DOI Heft:
May 14, 1881
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17750#0224
May 14, 1881.] PUNCH, OR THE LONDON CHARIVARI. 217
OUR GUIDE TO THE ACADEMY;
Or, soynetimes, Our Academy Guy'd.
Don't speak to the man
at the wheel—the turn-
stile—but walk right in,
and this being your second
visit, go at once to—
No. 9. 11 Here we go
round the Mulberry Bush"
W. F. Yeames, R.A.
Children dancing round a
cannon, not a mulberry
bush. It evidently ought
No. 9. Infantry and Artillery. to have been entitled
'' Infan try and A rtillery.''
For re-christening the picture, note this in Yeames''s Diary.
No. 16. We have re-arranged
this picture, " The Cheetah
Hunt" by J. T. Nettleship.
Our version is the correct
one.
No. 18. Trying a Quack
Remedy on a Child. Ernest
Zimmerman.
No. 21. " 0/ course I can
Dance a Hornpipe! Ready? No. 16.—Stop Thief !
Off!! " Sydney Hodges. Or the Cheeter Hunt.
Hodges' best. Real spirit.
No. 29. The Genius of the Family. J. B. Burgess, A. First
No. 29.—The Christy Minstrel Boy—Burgess.
melody on the banjo. The infant Moore preparing to be a Christy
Minstrel; painted, of course, by Burgess for
presentation to St. James's Hall.
No. 38. Still Life. A sweetly lemon-colic
picture by M. Calthrop. We give another
effect, as seen from some distance.
No. 41. Sir Bartlemy Fair. George Reid.
Not Reid's Entire, only three-quarters.
No. 63. A Shullery in the House of the
Original Bones. H. Schmalz.
,T No. 70. RocJc Ahead. George Smith,
jno. 68. Subject, a baby in a cradle.
Civil Oranges. No. 71. Fowl Flay. Gaetano Chierici.
One of the best things in the Academy.
No. 97. " Why Give More?" Edwin Long, A. Without the
information in the
Catalogue, we may
take this to represent
a dispute about a cab-
fare, or a car-fare
before a Roman
Magistrate. Dapper
young driver is hold-
ing out his hand and
saying " Vide hie!
Quid sit hoc ? " to a
youthful Mrs. Giaco-
metti Prodgers, who No. 97_« "What 'a this ? "
positively refuses to Or the Classic Cabman and the Unhappy Fair,
give more. Ihe crowd 11J
anxiously await the Magistrate's decision.
No. 99. A Boat for Sale ; or, Doing him out of His Pochet-
Money. M. K. Peto.
No. 100. Two Poor Creatures; Or, Ms-fortunes Never Come
singly George Clausen. A "knee plus ultra" example of Art.
Melancholy scene. The Artist calls it Haverstock Hill. Yery sad.
healthy Navvy stands by regarding these two wretched specimens
of humanity. Mr. Clausen should engage them and start a caravan.
He has already got the picture for the
outside show.
No. 108. Hoio to Spend a Happy
Day; or, Combining Instruction with
Amusement. J. C. Horsley, R.A. A
happy couple having discovered the
subtle point of Mr. E. L. Sambourne's
allegorical design about Sir Vernon
Hare-caught's "Ground Game Bill"
in Punch, are thinking out another
humorous idea to send to that journal
anonymously. Excellent likenesses—
. No. 100. the portrait of Punch being photogra-
" Knee Plus Ultra." phically exact. They are evidently very
superior people, the Artist's rich colour-
ing denotes their wealth; but is it the custom in that part of the
country to wear satin gaiters ? Of course, Mr. Horsley will reply
that he " sat in gaiters" for his portrait. But this is not a satis-
factory answer.
No. 121. Model Cottagers. Joseph Clark. So clean and neat!!
No. 124. " Over the Garden Wall" T. Clare.
No. 182. Swift and Sure to Mahe a Hit. W. P. Frith, R.A.
This, of Swept and Vanessa, will have a lasting place in the records of
English Art. It is more than
e-Vanessa-ent.
No. 202. Listeners Never,
§■<?. G. A. Storey, A. Show-
ing Octavia—Lady Beaumont
—in an awkward position in
front of a screen, evidently
bothered by what the people on
the other side of it are saying
about Octavia.
No. 296. " What a Lyre it
is!" L. Alma Tadema, R.A.
It is Sappho listening to Phaon.
The expression about the Lyre
refers, of course, to the instru-
ment. The picture is a little No. 296.—" Sap-pho-tography.
puzzling at a distance, as it
seems to represent a first attempt at Photography—Phaon sighting
Sappho with the instrument, and perhaps calling the operation Sap-
photography. Look closely at the Marble! Marbellous!
THE GOLDEN AGE.
The WHiTECHArEL Gold Mining Company (Limited).—[Advt.]
This is a Company formed to utilise the valuable gold-fields which
have existed unworked for centuries in the Great Essex Marshes.
It is difficult to account for the want of intelligence and enterprise
shown by the population of London, except upon the theory that
people generally neglect the opportunities for acquiring wealth
which may be found almost under their noses. The development of
these fields will employ the surplus labour of the East-End, and
thus commend the scheme to the practical philanthropist; while the
minute subdivision of the shares enables the smallest capitalist to
avail himself of a class of investment only brought, as a rule, within
the reach of bankers and millionnaires. The following certificate
from M. T. Quarts, Esq., F.I.G.S., is the best guarantee of the value
of this investment:—
" I have examined the Essex Marshes, and I have no hesitation in
saying that large masses of gold are quite as likely to be found in
that district as in many others."—M. T. Quarts, F.I.G.S.
A Disclaimer.—[Advt.]
The Wormwood Scrubs Gold Mining Company (Limited) beg to
give notice that they have no connection with the Essex Marshes
Gold Mining Company (Limited).
Another Disclaimer.—[Advt.]
The Essex Marshes Gold Mining Company (Limited) beg to give
notice that they have no connection with the Salisbury Plain Gold
Mining Company (Limited).
One more Disclaimer.—[Advt.]
The Salisbury Plain Gold Mining Company (Limited) beg to give
notice that they have no longer any connection with gold, but have
gone into the Out of Date Tea Business.
Conscience Money.—[Advt.]
The Secretary of the Asylum for Idiots begs to acknowledge the
receipt of four nuggets—probably containing Australian gold—from
the Never-too-late-to-Mend Gold Mining Company, Pumicestone
Chambers, E.C.
VOL. LXXX.
U
OUR GUIDE TO THE ACADEMY;
Or, soynetimes, Our Academy Guy'd.
Don't speak to the man
at the wheel—the turn-
stile—but walk right in,
and this being your second
visit, go at once to—
No. 9. 11 Here we go
round the Mulberry Bush"
W. F. Yeames, R.A.
Children dancing round a
cannon, not a mulberry
bush. It evidently ought
No. 9. Infantry and Artillery. to have been entitled
'' Infan try and A rtillery.''
For re-christening the picture, note this in Yeames''s Diary.
No. 16. We have re-arranged
this picture, " The Cheetah
Hunt" by J. T. Nettleship.
Our version is the correct
one.
No. 18. Trying a Quack
Remedy on a Child. Ernest
Zimmerman.
No. 21. " 0/ course I can
Dance a Hornpipe! Ready? No. 16.—Stop Thief !
Off!! " Sydney Hodges. Or the Cheeter Hunt.
Hodges' best. Real spirit.
No. 29. The Genius of the Family. J. B. Burgess, A. First
No. 29.—The Christy Minstrel Boy—Burgess.
melody on the banjo. The infant Moore preparing to be a Christy
Minstrel; painted, of course, by Burgess for
presentation to St. James's Hall.
No. 38. Still Life. A sweetly lemon-colic
picture by M. Calthrop. We give another
effect, as seen from some distance.
No. 41. Sir Bartlemy Fair. George Reid.
Not Reid's Entire, only three-quarters.
No. 63. A Shullery in the House of the
Original Bones. H. Schmalz.
,T No. 70. RocJc Ahead. George Smith,
jno. 68. Subject, a baby in a cradle.
Civil Oranges. No. 71. Fowl Flay. Gaetano Chierici.
One of the best things in the Academy.
No. 97. " Why Give More?" Edwin Long, A. Without the
information in the
Catalogue, we may
take this to represent
a dispute about a cab-
fare, or a car-fare
before a Roman
Magistrate. Dapper
young driver is hold-
ing out his hand and
saying " Vide hie!
Quid sit hoc ? " to a
youthful Mrs. Giaco-
metti Prodgers, who No. 97_« "What 'a this ? "
positively refuses to Or the Classic Cabman and the Unhappy Fair,
give more. Ihe crowd 11J
anxiously await the Magistrate's decision.
No. 99. A Boat for Sale ; or, Doing him out of His Pochet-
Money. M. K. Peto.
No. 100. Two Poor Creatures; Or, Ms-fortunes Never Come
singly George Clausen. A "knee plus ultra" example of Art.
Melancholy scene. The Artist calls it Haverstock Hill. Yery sad.
healthy Navvy stands by regarding these two wretched specimens
of humanity. Mr. Clausen should engage them and start a caravan.
He has already got the picture for the
outside show.
No. 108. Hoio to Spend a Happy
Day; or, Combining Instruction with
Amusement. J. C. Horsley, R.A. A
happy couple having discovered the
subtle point of Mr. E. L. Sambourne's
allegorical design about Sir Vernon
Hare-caught's "Ground Game Bill"
in Punch, are thinking out another
humorous idea to send to that journal
anonymously. Excellent likenesses—
. No. 100. the portrait of Punch being photogra-
" Knee Plus Ultra." phically exact. They are evidently very
superior people, the Artist's rich colour-
ing denotes their wealth; but is it the custom in that part of the
country to wear satin gaiters ? Of course, Mr. Horsley will reply
that he " sat in gaiters" for his portrait. But this is not a satis-
factory answer.
No. 121. Model Cottagers. Joseph Clark. So clean and neat!!
No. 124. " Over the Garden Wall" T. Clare.
No. 182. Swift and Sure to Mahe a Hit. W. P. Frith, R.A.
This, of Swept and Vanessa, will have a lasting place in the records of
English Art. It is more than
e-Vanessa-ent.
No. 202. Listeners Never,
§■<?. G. A. Storey, A. Show-
ing Octavia—Lady Beaumont
—in an awkward position in
front of a screen, evidently
bothered by what the people on
the other side of it are saying
about Octavia.
No. 296. " What a Lyre it
is!" L. Alma Tadema, R.A.
It is Sappho listening to Phaon.
The expression about the Lyre
refers, of course, to the instru-
ment. The picture is a little No. 296.—" Sap-pho-tography.
puzzling at a distance, as it
seems to represent a first attempt at Photography—Phaon sighting
Sappho with the instrument, and perhaps calling the operation Sap-
photography. Look closely at the Marble! Marbellous!
THE GOLDEN AGE.
The WHiTECHArEL Gold Mining Company (Limited).—[Advt.]
This is a Company formed to utilise the valuable gold-fields which
have existed unworked for centuries in the Great Essex Marshes.
It is difficult to account for the want of intelligence and enterprise
shown by the population of London, except upon the theory that
people generally neglect the opportunities for acquiring wealth
which may be found almost under their noses. The development of
these fields will employ the surplus labour of the East-End, and
thus commend the scheme to the practical philanthropist; while the
minute subdivision of the shares enables the smallest capitalist to
avail himself of a class of investment only brought, as a rule, within
the reach of bankers and millionnaires. The following certificate
from M. T. Quarts, Esq., F.I.G.S., is the best guarantee of the value
of this investment:—
" I have examined the Essex Marshes, and I have no hesitation in
saying that large masses of gold are quite as likely to be found in
that district as in many others."—M. T. Quarts, F.I.G.S.
A Disclaimer.—[Advt.]
The Wormwood Scrubs Gold Mining Company (Limited) beg to
give notice that they have no connection with the Essex Marshes
Gold Mining Company (Limited).
Another Disclaimer.—[Advt.]
The Essex Marshes Gold Mining Company (Limited) beg to give
notice that they have no connection with the Salisbury Plain Gold
Mining Company (Limited).
One more Disclaimer.—[Advt.]
The Salisbury Plain Gold Mining Company (Limited) beg to give
notice that they have no longer any connection with gold, but have
gone into the Out of Date Tea Business.
Conscience Money.—[Advt.]
The Secretary of the Asylum for Idiots begs to acknowledge the
receipt of four nuggets—probably containing Australian gold—from
the Never-too-late-to-Mend Gold Mining Company, Pumicestone
Chambers, E.C.
VOL. LXXX.
U