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Robert Cruikshank and George Cruikshank and Robert Seymour
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Title: Gallery of Comicalities
Embracing Humorous Sketches
Author: Robert Cruikshank
George Cruikshank
Robert Seymour
Release Date: May 27, 2014 [EBook #45784]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK GALLERY OF COMICALITIES ***
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the public domain.
GEORGE CRUIKSHANK, Eminent Caricaturist,
1792-1879.
GALLERY OF
COMICALITIES; EMBRACING HUMOROUS
SKETCHES
BY
THE BROTHERS
ROBERT and GEORGE CRUIKSHANK,
ROBERT SEYMOUR,
AND OTHERS.
London: Charles Hindley,
41, Booksellers' Row, St. Clement Danes, Strand, w.c.
THE
GALLERY OF COMICALITIES.
Most of the "Comicalities" here re-produced in fac simile
first appeared in the columns of Bell's Life in London and
Sporting Chronicle during the years 1827-8 and 9, and
caused an unprecedented increase in the weekly sale of that
journal.
As a painter of Life and
Nature, in all their truth and
eccentricity, George Cruikshank may be truly said to stand
unrivalled, and to be only equalled, even in former times by the
inimitable Hogarth. The present Series has been principally
selected from "Cruikshank'sIllustrations ofTime and
Phrenology," and his Illustrations to Mr. Wright's
"Mornings
at Bow Street" and the sequel entitled "More
Mornings at Bow Street"—works which are replete with
wit and humour.
Robert Cruikshank, the elder brother of George Cruikshank,
Illustrated many books, &c., including Pierce Egan's,
"The Finish to the Adventures of
Tom, Jerry, and Logic, in
their pursuits through Life in and out of London," 1827.
Died March 13, 1856. Aged 65 years.
Robert Seymour, a graphic humourist was born in London,
about the year 1800. He was apprenticed to Mr. Thomas
Vaughan, a pattern-drawer in Spitalfields, and his practice in
that department of art appears to have given him the facility
and accuracy of pencil for which he was afterwards so distinguished.
Within a very short period of fulfilling his term of
apprenticeship, he commenced, on his own account, as a painter
in oils, and must have been tolerably expert at that early age, as
already in the spring of 1822, we find him exhibiting a picture
of some pretensions at the Royal Academy.
He executed various other oil paintings about this period,
but the more pressing demand on his talents was for drawings
on wood, a mode of book illustration then in great vogue. The
various illustrated books and periodicals published for the next
ten or twelve years bespeak his popularity and industry in that
department.
Although Seymour's hands were full of commissions for
drawing on wood, he was always desirous of practice in a more
independent department of art, feeling that the engraver, however
competent, frequently failed to communicate the full force
of his drawing. He, therefore, determined—where possible, on
etching or engraving his own designs on copper or steel. He
was very successful in full length sketches of public characters,
and has left us many life-like portraits of members of the Turf
and Drama between 1830 and 1836.
But of all Seymour's various works his "Humorous Sketches"
were his prime favourites, and will best perpetuate his name.
They were first published between the years 1834 and 1836, in
detached prints at 3d. each, by Mr. Richard Carlisle, of Fleet
Street. The entire collection was subsequently engraved on
steel, and published in 1838, with letterpress description by
Crowquill (Alfred Henry Forrester), the popular humourist of
the day.
Figaro in London—the popular predecessor of Punch, edited
and published by Gilbert A'Beckett from December 1831 to
1836—contains nearly 300 woodcuts after Seymour. They
were also published separately as "Seymour's Caricature
Gallery," and after his death were all re-published on six large
sheets, each containing 20 subjects, as "Seymour's Comic
Scrap Sheets."
Seymour's connection with the publication and illustration
of the now famous Pickwick Papers is well known to the reading
world by the printed statement of Mrs. Seymour, and Charles
Dickens' own account of the origin of the Pickwick Papers, to
need repetition.
Fourteen
ILLUSTRATIONS
of the
DRAMA
by Robert Cruikshank.
THE SPIDER AND THE FLY.
Will you walk into my parlour? said the Spider to the Fly,
'Tis the prettiest little parlour that ever you did see;
You've only got to pop your head within inside of the door,
You'll see so many curious things you never saw before!
"A Beak," says Jem Bee, in his slang Dictionary, "is the
Sitting Magistrate, or one who walks or rides abroad, seeking
whom he may quod, or whose lawful (query, UNLAWFUL) amusements
he may curtail."
Here we have a Portrait of a celebrated Gentleman of
this description in the East, together with a couple of his
customers, whose colloquy may be instructive:
"Coach, Sir! Lord love your soul, the coach has been gone these
three quarters of an hour; it's the most regglarest coach as is, and
always starts to a minute!"
"You dont say so! Lawks! vot a precious row my vife vill
kick up! She's a coming arter me as fast as she can trot!"
"I thought you said four o'clock, my dear fellow?"
"So I did, but it is now five."
"Yes, but four always means five."
"Not with those who tell the truth, and as I am one of that
sort, you will know I mean what I say in future; but sit down
'better late than never.'—Mary bring the fragments."
"Now, then, my jolly Sportsman! I've got more money than
the Parson of the parish! Those as don't play can't vin and those
as are here arn't there! I'd hould any of you, from a tanner to a
soverin, or ten, as you don't tell which thimble the pea is under."
"It's there, Sir"—"I barr tellings"—"I'll go it again."—"Vat you
don't see don't look at, and what you do see don't tell. I'll hould
you a soverin, Sir, that you don't tell me vitch thimble the pea is
under."—"Lay him, Sir (in a whisper); it's under the middle'un
I'll go you halves."—"Lay him another; that's right."—I'm blow'd
but we've lost: who'd a thought it!"—Smack goes the flat's hat
over his eyes; exit the confederates with a loud laugh.
George Cruikshank's
"More Mornings at Bow Street."
"Johnny, you wretch! you're not going to leave me here
with these 'orned hanimals? For the love you bear me,
come back and help me over!"—"I'm blessed if I do!—'number
one' is the first law of nature, so here goes!
Come along Fowler!"
"Hulloa! take care of that ere dog, I'm blow'd if he
arn't as mad as a March hare! He's bolted with his
mistress's kittle, and I'm splashed if he arn't got the HYDRAPHOBIA,
or he wouldn't go past the pump in such a hurry."
We frequently meet with the pieman in old prints; and in
Hogarth's "March to Finchley," there he stands in the very
centre of the crowd, grinning with delight at the adroitness of
one robbery, while he is himself the victim of another. We
learn from this admirable figure by the greatest painter of
English life, that the pieman of the last century perambulated
the streets in professional costume; and we gather further,
from the burly dimensions of his wares that he kept his trade
alive by the laudable practice of giving "a good pennyworth for
a penny." Justice compels us to observe that his successors of
a later generation have not been very conscientious observers of
this maxim.
The engraving represents an old "London Crier," one
William Liston, from a drawing for which he purposely stood in
1826.
This "public character" was born in the City of Glasgow.
He became a soldier in the waggon-train commanded by
Colonel Hamilton, and served under the Duke of York in
Holland, where, on the 6th of October, 1799, he lost his right
arm and left leg, and his place in the army. His misfortunes
thrust distinction upon him. From having been a private in
the ranks, where he would have remained undistinguished, he
became one of the popular street-characters of his day.
Buy a Broom? was formerly a very popular London-cry, when
it was usually rendered thus:—"Puy a Proom, puy a prooms?
a leetle one for ze papy, and a pig vons for ze lady: Puy a Proom?"
Fifty years ago Madame Vestris charmed the town by her
singing—
From Teutchland I came with my light wares all laden,
To dear happy England in summer's gay bloom,
Then listen, fair lady, and young pretty maiden,
O buy of the wand'ring Bavarian a broom.
Buy a broom, buy a broom, (Spoken) buy a broom,
O buy of the wand'ring Bavarian a broom.
To brush away insects that sometimes annoy you,
You'll find them quite handy by night or by day,
And what better exercise pray can employ you,
Than to sweep all vexatious intruders
away.—Buy a broom, &c.
Ere winter comes on for sweet home departing,
My toils for your favour again I'll resume;
And while gratitude's tears in my eye-lids are starting,
Bless the time that in England I cried buy a broom.
(Spoken)—Yes I shall go back to
my own country, and tell
them there that I sold all my wares in England,
singing—Buy a broom, &c.
But time and fashion has swept both the brooms and the girls
from our shores.—Madame Vestris lies head-to-head with Charles
Mathews in Kensal Green Cemetery. Tempus omnia revelat.
"Here you have the last speech and dying vords, life,
character, and behaviour of the hunfortunate malefactor that
vos hexecuted this morning hopposite the Debtor's door, in the
Hold Bailey! together with a full confession of the hoffence
vherewith he was found guilty—befor a hupright Judge and a
himpartial Jury! Here you have likewise a copy of the most
hinfectionate letter, written by the criminal in the condemned
cell the night after—I mean the night afore his hexecution, to
his innocent vife and hunoffending babbies—with a copy of
werses consarning the same—all for the small charge of von
halfpenny.
"Hearth-stones! Do you want any hearth-stones? Now, my
maids, here's your right sort—reg'lar good'uns, and no mistake—vorth
two o'your shop harticles, and at half the price. Now my
pretty von, lay out a tanner, and charge your missus a bob—and
no cheating neither! the cook has always a right to make her
market penny and to assist a poor cove like me in the bargain.
The late George Cruikshank, whose pencil was ever distinguished
by power of decision in every character he sketched,
and whose close observation of passing men and manners was
unrivalled by any artist of his day, contributed the "London
Barrow-woman" to the pages of Hone's Every-Day Book in
1826 from his own recollection of her.
There cannot be a better representation of "Guy Fawkes," as
he was borne about the metropolis in effigy in the days "When
George the Third was King," than the above sketch by George
Cruikshank.
Appetite comes with eating, says
Angeston.—Rabelais,
bk. 1., ch. v.
Husband: Now then, Old Gal; cook us about another
pound and a half of our home made bacon, and, then I do
think I shall 'ave done for this once.
Wife: Yes! Tom, but recollect that Parson said on
Sunday last, that poor folks, since the 'provements of
cookery eat about twice as much as nature requires.
Husband: Well! then we can't do no better than
practice what Parson preaches about, can we?
The Royal Society for the Prevention of Cruelty to
Animals was instituted in 1824. Through its exertions hundreds of cases
of cruelty are annually prosecuted. Acts for the protection of animals
were passed in 1822 "Martin's Act," and in 1835 and 1839.
If I had a donkey wot wouldn't go,
D'ye think I'd wollop him?—no, no, no.
But gentle means I'd try, d'ye see,
Because I hate all cruelty;
If all had been like me, in fact,
There'd ha' been no occasion for Martin's act,
Dumb animals to prevent getting cracked—on the head.
the LAST THIS SEASON.—ARGYLL ROOMS,
Thursday next,
June 28.—For Boxes to view the Masquerade (without mixing in the
motley group), Domino, Character, and other Tickets, &c., apply to the
Committee, at Mr. Charles Wright's, Opera Colonnade, Haymarket, who
will supply the Wines on the occasion.
The above sketch was taken from nature in the Isle of
Anglesea last Autumn, from a spot not far from the seat of the
Noble Marquess, who derives his title from the Island. It
presents an excellent profile of the Marquess, and has often
excited the attention and surprise of the passing travellers. At
a moment when his Lordship is so deservedly popular the
publication of this curiosity may not be unacceptable to our
readers.
And ever since that time I've done nothing but bewail her,
Alas! she's gone to Margate, the summer months to stay.
'Twas at a ball at Islington I first chanc'd to meet her,
She really look'd so nice I couldn't keep my eyes away;
In all my life before I ne'er saw so sweet a creature,
She danc'd with me three hours, then fainted quite away.
Spoken.—She was such a divine creature!
I fell in love with her the moment
I saw her. I looked languishing at her, and she did the same at me; then
she gave such a sigh—such a heavy one!—you might have heard it!——
All round the room, &c.
My Ellen's rather tall, and my Ellen's rather thin, too,
Her hair is rather sandy, and at singing she's au fait,
That she should leave me now I think it quite a sin, too,
I'm sure I shan't be happy all the time she is away.
Spoken.—She was an angel! such a natural sort of woman!
She wore a bustle—that wasn't very natural, though—it was rather a largish one; I
suppose, upon a moderate calculation, it would have reached——
In 1836, Mr. T. D. Rice, who had previously appeared at the
Surrey Theatre, in "Bone Squash Diablo," made his first appearance
at the Adelphi, in a farcical Burletta, called "A Flight
to America; or, Twelve Hours in New York". The sketch,
written for him by Mr. Leman Rede, introduced Rice as a
nigger, Yates as a Frenchman, and Mrs. Stirling as Sally Snow—a
coloured belle, Miss Daly, John Reeve, and Buckstone strengthened
the cast. "Jump Jim Crow" caught the fancy of the
town at once, and the familiar tune was soon to be heard everywhere.
Rice stayed through the whole season, playing an engagement
of twenty one weeks, then considered something
extraordinary. For a long period he performed at the Adelphi
and the Pavilion Theatres the same evening, and it was calculated
that in so doing he had travelled considerably more than a
thousand miles, while being encored five times at each theatre
for 126 nights, it was easy to set down the figure of 1,260 as
representing the number of times he had sung "Jim Crow,"
during that period. Rice cleared by this engagement eleven
hundred pounds. A street-ballad of the day informed the public
that it could have:—
Jim Crow.
As sung by Mr. T. D. Rice, with tumultuous applause.
I came from ole Kentucky—A long time ago,
Where I first learn to wheel about—An jump Jim Crow.
Wheel about, &c.
I use to take de fiddle—Ebery morn and arternoon,
And charm de old buzzard—And dance to de racoon.
Wheel about, &c.
In hoeing ob de sugar—Or picking cotton, all de same,
I beat de oder niggers—And gib dem twenty in de game.
Wheel about, &c.
At last I went to seek my fortune—Got up by break of day,
Left my ole shoes behind me—And den I run away.
Wheel about, &c.
I come to a riber—Which I couldn't get across,
So I gib a couple ob shillings—For an old blind horse.
Wheel about, &c.
When I got upon the oder side—I drove him up a hill,
Oh, but de oder side—Look rather daffakil.
Wheel about, &c.
Den I jump on board de big ship—And cum across de sea,
And landed on Old England—Where de nigger am free.
Wheel about, &c.
There were a hundred-and-one versions of "Jim Crow," fresh
stanzas being added from day to day on the passing events, for
the most part written by Leman Rede, and Buckstone, the
honorarium offered by Rice being one shilling per line. We
select the above from the first version as sung at the Surrey
Theatre.
LONDON:—
E. A. BECKETT,
PRINTER,
111 & 113,
KINGSLAND ROAD.
Works by Mr.
CHARLES HINDLEY,
TO BE HAD OF
Messrs. Reeves and Turner,
196, Strand, London, W.C.,
AND OF
Charles Hindley, the Younger.
41, Booksellers' Row, St. Clement Danes,
Strand, London, W.C.
THE OLD BOOK COLLECTORS MISCELLANY;
or, a Collection of Readable Reprints of Literary
Rarities. 3 vols. £1 11s. 6d.
SELECTION OF THE WORKS OF JOHN TAYLOR,The Water Poet. £1 1s. 0d.
THE ROXBURGHE BALLADS. 2 vols. £1 5s. 0d.
CURIOSITIES OF STREET LITERATURE: comprising
"Cocks" or "Catch-pennies." A
large and curious assortment of Street-Drolleries,
Squibs, Comic Tales, Dying-Speeches, and Confessions,
etc., etc. £1 1s. 0d.
LIFE AND TIMES OF JAMES CATNACH,late ofthe Seven Dials, Ballad Monger. Cuts by Bewick
and others. 12s. 6d.
A HISTORY OF THE CRIES OF LONDON. Ancient
and Modern: containing over three hundred woodcuts,
of which seventy are by Bewick. Crown 8vo.
7s. 6d. Postage 6d.
THE HISTORY OF THE CATNACH PRESS. At
Berwick-upon-Tweed, Alnwick, and Newcastle upon-Tyne,
in Northumberland; and Seven Dials, London.
Cuts by Bewick, etc. Crown 8vo. 6s. Postage 6d.
Transcriber's Note:
Minor typographical errors have been corrected without note.
Original spelling and its variations were not standardized.
End of the Project Gutenberg EBook of Gallery of Comicalities, by
Robert Cruikshank and George Cruikshank and Robert Seymour
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