DOI issue:
January 21, 1888
DOI Page / Citation link:https://doi.org/10.11588/diglit.17659#0046
3G
another version of this great work extant. Observe the breeziness of
the sails, the massive heaviness of what is miscalled a Light House.
Also notice the sky above and the sea below. This somewhat novel
arrangement has been largely copied by servile imitators.
No. 11. " Blue Beard" By the same. A fine conception. The
Savage Turk has seized his hapless bride, the twentieth victim, by
the hair of her head, and waves his flashing scimitar in the air,
while on the roof of the castle is seen the despairing figure of
Sister Anne as she scans the horizon and gives the latest intelligence
to her sister below. A curious circumstance is related in connection
with this picture. While Johnnie Dobbin was at work on it with
the box of paints that had been given him on his previous birthday
by his uncle Mr. Bolaine, his cousin, Billy Bolaine, between
whom and Johnnie there had always existed considerable rivalry,
entered the apartment, and in the absence of Johnnie, took up a
brush charged with lamp-black and made a great "splosh" (as he
termed it) on Blue Beard's eye. Johnnie, on returning, exclaimed,
" Billy has been here.....and has given Blue Beard a black
eye." "Whereupon he immediately sallied forth, and, overtaking
Billy in the street, produced the same effect on his cousin's eye
as Billy had on Blue Beard's. After this lesson they became the
greatest friends, and it is said that Billy lent Johnnie his own box
of paints and imparted to him many of the secrets by which he had
attained success in his own peculiar line.
BILLY BOLAINE.
Born, 1868. Flourished, 1880-82.
No. 3. Landscape, with horse, ducks, and figures. Silvery effect
of about eight o'clock in the morning anywhere. The animals have
given rise to some discussion, but the general impression seems to be
that the Artist, who never depicted anything without a subtle mean-
ing, originally intended at least one of them for a cow. The small
figures probably represent members of the painter's family. There
is a good story told about the ducks in this picture, which we have
quite forgotten. It is a question whether the hand of his cousin
Johnnie Dorbin is not evident in more than one of his ducks.
No. 5. Hunting. By the same Artist. Full of life and move-
ment. That the Artist should have selected subjects from country
life is all the more remarkable from the fact of his never having left
London until long after he had given up painting. Our own Land-
seer, or any of the great Dutch painters, would have found consider-
able difficulty in representing a horse and hounds with the fidelity to
nature displayed by this Young Master. Artists admire the lumi-
nosity of the background where the fox is visible. The fox is worthy
of his brush! This is certainly Bolaine's young-master-piece.
GEORDIE PORGEE.
Born, 1876. Flourished, 1886—7.
No. i. The MacMarmalade of Dundee. Lent by the Artist's parents.
Geordie was. from a very early period, devoted to the Orange cause,
as represented, by the.Orange-women with whom, when walking in the
neighbourhood of Covent Garden, he was never weary of conversing.
He was at one time thinking of becoming an Orange Boy, but was
deterred from this project by his maternal aunt, Mrs. MacToffie,
one of the Hardbakes of MacCalmond Rock, who assured him that
the Sweets of Home were preferable to anything he could get abroad.
The picture represents a distinguished ancestor of the Artist, The
MacMarmalade of Dundee, from whom he inherited the peculiar
taste which kept his palette thoroughly employed. We hope to dine
with his excellent parents next Tuesday, and to be invited to have
a little rabbit-shooting near Bunnie Dundee.
HORHYD LYTTEL PIKKELL.
Born, 1875. Flourished, 1887.
No. 8. Horse and Man—-For the first few years of his existence
very few persons had the slightest idea of the variety and extent of
his genius. Horhyd Lyiiel Pikkell was a great animal-painter.
Several interesting stories are told of him in this capacity. "At
one time," an old lady informed us, " he was staying in my house,
where I had some sweet pets—Tibby, the white cat. Phibby, the
black one, Beauty, the pug, and a miniature King Charles.
Scarcely had Lyttel Pikkell been a day in the,house, when he
developed his extraordinary talent for animal-painting. I well
remember the evening. He said the colours looked better by candle-
light, and you can imagine my delight and surprise when I saw Tibby
covered all over with red and black spots, its face painted like
that of a wild Indian, Phibby all over Chinese white with a vermilion
tail, the pug coated with orange-pink, and the King Charles a bright
sky-blue. With the true modesty of genius Lyttel Pikkel denied
all knowledge of the work; but artistic power will come out, and,
after some hesitation, the animal-painter stood confessed. On hearing
his avowal I felt I should do wrong to confine his talents to my house,
and he left." There are many similar stories told of him. fie never
stayed long in any one place, and rarely ever visited the same
locality a second time,—not, at least, to the knowledge of the inha-
bitants who would have been only too glad to have given him the
reception his merits deserved.
[January 21, 1888.
MASTER HARRY SANDFORD.
Born, 1874. Flourished chiefly in the Christmas Holidays, 1886.
No. 9. Copy from memory of the celebrated portrait of an Ancient
Justice known by his contemporaries as "Old Judge." This is not
from any private Collection, but has been taken from a public hoard-
ing in the Metropolis. An acq uaintance of the Artist informs us
that it was painted juat before Harry Sandford went to the Crite-
rion Bar. Master Harry Sandford lingered over this gem, this
Richmond gem, until he was seized with an attack of illness, which
resulted in the immediate attendance of Mr. Barlow with Dr.
Birch. This Artist is known as " Young Harry," and judging from
specimens of his peculiar work, some critics have conjectured
that he was not altogether uninspired by " Old Harry."
ittt BOBBY.
Born, 1879. Flourishing, 1888.
No._ 10. Battle Piece. This spirited picture has never been
exhibited. Such works are scarce. Highly finished as it is, it was
completed at a single sitting. Few military men can look on this
without feeling that Itty Bobby must have witnessed the scene he
so^vividly realises. Yet it is not so.
LITTLE THOMAS TUCKER.
Born, 1870. Flourished, 1880—1.
No. 12. Portrait of the Painter by himself. No work of Art
that we have ever seen conveys so forcibly the sense of absolute
loneliness as does this of Thomas Tucker by himself. His is a sad
history. He took to vocalisation in order to procure food, and, neg-
lected by his friends and an unappreciative public, chose to be a
recluse, and 'disappeared from artistic life. At one time, perhaps,
there were few Young Masters who had achieved greater fame, his
name, "Little Tom Tocker,' being a household word. Now we
scarcely ever hear of him. It is supposed, with what truth we do
not know, that the refusal of the well-known conceited and selfish
gourmand, J-ck H-rn-r, to share any portion of his festive meal
at Christmas-time, broke T. Tucker's heart. We trust, for the
credit of humanity, that this story is not true.
SAMUEL NOODLEtCYNS (The Younger).
Born, 1870. Flourished (for one day), 1887.
No. 13. "A Sentry of Art." One of the soldiers on guard at
the National Gallery. For this admirable, and, as we believe,
unique specimen of this Young Master's work, we are indebted to
Nathaniel Noodlektns (the Elder). It was intended for the
present Exhibition at the Grosvenor Gallery, as illustrating " A
Cenfry^ of Art," but the Artist's friends discovered too late for
the Artist, but not for Art itself, that at the Grosvenor Gallery only
the works of Old Masters were admitted. This unforeseen disap-
pointment embittered the Young Master's life, and at the beginning
of the New Year he exclaimed, " I will paint no more ! " a decision
which, while it was hailed with considerable satisfaction by his parents
and most members of the household, caused great grief to one
of his earliest and staunchest patrons, Mrs. Clare Starcher, The
Washerwoman of Sope-Sudbury, who was accustomed to take away
with her, every Monday, the family pocket-handkerchiefs used, by
the Artist in the course of his work, as well as his pinafores and
those of his little sisters, which„she treated with all the reverent
enthusiasm of a relic-collector.
TOMMY MERTON.
Born (Uncertain). Flourished—contemporaneously with
Harry Sandford, the Younger.
No. 14. " Old Bogie. A beast—I hate him ! " 1 This is probably
a portrait of the Rev. Mr. Barlow, Jun., in full academicals. There
is a certain sad dignity in the features which commands [respect and
inspires distrust. The misleading initials are evidently intended to
conceal the authorship.
ANONYMOUS.
Born, 1876. Flourished, 1880—87.
. No. 17. "Papa." The Motto, "It is a wise child that knows
its own father," is written at the back of this picture. This is
evidently a cryptogram, concealing the name of the Artist. Several
amusing stories are told of this painter, for which we have neither
time, space, nor patience, and, therefore, shut up the show.
A Lost Vocation.—The M.B.W., i.e., the Metropolitan Board of
Works, would have elected Mr. Hebb as its private Chaplain had he
not renounced all idea of taking orders. Though he professed him-
self perfectly willing to wear the M. B. Waistcoat.
A certain " Good Innings."—J. L. Toole playing Cricket on the
Hearth,—and a very good place to play it too in this beastly weather.
Home Rule Below Stairs.—At Winchester this policy is entirely
for Kitchin use.
PUNCH, OR THE LONDON CHARIVARI.
(t^ NOTICE.—Rejected Communications or Contributions, whether MS., Printed Matter, Drawings, or Pictures of any description, will
is no case be returned, not even when accompanied fcy a Stair.ped aad Addressed Envelope, Cover, or Wraoper. To this rule
there will be no exception.
another version of this great work extant. Observe the breeziness of
the sails, the massive heaviness of what is miscalled a Light House.
Also notice the sky above and the sea below. This somewhat novel
arrangement has been largely copied by servile imitators.
No. 11. " Blue Beard" By the same. A fine conception. The
Savage Turk has seized his hapless bride, the twentieth victim, by
the hair of her head, and waves his flashing scimitar in the air,
while on the roof of the castle is seen the despairing figure of
Sister Anne as she scans the horizon and gives the latest intelligence
to her sister below. A curious circumstance is related in connection
with this picture. While Johnnie Dobbin was at work on it with
the box of paints that had been given him on his previous birthday
by his uncle Mr. Bolaine, his cousin, Billy Bolaine, between
whom and Johnnie there had always existed considerable rivalry,
entered the apartment, and in the absence of Johnnie, took up a
brush charged with lamp-black and made a great "splosh" (as he
termed it) on Blue Beard's eye. Johnnie, on returning, exclaimed,
" Billy has been here.....and has given Blue Beard a black
eye." "Whereupon he immediately sallied forth, and, overtaking
Billy in the street, produced the same effect on his cousin's eye
as Billy had on Blue Beard's. After this lesson they became the
greatest friends, and it is said that Billy lent Johnnie his own box
of paints and imparted to him many of the secrets by which he had
attained success in his own peculiar line.
BILLY BOLAINE.
Born, 1868. Flourished, 1880-82.
No. 3. Landscape, with horse, ducks, and figures. Silvery effect
of about eight o'clock in the morning anywhere. The animals have
given rise to some discussion, but the general impression seems to be
that the Artist, who never depicted anything without a subtle mean-
ing, originally intended at least one of them for a cow. The small
figures probably represent members of the painter's family. There
is a good story told about the ducks in this picture, which we have
quite forgotten. It is a question whether the hand of his cousin
Johnnie Dorbin is not evident in more than one of his ducks.
No. 5. Hunting. By the same Artist. Full of life and move-
ment. That the Artist should have selected subjects from country
life is all the more remarkable from the fact of his never having left
London until long after he had given up painting. Our own Land-
seer, or any of the great Dutch painters, would have found consider-
able difficulty in representing a horse and hounds with the fidelity to
nature displayed by this Young Master. Artists admire the lumi-
nosity of the background where the fox is visible. The fox is worthy
of his brush! This is certainly Bolaine's young-master-piece.
GEORDIE PORGEE.
Born, 1876. Flourished, 1886—7.
No. i. The MacMarmalade of Dundee. Lent by the Artist's parents.
Geordie was. from a very early period, devoted to the Orange cause,
as represented, by the.Orange-women with whom, when walking in the
neighbourhood of Covent Garden, he was never weary of conversing.
He was at one time thinking of becoming an Orange Boy, but was
deterred from this project by his maternal aunt, Mrs. MacToffie,
one of the Hardbakes of MacCalmond Rock, who assured him that
the Sweets of Home were preferable to anything he could get abroad.
The picture represents a distinguished ancestor of the Artist, The
MacMarmalade of Dundee, from whom he inherited the peculiar
taste which kept his palette thoroughly employed. We hope to dine
with his excellent parents next Tuesday, and to be invited to have
a little rabbit-shooting near Bunnie Dundee.
HORHYD LYTTEL PIKKELL.
Born, 1875. Flourished, 1887.
No. 8. Horse and Man—-For the first few years of his existence
very few persons had the slightest idea of the variety and extent of
his genius. Horhyd Lyiiel Pikkell was a great animal-painter.
Several interesting stories are told of him in this capacity. "At
one time," an old lady informed us, " he was staying in my house,
where I had some sweet pets—Tibby, the white cat. Phibby, the
black one, Beauty, the pug, and a miniature King Charles.
Scarcely had Lyttel Pikkell been a day in the,house, when he
developed his extraordinary talent for animal-painting. I well
remember the evening. He said the colours looked better by candle-
light, and you can imagine my delight and surprise when I saw Tibby
covered all over with red and black spots, its face painted like
that of a wild Indian, Phibby all over Chinese white with a vermilion
tail, the pug coated with orange-pink, and the King Charles a bright
sky-blue. With the true modesty of genius Lyttel Pikkel denied
all knowledge of the work; but artistic power will come out, and,
after some hesitation, the animal-painter stood confessed. On hearing
his avowal I felt I should do wrong to confine his talents to my house,
and he left." There are many similar stories told of him. fie never
stayed long in any one place, and rarely ever visited the same
locality a second time,—not, at least, to the knowledge of the inha-
bitants who would have been only too glad to have given him the
reception his merits deserved.
[January 21, 1888.
MASTER HARRY SANDFORD.
Born, 1874. Flourished chiefly in the Christmas Holidays, 1886.
No. 9. Copy from memory of the celebrated portrait of an Ancient
Justice known by his contemporaries as "Old Judge." This is not
from any private Collection, but has been taken from a public hoard-
ing in the Metropolis. An acq uaintance of the Artist informs us
that it was painted juat before Harry Sandford went to the Crite-
rion Bar. Master Harry Sandford lingered over this gem, this
Richmond gem, until he was seized with an attack of illness, which
resulted in the immediate attendance of Mr. Barlow with Dr.
Birch. This Artist is known as " Young Harry," and judging from
specimens of his peculiar work, some critics have conjectured
that he was not altogether uninspired by " Old Harry."
ittt BOBBY.
Born, 1879. Flourishing, 1888.
No._ 10. Battle Piece. This spirited picture has never been
exhibited. Such works are scarce. Highly finished as it is, it was
completed at a single sitting. Few military men can look on this
without feeling that Itty Bobby must have witnessed the scene he
so^vividly realises. Yet it is not so.
LITTLE THOMAS TUCKER.
Born, 1870. Flourished, 1880—1.
No. 12. Portrait of the Painter by himself. No work of Art
that we have ever seen conveys so forcibly the sense of absolute
loneliness as does this of Thomas Tucker by himself. His is a sad
history. He took to vocalisation in order to procure food, and, neg-
lected by his friends and an unappreciative public, chose to be a
recluse, and 'disappeared from artistic life. At one time, perhaps,
there were few Young Masters who had achieved greater fame, his
name, "Little Tom Tocker,' being a household word. Now we
scarcely ever hear of him. It is supposed, with what truth we do
not know, that the refusal of the well-known conceited and selfish
gourmand, J-ck H-rn-r, to share any portion of his festive meal
at Christmas-time, broke T. Tucker's heart. We trust, for the
credit of humanity, that this story is not true.
SAMUEL NOODLEtCYNS (The Younger).
Born, 1870. Flourished (for one day), 1887.
No. 13. "A Sentry of Art." One of the soldiers on guard at
the National Gallery. For this admirable, and, as we believe,
unique specimen of this Young Master's work, we are indebted to
Nathaniel Noodlektns (the Elder). It was intended for the
present Exhibition at the Grosvenor Gallery, as illustrating " A
Cenfry^ of Art," but the Artist's friends discovered too late for
the Artist, but not for Art itself, that at the Grosvenor Gallery only
the works of Old Masters were admitted. This unforeseen disap-
pointment embittered the Young Master's life, and at the beginning
of the New Year he exclaimed, " I will paint no more ! " a decision
which, while it was hailed with considerable satisfaction by his parents
and most members of the household, caused great grief to one
of his earliest and staunchest patrons, Mrs. Clare Starcher, The
Washerwoman of Sope-Sudbury, who was accustomed to take away
with her, every Monday, the family pocket-handkerchiefs used, by
the Artist in the course of his work, as well as his pinafores and
those of his little sisters, which„she treated with all the reverent
enthusiasm of a relic-collector.
TOMMY MERTON.
Born (Uncertain). Flourished—contemporaneously with
Harry Sandford, the Younger.
No. 14. " Old Bogie. A beast—I hate him ! " 1 This is probably
a portrait of the Rev. Mr. Barlow, Jun., in full academicals. There
is a certain sad dignity in the features which commands [respect and
inspires distrust. The misleading initials are evidently intended to
conceal the authorship.
ANONYMOUS.
Born, 1876. Flourished, 1880—87.
. No. 17. "Papa." The Motto, "It is a wise child that knows
its own father," is written at the back of this picture. This is
evidently a cryptogram, concealing the name of the Artist. Several
amusing stories are told of this painter, for which we have neither
time, space, nor patience, and, therefore, shut up the show.
A Lost Vocation.—The M.B.W., i.e., the Metropolitan Board of
Works, would have elected Mr. Hebb as its private Chaplain had he
not renounced all idea of taking orders. Though he professed him-
self perfectly willing to wear the M. B. Waistcoat.
A certain " Good Innings."—J. L. Toole playing Cricket on the
Hearth,—and a very good place to play it too in this beastly weather.
Home Rule Below Stairs.—At Winchester this policy is entirely
for Kitchin use.
PUNCH, OR THE LONDON CHARIVARI.
(t^ NOTICE.—Rejected Communications or Contributions, whether MS., Printed Matter, Drawings, or Pictures of any description, will
is no case be returned, not even when accompanied fcy a Stair.ped aad Addressed Envelope, Cover, or Wraoper. To this rule
there will be no exception.