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occasionally marred by the somewhat disproportionate size of their feet, and this charge seenis to us sustainable. Mr. Tenniel displays rare excellence in the drawing of animals an excellence peculiarly noteworthy in such cartoons as The British Lion Smells a Rat, and The British Lion's Vengeance on the Bengal Tiger.

Embracing a period of only fourteen years, from 1851 to 1864, during which time he worked side by side with his friend and colleague, John Leech, on the pages of Punch, our notice of the cartoons of John Tenniel must necessarily be short. During the last three years of his life, when, as we have seen, the strength of the artist who had been on the pictorial staff from the commencement had been gradually failing, the execution of the weekly cartoons had fallen almost entirely upon Mr. Tenpiel. As fellowlabourers, constantly associated on the same periodical, we are enabled to compare their individual merits. The conclusion we have arrived at is as follows: That as a political satirist, Tenniel is the best of the two; while as a delineator of English habits, manners, eccentricities, and peculiarities, Leech finds no equal. After 1864, when the artistic friendship and partnership (so to speak) of these gifted men was dissolved by the unlimely death of John Leech, it would be beyond the declared scope and purpose of this work to follow Mr. Tenniel further. Unlike the caricaturists who preceded him, many of whom relied on humour, more or less forced, for the success of their productions, the cartoons of John Tenniel are oftentimes distinguished by a gravity and sternness of purpose which, combined with their artistic excellence, appeals forcibly to the imagination. Unfortunately, as in the case of those of John Leech, these truly admirable examples of nineteenth century satire, apart from the Punch volumes themselves--owing to the material on which they are impressed and the process to which the original drawings are subjected--are practically valueless by the side of an indifferent caricature torn from the scurrilous and worthless pages of “The Scourge” or “ The Meteor."

To the persons who charge this artist with want of humour, his cartoon of Britannia Discovering the Source of the Nile-probably the most comical picture in the whole of the Punch volumes—will afford the most conclusive answer, as will also the quaint and mirthprovoking little pictures which he designed for “Alice in Wonderland,” its sequel, “Through the Looking-glass,” and the 1864 edition of the “Ingoldsby Legends.” One of these last, by the way, so closely resembles a scarce design of John Leech's in the “ New Monthly,” that the coincidence will strike any one who has an opportunity of comparing the two together. During the fourteen years that Mr. Tenniel was a fellow-worker with the late John Leech, he contributed to the pages of Funch about 1,400 designs, of which upwards of 400 are cartoons. We believe we are correct in stating that all these illustrations, and his subsequent and contemporary designs, were drawn at once upon the wood block, not a single preliminary sketch having been made.

Here, in accordance with the plan which we designed when we sat down to write this work, we bring our labours to a close. If we have omitted all mention of two very excellent and talented artists, Messrs. Charles Keene and George Du Maurier, it is not from any lack of appreciation, but because one of them at least began his labours just about the period when those of John Leech were drawing to a close, while the reputation of both were made after their distinguished contemporary was laid to his rest. The merits of both these able men and of those now following after them must be left to be dealt with by another chronicler. Although, as we remarked in our opening chapter, the wood engraver has rung the knell of English caricature, with such clever men as Colonel Seccombe, Mr. Proctor, Mr. Randolph Caldicoit, Mr. F. Barnard, the present George Cruikshank, Mr. Chasemore, and others whose names do not at present occur to us, there is happily no prospect of a decline in the art of English graphic satire.

APPENDICES.

APPENDIX I.

SOME ILLUSTRATIVE WORK OF ISAAC ROBERT CRUIKSHANK.

Coloured frontispiece to the "Age of Intellect; or, Clerical Show Folk and Wonderful Lay Folk,” by Francis Moore, Physician. 1819..

" Lessons of Thrift, published for the general benefit, by a Member of the Save-all Club," eleven coloured full-page etchings. 1820.

“The Total Eclipse, a Grand Politico-Astronomical Phenomenon.” (Dolby, Strand.) 1820.

“A Peep at the P. C. N.; or, Boiled Mutton with Caper Sauce at the Temple of Joss." (Effingham Wilson.) 1820.

“ The Men in the Moon; or, the Devil to Pay.” (Dean & Munday.) 1820.

[With his brother George.] Designs to Nightingale's “ Memoirs of Queen Caroline.” (J. Robins.) 1820.

“Radical Chiefs.” One caricature illustration. 1821.
“The Royal Game of Chess” 1821.
“The Political All-my-knack for the Year of our Lord 1821."

“ The Queen and Magna Charta ; or, the Thing that John Signed." (I Dolby, Strand.) 1821.

“Tales of the Cordelier Metamorphosed." 1-821.

[IVith his brother George.] “Life in London.” (Sherwood, Nealy & Jones.) 1821.

“The Commercial Tourist; or, Gentleman Traveller.” (A satirical Poem), five coloured plates. 1822.

“ Mock Heroicks; or, Snuff, Tobacco, and Gin, and a Rapsody on an Inkstand.” Four caricature engravings. 1822.

“Annals of Sport ng and Fancy Gazette.” (Numerous coloured plates.) 1822-1825.

(With C. Williams.] Frontispiece to George Ramsey's “New Dictionary of Anecdote.” 1822.

“My Cousin in the Army ; or, Johnny Newcome on the Peace Establishment.” Many coloured plates. 1822.

Twenty designs on wood for Charles Westmacott's “Points of Misery.” 1823.

A series of drawings on wood to the “Spirit of the Public Journals for 1823 and 1824.” (A selection of essays, jeux d'esprit, tales of humour, etc., 2 vols.)

“Life and Exploits of Don Quixote.” Twenty-four designs on wood. (Knight & Lacey.) 1824.

Bernard Blackmantle's (Charles Westmacott) “ English Spy.” 1825.

“Spirit of the Public Journals for 1825."

Charles Westmacott's “ Punster's Pocket-book; or, the Art of Punning Erlarged.” 1826.

[With his brother George.] “London Characters.” (Twenty-four plates, of which nine only are by Robert. Robins. 1827.

[With George.] Designs on wood for the “ Fairy Tales” of Albert Ludwigg Grimm. 1827.

J. Thompson's “New Life of J. Allen.” 1828.
Smeeton's “Doings in London.” 1828.

“ British Dance of Death” (allegorical coloured frontispiece). 1828.

“Spirit of the Age” Newspaper (vignette). 1828.

[With his brother.] The designs on wood for the “Universal Songster; or, Museum of Mirth.” (3 vols.) 1828.

“ London Oddities; or, Theatrical Cabinet, and Tit-bits of Humour and Eccentricity.” 1828.

“ The Finish to the Adventures of Tom, Jerry, and Logic.” 1828.

The following between 1830 and 1832. “Cruikshank's Comic Album” (sometimes called “Facetiæ "), being a series of little books published by Kidd, Miller, and others, afterwards collected into 3 vols.

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“ Walks about Town by an Antiquated Trio," three designs.

“ The Condition of the West Indian Slave contrasted with that of the Infant Slave in our English Factories."

“Cruikshank and the New Police, showing the great Utility of that Military Body."

“Cruikshank versus Witchcraft”; “Mary Ogilvie"; "Wee Watty." “Robert Cruikshank versus Sir Andrew Agnew.” W. S. Moncrieff's “March of Intellect," six designs. [With Kenny Meadows.] “The Devil in London.” “ A Slap at the Times.”

Illustrations to Foote's “Tailors,” and “Mayor of Garratt ”; O'Hara's “Midas”; “The Beggars' Opera”; “Katherine and Petruchio," and others.

The following between 1831 and 1836. Design on wood for “ Figaro in London."

[With Seymour and others.] Illustrations to a periodical called “ The Thief."

Twenty illustrations to W. R. Macdonald's “Comic Alphabet." (A rival to George Cruikshank's work of the same title.)

Eighty-five designs on wood to Crithannah's “ Original Fables." Six designs on wood for “Readings from Dean Swift His Tale of a Tub, with Variorum Notes, and a Supplement for the use of the Nineteenth Century," by Quintus Flestrin Grildrig.

Johann Abricht's “Divine Emblems.” And [with his brother illustrations to J. Thomas's “ Burlesque Drama.” 1838.

[With Seymour.] The series known as “ Cruikshank at Home,” and “The Odd Volume.”

The following in 1839-1840. Ten vignettes to "The Lady and the Saints." Twelve designs on wood to “Colburn's Kalendar of Amusements in Town and Country.” “ Cozi Toobad.” [With W. Lee.] Twenty-three steel plates and designs on wood for “ Jem Blunt," by Barker (author of the celebrated “Greenwich Hospital ").

1842 and 1844. [With John Leech.) “Merrie England in the Olden Time," by George Daniel. (Since rep. by Warne & Co.) Three illustrations

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