The History of "Punch" Part 41

[Ill.u.s.tration: MR. ERNEST GRISET OBEYS THE EDITOR'S SUMMONS.]

At the end of the index to Vol. LIII. is a little tail-piece that marks the advent of Mr. A. Chasemore. This draughtsman was welcomed by Mark Lemon with the words: "You may try your hand at a large drawing, but let it be broad fun. We don't want any more ladies and pretty children."

That was in 1868--yet ladies and pretty children do not even now seem to have lost their popularity! The original drawing was not a success, and had to be touched up by Keene. It is mentioned here as affording another good example of the careful way in which sketches are adapted.

The subject was a recruit joining a volunteer corps. The adjutant inquires: "What company would you wish to be in?" to which the recruit replies: "Oh, gentleman's co'pany, of course!" The recruit was left untouched, but the adjutant was re-drawn by Keene. "I'm afraid there's not much humour in the idea," wrote the artist with quaint modesty; "still, I hope it's good enough for _Punch_!" Up to 1875 Mr. Chasemore contributed thirty-three drawings, and in addition there was a belated one in 1879; and then he pa.s.sed over to "Judy," to which paper he thereafter devoted himself.

The last recruit of the year was "Phiz'" young son, Walter Browne, who, through his father's influence with Mark Lemon, was allowed to contribute a few drawings, the first of which appeared on p. 148, Vol.

LV., and the last on November 20th, 1875. He was hardly out of his students.h.i.+p at the time--he was a pupil of Bonnat--and his work was "young;" but he might have risen on _Punch_ had he not allowed himself to be tempted away by a delusive offer of Tom Hood's of constant work on "Fun," so that he closed the door in his own face, and had thenceforward to look to news-drawing and book-ill.u.s.tration for advancement.

Mr. Briton Riviere, R.A., appeared in the month of January, 1868. Few who have followed his career as painter would detect in him the inveterate humorist; yet it was in that direction that his bent led him while he was still a boy. When at Oxford he had amused himself of an evening with making humorous ill.u.s.trations in pen-and-ink, and a book which he then so drew was shown by him in 1868 to his friend Mr. G. L.

Craik, one of the partners in the house of Macmillans, and the husband of John Halifax, Gentlewoman. This book Mrs. Craik sent to Mark Lemon, who invited the young graduate to the _Punch_ office, and adopting the grotesque ill.u.s.trations to "Mazeppa" at once, gave him a sort of running commission to do incidental work, to which Mr. Riviere gladly responded by a total of the twenty-three cuts--chiefly of wild animal subjects--contributed by him through 1868 and 1869. Not only was the work congenial, but the artist at the time was entirely dependent upon ill.u.s.tration for his livelihood, for he was newly-married, and the picture-buying public had not yet been educated up to purchasing his canvases. His ill.u.s.trations--in chief part for American publications--were all done at night, as his days were delivered over to earnest though unremunerative painting. But directly his pictures began to make way, he dropped ill.u.s.tration, which had made inroads upon his health and had permanently injured his left eye through the strain of the artificial light. So Mr. Riviere ceased his _Punch_ connection, the proprietors, moreover, consenting to suppress those blocks which had not yet appeared, as the painter feared that they would do harm to himself professionally, and no particular good to the paper. Yet he has always expressed his pride that he should have been one of the outside "_Punch_ Staff," and he has proved it by elaborating the initial "M," which was published on p. 217, Vol. LVI., in "_Punch's_ Derby Sporting Prophecy,"

into his picture "Of a Fool and His Folly there is no End," which was painted and exhibited at the Royal Academy in 1890.

A couple of drawings from Mr. Cooper, and an initial by "W. V." (the cipher of Mr. Wallis Mackay, whose sketch and subsequent work did not appear for a couple of years) were next sent in, and then came Mr. J.

Moyr Smith, whose long series of clever mock-Etruscan drawings continued with few breaks for the s.p.a.ce of ten years. Although the spirit that runs through them becomes monotonous after a while, the draughtsmans.h.i.+p and the excellence of the fooling always elicit admiration. Mr. Smith had served his time to architecture; but natural love of figure-drawing, intensified by the study of Sir John Tenniel's comic ill.u.s.trations of the historical costume, faithfully and even learnedly delineated and perfectly drawn, settled his career, and "Fun," under Tom Hood's editors.h.i.+p, witnessed his start in humorous life. Referred to Mark Lemon by "Pater" Evans, he obtained a ready hearing, and for a couple of years drew for the paper; but he did not work regularly, during an interval of three years, until 1872. From this time forward he was one of _Punch's_ recognised outside contributors, though he worked for it only when not engaged in making designs for art-manufacturers. It was under s.h.i.+rley Brooks's editors.h.i.+p, and later under Tom Taylor's, that he gave full rein to his pa.s.sion for cla.s.sic treatment, and his ornament, which gave a distinct _cachet_ to _Punch_ up to 1878, was not founded on a mere grotesque treatment of cla.s.sical subjects, but was the fruit of a close study of and easy familiarity with heathen mythology, cla.s.sical, Egyptian, and, in particular, Norse. The fun was not particularly broad, but Tom Taylor was especially tickled by his attempts to find amus.e.m.e.nt in the extraordinary head-dresses worn by ladies of Ancient Egypt--such as that in the cut (July 11th, 1874) learnedly inscribed "Oos Yer Atter?"

[Ill.u.s.tration: J. MOYR SMITH.

(_From a Drawing by Himself._)]

Mrs. Jopling-Rowe, then Mrs. Frank Romer, was the only new arrival in the year 1869. The death of her husband had left her under the necessity of supporting herself and her children, and as niece of Mark Lemon she might have obtained easy admittance to _Punch_, had she not found portrait-painting a more remunerative occupation. Under the initial of her name she made but four drawings of little importance, the most ambitious being an ill.u.s.tration of the "Song of Sixpence," which was treated as a subject from "Nursery History." It appeared on page 56 of Volume LVII.

Mr. Wallis Mackay, the clever "Captious Critic" of later days, followed "W. G."--a contributor of a couple of trifles--and worked for _Punch_ from 1870 to 1874, making seven-and-twenty drawings, "socials" chiefly, in his well-known style. It was in the latter year that Tom Taylor succeeded to the editors.h.i.+p, and having been mortally offended with a personal sketch which the "Captious Critic" had drawn some time before, he forthwith cancelled the connection. Even the blocks already in hand and paid for were suppressed, with the exception of four, of which the last appeared in 1877. On the accession of Mr. Burnand, says Mr. Mackay, he was informed that Bouverie Street was no longer "a close borough,"

and that the Essence of Parliament awaited him; but the "Special Correspondent" was away in the wilds of Ireland, and the opportunity pa.s.sed by.

[Ill.u.s.tration: J. SANDS.

(_From a Painting._)]

The same day as that on which the first of Mr. Bennitt's four drawings arrived--(he must not be confounded with the Colonel Bennitt who is referred to later on)--saw also the first contribution of Mr. J. Sands, Charles Keene's friend, who put his little anagrammatic device of an hour-gla.s.s to more than three-score drawings between the years 1870 and 1880. Save for their ingenuity, they were not of first-rate importance.

Mr. Sands had been an Edinburgh and Arbroath solicitor; a prairie farmer; an art-student under Charles Keene, who made him practise drawing until he became dyspeptic and melancholy at the sight of his own feeble work; an emigrant to Buenos Ayres, where he practised most trades in turn, including that of newspaper artist; a contributor and draughtsman (again under Keene's eye) to London magazines, and to _Punch_; a sojourner in the almost inaccessible island of St. Kilda; an archaeological explorer in the islands of the Hebrides; and finally, for thirteen years a hermit, living a hermit's life, solitary and intellectual, at the water's edge, at Walls, Shetland. Many have been the stones that have rolled for _Punch_, but few that have rolled so far, or gathered so much moss the while. In his more civilised moments, so to speak, Mr. Sands lived for a time a good deal in the life of Keene, to whom he presented many jokes and sketches for pictures; but he became disheartened at the slowness of his own promotion, and suspecting, moreover, that Keene, in his heart, would have been glad were he to retire in favour of Mr. A. Corbould, Keene's nephew, he finally decided to withdraw. Nevertheless, the friends.h.i.+p of the two men lasted to the end--a friends.h.i.+p that was a rare and deep attachment.

Two more names belong to 1870--that of Mr. E. F. Brewtnall, R.W.S., whose single contribution was sent in in this year; and Mr. W. Ralston, of Glasgow, later a photographer by profession, but by taste and opportunity an artist. It was with s.h.i.+rley Brooks's succession to the Editors.h.i.+p that Mr. Ralston obtained his recognition. "I remember," says the draughtsman, "how in walking down to business that day I tried to look unconscious of my greatness, and mentally determined that it would make no difference in my bearing." His drawings at first were very hard, but the point of humour was invariably good, and the Scottish "wut"

equal to that of the best man who ever drew for the paper. He was a self-taught draughtsman, who learned by watching his younger brother, "whose artistic boots," says he, "I was not fit to black;" but he improved rapidly, and contributed in all two hundred and twenty-seven drawings, initials, and "socials." At the death of Tom Taylor, Mr.

Ralston's contributions ceased, only one more from his pencil ever appearing in the paper--in 1886. It was partly because Mr. Ralston became a busy "Graphic" artist, and partly because the Editor was in search of new blood; but the only time Mr. Ralston made his post-Taylorian appearance in _Punch_ (that was not "old stock") was with an article in the Sandford and Merton style, directed against the Duke of Bedford and the Bloomsbury gates. This little attack, called "K.G.--Q.E.D.," const.i.tutes Mr. Ralston's sole contribution to the literature of the age.

[Ill.u.s.tration: W. RALSTON.

(_From a Photograph by W. Ralston, Glasgow._)]

Mr. A. Chantrey Corbould, as already explained, was introduced to _Punch_ by his uncle, Charles Keene. Beginning in 1871, he worked on until 1890, when a temporary cessation intervened. His work, dealing chiefly with hunting and "horsey" subjects, has always a certain freshness, in spite of being, technically speaking, a little tight, and at one time raised their author to very near the front rank in popularity. He was only eighteen when he joined (the expression "Mr.

Punch's young men," it will be seen, is no misnomer), having already had the benefit of Keene's advice. One of the elder artist's letters is before me as I write:--

"I saw your drawing this morning," he says, "and think it very good, considering the short time you have had to study art; but I can see that the execution would render the drawing rather difficult to engrave, and you want a little more study and practice in 'the human face divine' to please the newspaper people. I never give advice on these matters, but I can tell you from my own experience I don't think drawing on wood is a good road to stand on as an artist; but if you don't agree with me, and wish to go in for this particular branch, it seems to me that you should article or apprentice yourself by legal agreement with some engraver of large business for a certain time on certain terms. This is how I began, and have been sorry for it ever since!"

[Ill.u.s.tration: A. CHANTREY CORBOULD.

(_Drawn by Himself._)]

Fourteen years later, when Mr. Corbould was still hoping for that position with which many people already credited him--a Staff appointment--Keene wrote:--

"I've no doubt myself that it is in your power, if you manage well, to get on to _Punch_. It is rather unlucky that Burnand is not a sporting man" [Mr. Burnand, by the way, is an inveterate horseman].

"... I should advise you to drive gently but steadily at hunting and country subjects, and if you get a good idea of any sort have a shy at it, and encourage your friends to look out for you....

You've noticed I only do one a week now, as a rule. I send you an idea you might work out. Wouldn't you make it a meet (in background), and the speakers mounted?

"'Think I must part with him.' SHE: 'What! all at once, wholesale?

Wouldn't it be better to sell him retail on little skewers?' I'll look out and send you anything in your line I hear of."

This joke of Keene's was duly worked out by Mr. Corbould, and was produced Nov. 22, 1884 (p. 249, Vol. Lx.x.xVII). Up to this time the draughtsman had worked under three Editors, to whom, as was the practice, he would send in slight sketches to "legends," and work out those which were accepted, the selection being made in due course, with a bit of criticism to take the vanity out of him, thus: "_Very good subject._ The man is far too big for the horse, which is a 15.3 if he's an inch. This was generally Leech's mistake; so you err in remarkably good company. Why 'Hunting Puzzle'? It's not a puzzle."

Apart from a couple of sketches by Mrs. Field and one by Mr. Graham, the year 1872 brought no contributor but Randolph Caldecott. The half-a-dozen sketches together comprising his "Seaside Drama" (p. 120, Vol. LXI.) contains no hint of that peculiar style, individual humour, and perfect suggestion, which he was to make his own. His drawings were published in 1872, 1873, and 1875, and then again in 1879, 1880, 1882, and 1883--eighteen drawings in all; but it was not until 1879 that Caldecott showed any of his later freshness and humorous exaggeration.

It was in 1870, his biographer a.s.serts, that his drawings were shown to s.h.i.+rley Brooks and Mark Lemon:--

"Mr. Clough thus records the incident: Bearing an introductory letter, he went up to London on a flying visit, carrying with him a sketch on wood and a small book of drawings of 'The Fancies of a Wedding.' He was well received. The sketch was accepted, and with many compliments the book of drawings was detained. 'From that day to this,' said Mr. Caldecott, 'I have not seen either sketch or book.' Some time after, on meeting Mark Lemon, the incident was recalled, when the burly, jovial Editor replied, 'My dear fellow, I am vagabondising to-day, not _Punching_.' I don't think Mr.

Caldecott rightly appreciated the joke."[66]

Caldecott had had some practice in humorous drawing, having drawn three years before for the "Will-o'-the-Wisp" and "The Sphinx." But his _Punch_ work was merely occasional; his more serious labours were for the "Graphic," "The Pictorial World," and most notably, on Mr. Edmund Evans's suggestion, for the immortal children's books which the engraver might print in colours. He was only forty years old when he died, and _Punch_, in the course of a long obituary poem, bore witness to his singular charm, though he made no reference to the work contributed to his own pages:--

"Sure never pencil steeped in mirth So closely kept to grace and beauty.

The honest charms of mother Earth, Of manly love, and simple duty, Blend in his work with boyish health, With amorous maiden's meek cajolery, Child-witchery, and a wondrous wealth Of dainty whim and daring drollery."

Perhaps the best military contributor of jokes that _Punch_ has had is Major-General H. G. Robley. Keene, as I have already stated, re-drew or touched up the earlier of his sketches, which dealt for the most part with military life on foreign service. Twenty-seven contributions, many of them unsigned and of varying degrees of importance, came from young Captain Robley, as he was then, of the 91st (Argyle and Sutherland) Highlanders. To Keene he was, as the artist confessed, "a very obliging correspondent," who sketched well and sent him many suggestions. "You see, a mess-table makes a very 'preserve' for _Punch_ subjects. I don't follow his drawings very much, but they are very useful in military subjects." Captain Robley contributed during the years 1873-8. Mr. W. J.

Hennessy, who has since established his position as a delicate and accomplished draughtsman, made a couple of drawings of social subjects in 1873, and two more in 1875, but they were by no means of the excellence to which the artist afterwards attained.

No fresh contributor appears in 1874, the couple of sketches signed "C.

B." having been sent in twelve months before, and that of F. Woods having been practically redrawn, although his initials were allowed to stand; but 1875 witnessed the work of five new hands in the paper. The first was Robert Bruce Wallace, whose style was modelled on that of C.

H. Bennett, and greatly inspired besides by Mr. Sambourne. The bulk of his work was done from 1875 to 1878 inclusive, but in the latter year he fell away, and his contributions became very rare. He died in 1893, and one of his drawings made a posthumous appearance in 1894. He was a very prolific contributor. Wallace gave up his _Punch_ connection--not, as has been said, because the remuneration was insufficient, but because he considered himself ill-treated. According to him, he had fully understood that he was to succeed Miss Georgina Bowers, and with this promotion in view, he had proceeded to Worcesters.h.i.+re from Manchester, where he lived, and made preparatory studies of horse and hound and landscape scenery. When, contrary to expectation, he found himself pa.s.sed by, he was grievously disappointed and annoyed, and refused to go on with initials and so forth--which he drew with so much beauty and conscientiousness. He was a secretary of the Manchester Academy of Fine Arts, and had a considerable reputation as a wit at its councils; and when Ford Madox Brown was engaged on his Manchester frescoes, Wallace acted for some time as his a.s.sistant.

Then followed Colonel Ward Bennitt, late of the 5th Lancers, who drew several initials and "socials;" but being at that time a lieutenant (in the 6th Inniskilling Dragoons), he found that he had no time during the day to draw for _Punch_, and that night work affected his eyesight. Mr.

J. Curren, with a couple of sketches, in 1875 and 1876; Mr. L. G.

Fawkes, of the Royal Hibernian Academy, with a single drawing in the former year; and that clever young painter, Valentine Bromley, who died so young after promising so well, with a single drawing, complete the list; but there was nothing distinctive in the work of any save the last.

[Ill.u.s.tration: M. BLATCHFORD.

(_From a Photograph by Warwick Brooks._)]

Mr. Montagu Blatchford, who adopted--not without success--the Bennett-Sambourne-Wallace style of half-decorative, half-pictorial representation, appeared towards the end of 1876; and although he was supplanted a few years later by Mr. Harry Furniss and Mr. Wheeler, he continued, even after 1881, to be seen fitfully in _Punch_. He was, by profession, a carpet-designer, with unusual skill in freehand drawing; and when in the spring of 1876 he no longer saw Mr. Sambourne's work in the paper, he adopted the shrewd idea of sending in some sketches in which that artist's style was respectfully imitated. But Tom Taylor was shrewder still, and wrote: "Dear Sir,--Mr. Sambourne's absence is only temporary. I have not, therefore, an opening for a designer to fill his place, and return your drawings, which are very clever;" adding that he would be glad to give the young applicant an opening if possible--a chance which soon came, but which never meant very much for the artist.

He began with a comic umbrella-stand, and from that basis made scores of small subjects, all, with but half-a-dozen exceptions, of his own suggestion. Then, when Tom Taylor died he sent less and less--a little sore that he should be pushed aside for younger men--and finally ceased altogether, returning to Halifax in response to business calls. Then followed W. J. Hodgson (who is not to be confounded with the draughtsman of the same name and initials of nearly twenty years later), with four cuts, during 1876 and the two next years; "Captain F.," with a couple; Miss Fraser ("MF"), daughter of Colonel Fraser of the City Police, with seven sketches; and Mr. Hallward, with a couple of initials.

[Ill.u.s.tration: E. J. WHEELER.

(_Drawn by Himself._)]

For four years no accession of importance was made, Mr. W. G. Smith, with a single initial, and Mr. W. G. Holt, with three more ambitious cuts, being all that 1878 had to show; while 1879 brought forth Mr.

Dower Wilson with a "social" in the Almanac, and a nameless F. B.

("Memorials"). In the following year Mr. Athelstan Rusden made his maiden appearance as an ill.u.s.trator with a Disraeli Elephant, which he had drawn on the wood and sent in from Manchester; but "Moons.h.i.+ne"

offered the inducement of continuous occupation, and the young amateur drifted away.

The year 1880 is memorable for the enlistment of Mr. Harry Furniss. Mr.