 1997 Simmons, W St Clair: 1999 Simpson, Joseph W: 1993, 2007 Slater, Paul: 1999 Slocombe, Edward: 1997 Slocombe, Frederick: 1997 Small, William: 1999 Smith, Jessie Wilcox: 2007 Smith, Richard Shirley: 2022 Smythe, Reg: 1993, 1999 Soper, Eileen: 1991, 1997, 1999, 2003, 2008 Soper, George: 1991, 1997 Sorel, Ed: 2007, 2008, 2011, 2014, 2015, 2016, 2020, 2022 Sowerby, Millicent: 1991, 1992 Spare, Austin Osman: 1991, 1996 Sprod, George: 1997, 1999, 2010 Spurrier, Steven: 1992, 1999 Spy (Leslie Ward): 2009, 2010, 2011, 2012, 2022 Stacey, Walter Sydney: 2009 Stampa, George Loraine: 1991, 1992, 1993, 1997, 1999, 2003, 2007, 2010, 2012, 2014 Staniforth, Joseph Morewood: 2010 Staniland, Charles Joseph: 2014 Stanton, Charles Rebel: 2020 Steadman, Ralph: 1991, 1992, 1996, 1997 Steig, William: 2020, 2022 Stokes, Adrian: 1997 Stokes, Marianne: 1997 Stothard, Thomas: 1999 Stott, Bill: 2014, 2015 Strang, William: 2007 Strube, Sidney: 1999, 2003, 2007, 2014 Studdy, George Ernest: 1991, 1992, 1997, 1999, 2007, 2010, 2011 Sullivan, Edmund Joseph: 1991, 1992, 1997, 1999, 2009, 2010, 2012, 2016, 2018, 2019, 2020, 2022 Sullivan, James Frank: 2014 Swamy, S N: 2012 Swan, John Macallan: 1997

Cumulative Index (1991-2022)

Swanwick, Betty: 1991, 1993, 1997, 2008, 2011, 2017 Szyk, Arthur: 2003 T Tansend: 1999 Tarrant, Margaret: 1992, 1993, 1996, 1997, 1999, 2002, 2003, 2007, 2008, 2010, 2012, 2014, 2015, 2017, 2018, 2022 Tarrant, Percy: 1991 Taylor, John Whitfield: 2003 Tennant, Stephen: 2003 Tenniel, John: 1991, 1992, 1993, 1996, 1997, 1999, 2003, 2007, 2009, 2010, 2011, 2012, 2014, 2015, 2019, 2022 Thackeray, Lance: 1992, 1997 Thelwell, Norman: 1991, 1992, 1993, 1997, 1999, 2002, 2007, 2009, 2010, 2011, 2014, 2015, 2017, 2019, 2020, 2022 Thomas, Bert: 1991, 1997, 1999, 2003, 2011, 2015 Thomas, Frank: 1993, 1999, 2003 Thomas, William Fletcher: 1993, 1996, 2003, 2014 Thomson, Hugh: 1991, 1997, 1999, 2015 Thorpe, James: 1991 Thurber, James: 1991 Tidy, Bill: 1993, 2014, 2015 Timlin, William Mitcheson: 1996, 1999 Titcombe, Bill: 1999 Topolski, Feliks: 1991, 2011, 2020 Tourtel, Mary: 1993, 1997, 2000, 2011 Townsend, Frederick Henry: 1999, 2010 Tunnicliffe, Charles Frederick: 2018, 2019 Tyler, Gillian: 2012, 2014, 2015, 2017 Tyndale, Walter: 1997 Tyndall, Robert: 1999 Tytla, Bill: 1993, 1999, 2003 U Umbstaetter, Nelly: 2007 Underhill, Liz: 1992

V Van Abbé, Salomon: 1997, 1999, 2011, 2014 Van der Weyden, Harry: 1992 Vaughan, Keith: 1991 Vicky (Victor Weisz): 1991, 1992, 1993, 1997, 1999, 2001, 2002, 2003, 2007, 2010, 2011, 2015 W Wain, Louis: 1996, 2007, 2010, 2017 Wainwright, Francis: 1991, 1997 Walker, Frederick: 1991, 1999 Walker, John Cuthbert: 2014 Walker, William Henry Romaine: 1993, 1996, 1999, 2010, 2014 Waller, Pickford: 2010 Ward, John: 2010 Ward, William: 1996 Waterman, Julian: 1993 Wateridge, Jonathan: 2002 Watts, Arthur: 2007 Webb, Clifford: 1993 Webster, Tom: 1992 Weedon, Augustus: 1997 Wehrschmidt, Daniel: 1997 Welch, Patrick: 1991 Wells, Rosemary: 1993 Wheeler, Dorothy: 1991 Wheelhouse, Mary Vermuyden: 2015, 2017 Whistler, Rex: 1991, 2003, 2008, 2009 Whitelaw, George: 2007, 2014 Wilkie, David: 1991 Wilkinson, Thomas: 1993 Williams, Kipper: 2007 Williams, Mike: 1999, 2002, 2003, 2007, 2010, 2014, 2015, 2019, 2022 Wilson, Thomas Walter: 2014 Wimbush, Henry: 1997 Wood, John Norris: 2012 Wood, Lawson: 1991, 1992, 1993, 1997, 1999, 2002, 2007, 2008, 2009, 2010, 2011, 2014, 2022 Wood, Starr: 1992, 1997, 1999, 2003, 2007, 2020 Woodward, George Murgatroyd: 2007 Wootton, Reg: 1991, 2003, 2011

Wright, Alan: 1991, 1996, 1997, 2011, 2012, 2017 Wright, John Masey: 1996 Wright, Patrick: 1993, 1997, 1999 Wyllie, William Lionel: 1997 Wysard, Tony: 2015 Y Yeats, Jack Butler: 1993 Z Zinkeisen, Anna: 1993, 2007 Zinkeisen, Doris: 2007, 2008

C E Brock: [60]

269

Index 2022

IND E " 2 0 2 2 Alex (Charles Peattie and Russell Taylor)

Page

242-246

Charles Keene

Ape (Carlo Pellegrini)

40-41

Charles Keeping

Honor Appleton

77-80

Edward Koren

Edward Ardizzone Mabel Lucie Attwell Henry Mayo Bateman Sir Max Beerbohm Charles Edmund Brock Henry Matthew Brock Peter Brookes John Burningham Coïdé (James Tissot)

118-128 92-97 104-109 88-89 64, 69-72 64-68 256-257 152 42-43

149-151 201-203

David Low

110-113

Mac (Stanley McMurtry)

248-251

Edward McLachlan

253-255

Matt (Matthew Pritchett)

258-259

Phil May (1864-1903) Mervyn Peake Pont (Graham Laidler)

234-240

William Heath Robinson

225-227

Arnold Roth

Jonathan Cusick

260-263

Rowland Emett Michael olkes

212

David Levine

Peter Cross

George Du Maurier

147-148

Larry (Terence Parkes)

Paul Cox

Edmund Dulac

19-22

30-32 131 114-116 86-87 207-211

Willie Rushton

182-192

81

William Scully

154-158

23-26

Ronald Searle

135-142

130 160-164

Ernest Howard Shepard

98-101

Richard Shirley Smith

214-216

Edward Sorel

204-206

Dorothy Fitchew

84

Michael Foreman

217-224

Spy (Sir Leslie Ward)

Fougasse (Cyril Kenneth Bird)

102-103

William Steig

John Glashan

166-180

Edmund Joseph Sullivan

33-36

Margaret Tarrant

82-83

Kate Greenaway

28-29

Amanda Hall

228-232

Sir John Tenniel

J B Handelsman

196-200

Norman Thelwell

Florence Harrison Ionicus (Joshua Charles Armitage)

270

74-76 132-134

Mike Williams Lawson Wood

44-62 194-195

6-18 143-146 252 90-91

CHRIS BEETLES GALLERY 8 & 10 Ryder Street, St James’s, London SW1Y 6QB 020 7839 7551 gallery@chrisbeetles.com www.chrisbeetles.com