The Project Gutenberg eBook of The History of "Punch"
Title: The History of "Punch"
Author: M. H. Spielmann
Release date: December 17, 2007 [eBook #23881]
Language: English
Credits: E-text prepared by Malcolm Farmer, Janet Blenkinship, and the Project Gutenberg Online Distributed Proofreading Team
E-text prepared by Malcolm Farmer, Janet Blenkinship,
and the Project Gutenberg Online Distributed Proofreading Team
(http://www.pgdp.net)
(By Linley Sambourne. From "Punch's" Jubilee Number, by special
permission of Sir William Agnew, Bart., Owner of the original drawing.)
(See page 536.)
The History of "Punch"
BY
M. H. SPIELMANN
With Numerous Illustrations
CASSELL and COMPANY, Limited
LONDON, PARIS, & MELBOURNE
1895
ALL RIGHTS RESERVED
TO MY SON
PERCY EDWIN SPIELMANN
PREFACE.
The prevailing idea of the origin and history of Punch has hitherto rested mainly on three productions: the "Memories" of George Hodder, "Mr. Punch's Origin and Career," and Mr. Joseph Hatton's delightful but fragmentary papers, entitled "The True Story of Punch." So far as the last-named is based upon the others, it is untrustworthy in its details; but the statements founded on the writer's own knowledge and on the documentary matter in his hands, as well as upon his intimacy with Mark Lemon, possess a distinct and individual value, and I have not failed to avail myself in the following pages of Mr. Hatton's courteous permission to make such use of them as might be desirable.
During the four years in which I have been engaged upon this book, my correspondents have been numbered by hundreds. Hardly a man living whom I suspected of having worked for Punch, but I have communicated with him; scarce one but has afforded all the information within his knowledge in response to my application. Editor and members of the Punch Staff, past and present—"outsiders," equally with those belonging to "the Table"—the relations and friends of such as are dead, all have given their help, and have shown an interest in the work which I hope the result may be thought to justify. All this mass of material—all the evidence, published and unpublished, that was adduced in order to establish certain points and refute others—had to be carefully sifted and collated, contrary testimony weighed, and the truth determined. Especially was this the case in dealing with the valuable reminiscences imparted by Punch's earliest collaborators, still or till lately living. Of undoubted contributors and their work, it may be stated, more than two hundred and fifty are here dealt with. A further number cheerfully submitted to cross-examination on one or other of the many subjects touched upon; and probably as many more were approached with only negative results.
My special thanks are due to Mrs. Chaplin, the daughter of the late Mr. Ebenezer Landells, who unreservedly placed in my hands all the Punch documents, legal and otherwise, accounts, and letters, concerning the origin and early editorships of Punch, which have been preserved in the family; and to Messrs. Bradbury and Agnew, who have supplemented these with similar assistance, as well as with books of the Firm establishing points of literary interest not hitherto suspected, together with the letters of Thackeray which illustrate his early connection with and final secession from the Staff. Apart from their general interest, these documents, taken together, establish the facts of such very vexed questions as the origin and the early editorships of Punch. This is the more satisfactory, perhaps, by reason of the numerous unfounded claims—or founded chiefly on family tradition or filial pride and affection—which are still being made on behalf of supposed originators of the Paper. Even these partisan historians, it is believed, will hardly be able to resist the proofs here set forth; although attested fact does not, with them, necessarily carry conviction. For such services, and for their ready and sympathetic acquiescence in the requests I have made for permission to quote text or reproduce engraving, my hearty thanks to Messrs. Bradbury, Agnew and Co. are due. To them and to all my numerous correspondents I here repeat the assurance of gratitude for their courtesy which I have privately expressed before.
I have reproduced no more pictures from Punch than were rendered necessary by the topics under discussion. I would rather send the reader, for Punch's pictures, to the ever-fresh pages of Punch itself. Nor, I may add, did I seek information and assistance from its Proprietors until this book was well advanced, preferring to make independent research and to test statements on my own account.
My primary inducement to the writing of this book has been the interest surrounding Punch, the study of which has not begotten in me the hero-worship that can see no fault. How far I have succeeded, it rests with the readers of this volume to decide.
September, 1895.
CONTENTS.
| PAGE | |
| Introductory. | 1 |
| CHAPTER I. | |
|---|---|
| PUNCH'S BIRTH AND PARENTAGE. | |
| The Mystery of His Birth—Previous Unsuccessful Attempts at Solution—Proposal for a "London Charivari"—Ebenezer Landells and His Notion—Joseph Last Consults with Henry Mayhew—Whose Imagination is Fired—Staff Formed—Prospectus—Punch is Born and Christened—The First Number | 10 |
| CHAPTER II. | |
| PUNCH'S EARLY PROGRESS AND VICISSITUDES. | |
| Reception of Punch—Early Struggles—Financial Help Invoked—The First Almanac—Its Enormous Success—Transfer of Punch to Bradbury and Evans—Terms of Settlement—The New Firm—Punch's Special Efforts—Succession of Covers—"Valentines," "Holidays," "Records of the Great Exhibition," and "At the Paris Exhibition" | 29 |
| CHAPTER III. | |
| THE PUNCH DINNER AND THE PUNCH CLUB. | |
| Origin and Antiquity of the Meal—Place of Celebration—The "Crown"—In Bouverie Street and Elsewhere—The Dining-Hall—The Table—And Plans—Jokes and Amenities—Jerrold and his "Bark"—A Night at the Dinner—From Mr. Henry Silver's Diary—Loyalty and Perseverance of Diners—Charles H. Bennett and the Jeu d'esprit—Keene Holds Aloof—Business—Evolution of the Cartoon—Honours Divided—Guests—Special Dinners, "Jubilee," "Thackeray," "Burnand," and "Tenniel"—Dinners to Punch—The Punch Club—Exit Albert Smith—High Spirits—"The Whistling Oyster"—Baylis as a Prophet—"Two Pins Club" | 53 |
| CHAPTER IV. | |
| PUNCH AS A POLITICIAN. | |
| Punch's Attitude—His Whiggery—And Sincerity—Catholics and Jews—Home Rule—European Politics—Prince Napoleon—Punch's Mistakes—His Campaign against Sir James Graham—His Relations with Foreign Powers—And Comprehensive Survey of Affairs | 99 |
| CHAPTER V. | |
| "CHARIVARIETIES." | |
| Punch's Influence on Dress and Fashion—His Records—As a Prophet—As an Artist—As an Actor and Dramatist—Benefit Performances—Guild of Literature and Art | 122 |
| CHAPTER VI. | |
| PUNCH'S JOKES—THEIR ORIGIN, PEDIGREE, AND APPROPRIATION. | |
| "The Unknown Man"—Jokes from Scotland—"Bang went Saxpence"—"Advice to Persons about to Marry"—Claimants and True Authorship—Origin of some of Punch's Jokes and Pictures—Contributors of Witty Things—A Grim Coincidence—"I Used Your Soap Two Years Ago"—Charles Keene Offended—The Serjeant-at-Arms and Mr. Furniss's Beetle—Mr. Birket Foster and Mr. Andrew Tuer—Plagiarism and Repetition—The Seamy Side of Joke-editing—Punch Invokes the Law—Rape of Mrs. Caudle—Sturm und Drang— Plagiarism or Coincidence?—Anticipations of the "Puppet-Show" and "The Arrow"—Of Joe Miller—And Others—Punch-baiting—Impossibility of Joke-identification—Repetitions and Improvements | 138 |
| CHAPTER VII. | |
| CARTOONS—CARTOONISTS AND THEIR WORK. | |
| The Cartoon takes Shape—"The Parish Councils Cockatoo"—Cartoonists and their Relative Achievements—John Leech's First—Rapidity in Design—"General Février turned Traitor"—"The United Service"—Sir John Tenniel's Animal Types—"The British Lion Smells a Rat"—The Indian Mutiny—A Cartoon of Vengeance—Punch and Cousin Jonathan—"Ave Cæsar!"—The Franco-Prussian War—The Russo-Turkish War—"The Political 'Mrs. Gummidge'"—"Dropping the Pilot," its Origin and Present Ownership—"Forlorn Hope"—"The Old Crusaders"—Troubles of the Cartoonist—The Obituary Cartoon | 168 |
| CHAPTER VIII. | |
| CARTOONS AND THEIR EFFECT. | |
| Origin and Growth of the Cartoon—And of its Name—Its Reflection of Popular Opinion—Source of Punch's Power—Punch's Downrightness offends France—Germany—And Russia—Lord Augustus Loftus's Fix—Lord John Russell and "No Popery"—Mr. Gladstone and Professor Ruskin on Punch's Cartoons—Their Effect on Mr. Disraeli—His Advances and Magnanimity—Rough Handling of Lord Brougham—Sir Robert Peel—Lord Palmerston's Straw—Mr. Bright's Eye-glass—Difficulties of Portraiture—John Bull alias Mark Lemon—Sir John Tenniel's Types | 185 |
| CHAPTER IX. | |
| PUNCH ON THE WAR-PATH: ATTACK. | |
| Punch lays about Him—Assaults the "Morning Post"—The Factitious "Jenkins"—Thackeray's Farewell—Mrs. Gamp (the "Morning Herald") and Mrs. Harris (the "Standard")—Lèse Majesté!—The "Standard" Fulminates a Leader—The Retort—His Loyalty—Banters the Prince Consort—Tribute on the Prince's Death—Punch's Butts: Lord William Lennox—Jullien—Sir Peter Laurie—Harrison Ainsworth—Lytton—Turner—A Fallacy of Hope—Burne-Jones—Charles Kean—S. C. Hall as "Pecksniff"—James Silk Buckingham and the "British and Foreign Destitute"—Alfred Bunn—Punch's Waterloo: "A Word with Punch"—Bunn, Hot and Cross—A Second "Word" Prepared, but never Uttered—Other Points of Attack | 209 |
| CHAPTER X. | |
| PUNCH ON THE WAR-PATH: COUNTER-ATTACK. | |
| Satire and Libel—Mrs. Ramsbotham Assaulted—Attacks of "The Man in the Moon" and "The Puppet-Show"—H. S. Leigh's Banter—Malicious Wit—Mr. Pincott—Punch's Purity gives Offence—His Slips of Fact—Quotation—And Dialect are Resented—His Drunkards not Appreciated by the U. K. A.—"Punch is not as good as it was!" | 234 |
| CHAPTER XI. | |
| ENGRAVING AND PRINTING. | |
| Mr. Joseph Swain supersedes Ebenezer Landells—His Education as Engraver—Head of His Department—Engraving the Big Cut: Then and Now—Printing from the Wood-blocks—Leech's Fastidiousness—Impracticability of Keene—Thackeray's Little Confidence—A Record of Half a Century | 247 |
| CHAPTER XII. | |
| PUNCH'S WRITERS: 1841. | |
| Mark Lemon—As Others Saw Him—His Duties—His Industry—His Staff and their Apportioned Work—Lemon as an Editor—And Diplomatist—A Testimonial—And a Practical Joke—Henry Mayhew—His Great Powers and Little Weaknesses—Disappointment and Retirement—Stirling Coyne—Gilbert Abbott à Beckett—His Early Career—Tremendous Industry—À Beckett and Robert Seymour—Appointed Magistrate—Locked in—Agnus B. Reach | 254 |
| CHAPTER XIII. | |
| PUNCH'S WRITERS: 1841. | |
| H. P. Grattan—W. H. Wills—R. B. Postans—Bread-Tax and Tooth-Tax—G. Hodder—G. H. B. Rodwell—Douglas Jerrold—His Caustic Wit—The "Q Papers"—A Statesman pour rire—His Sympathy with the Poor and Oppressed—Wins for Punch his Political Influence—Ill-health—"Punch's Letters"—The "Jenkins" and "Pecksniff" Papers—"Mrs. Caudle"—Jerrold's Love of Children, common to the Staff—He Silences his Fellow-wits—And is Routed by a Barmaid—He sends his Love to the Staff—And they prove theirs | 282 |
| CHAPTER XIV. | |
| PUNCH'S WRITERS: 1841-2. | |
| Percival Leigh—His Medical Shrewdness—Unsuspected Wealth—His Ability and Work—His Decay—Kindness of the Proprietors to the Old Pensioner—Albert Smith—Inspires varied Sentiments—Jerrold's Hostility—"Lord Smith"—Parts Company—H. A. Kennedy—Dr. Maginn—John Oxenford—W. M. Thackeray—His First Contribution—"Miss Tickletoby" Fails to Please—He Withdraws—And Resumes—Rivalry with Jerrold—As an Illustrator—A Mysterious Picture—Thackeray's Contributions—And Pseudonyms—-Quaint Orthography—"The Snobs of England"—He Tires of Punch— His Motives for Resignation—The Letter—Death of "Dear Old Thack"—Punch's Tribute to his Memory | 299 |
| CHAPTER XV. | |
| PUNCH'S WRITERS: 1843-51. | |
| Horace Mayhew—"The Wicked Old Marquis"—A Birthday Ode—R. B. Peake—Thomas Hood—"The Song of the Shirt"—Its Origin—Its Effect in the Country—Its Authorship Claimed by Others—Translated throughout Europe—A Missing Verse—Hood Compared with Jerrold—"Reflections on New Year's Day"—Dr. E. V. Kenealy—J. W. Ferguson—Charles Lever—Laman Blanchard—Tom Taylor—Passed over by Shirley Brooks—Taylor's Critics—Mr. Coventry Patmore—"Jacob Omnium"—Tennyson v. Bulwer Lytton—Horace Smith—"Rob Roy" Macgregor—Mr. Henry Silver—Introduces Charles Keene—His Literary Work—Service to Leech—Retirement—Mr. Sutherland Edwards—Charles Dickens and Punch—Sothern Earns his Dinner—Reconciliation of Dickens and Mark Lemon—J. L. Hannay—Cuthbert Bede | 327 |
| CHAPTER XVI. | |
| PUNCH'S WRITERS: 1852-78. | |
| Shirley Brooks—His Wit and Humour—Training—Lays Siege to Punch—And Carries him by Assault—"Essence of Parliament"—William Brough—Mr. Beatty Kingston—F. I. Scudamore—M. J. Barry—Dean Hole—Mr. Charles L. Eastlake—Mr. Francis Cowley Burnand—His Little Joke with Cardinal Manning—"Fun"—"Mokeanna"—Its Success—Thackeray's Congratulations to Punch—"Happy Thoughts"—And Other Happy Thoughts—Mr. Burnand as a Ground-Swell—Promoted to the Editorship—The Apotheosis of the Pun—Mr. J. Priestman Atkinson—Mr. John Hollingshead—Mr. R. F. Sketchley—"Artemus Ward"—A Death-bed Ambition—H. Savile Clarke—Locker-Lampson and C. S. Calverley—Miss Betham-Edwards—Mr. du Maurier's "Vers Nonsensiques"—Mr. A. P. Graves—Rev. Stainton Moses—Mr. Arthur W. à Beckett—"A. Briefless, Junior"—Mortimer Collins—Mr. E. J. Milliken—"The 'Arry Papers"—Gilbert à Beckett—"How we Advertise Now"—Mr. H. F. Lester—Mr. Burnand and the Corporal | 356 |
| CHAPTER XVII. | |
| PUNCH'S WRITERS: 1880-94. | |
| "Robert"—Mr. Deputy Bedford—Mr. Ashby-Sterry—Reginald Shirley Brooks—Mr. George Augustus Sala—Mr. Clement Scott—The "Times" Approves—Mr. H. W. Lucy—"Toby, M.P."—Martin Tupper and Edmund Yates—Mr. George Grossmith—Mr. Weedon Grossmith—Mr. Andrew Lang's "Confessions of a Duffer"—Miss May Kendall—Miss Burnand—Lady Humorists—Mr. Brandon Thomas and Mr. Gladstone—Mr. Warham St. Leger—Mr. Anstey—"Modern Music-hall Songs"—"Voces Populi"—Mr. R. C. Lehmann—Mr. Barry Pain—Mr. H. P. Stephens—Mr. Charles Geake—Mr. Gerald Campbell—R. F. Murray—Mr. George Davis—Mr. Arthur A. Sykes—Rev. A. C. Deane—Mr. Owen Seaman—Lady Campbell—Mr. James Payn—Mr. H. D. Traill—Mr. A. Armitage—Mr. Hosack—"Arthur Sketchley"—Henry J. Byron—Punch's Literature Considered | 385 |
| CHAPTER XVIII. | |
| PUNCH'S ARTISTS: 1841. | |
| Punch's Primitive Art—A. S. Henning—Brine—A Strange Doctrine—John Phillips—W. Newman—Pictorial Puns—H. G. Hine—John Leech—His Early Life—Friendship with Albert Smith—Leech Helps Punch up the Social Ladder—His Political Work—Leech Follows the "Movements"—"Servantgalism"—"The Brook Green Volunteer"—The Great Beard Movement—Sothern's Indebtedness to Leech for Lord Dundreary—Crazes and Fancies—Leech's Types—"Mr. Briggs"—Leech the Hunter—Leech as a Reformer—Leech as an Artist—His "Legend" Writing—His Prejudices—His Death—And Funeral | 409 |
| CHAPTER XIX. | |
| PUNCH'S ARTISTS: 1841-50. | |
| William Harvey—Mr. Birket Foster—Kenny Meadows—His Joviality—Alfred "Crowquill"—Sir John Gilbert—Exit "Rubens"—Hablôt Knight Browne ("Phiz")—Henry Heath—Mr. R. J. Hamerton—W. Brown—Richard Doyle—Desires Pseudonymity—His Protest against Punch's "Papal Aggression" Campaign—Withdraws—His Art—Epitaph by Punch—Henry Doyle—T. Onwhyn—"Rob Roy" Macgregor—William McConnell—Sir John Tenniel—His Career—And Technique—His Early Work—Cartoons—His Art—His Memory and its Lapses—"Jackīdēs"—Knighthood | 444 |
| CHAPTER XX. | |
| PUNCH'S ARTISTS: 1850-60. | |
| Captain Howard—Receipt for Landscape Drawing—Earnings, Real and Ideal—George H. Thomas—Charles Keene—His Training—Introduction to Punch—Called to the Table—Uselessness in Council—A Strong Politician—Inherits Leech's Position—Keene as an Artist—Where He Failed—His Joke-Primers—Torturing the Bagpipes—Good Stories, Used, Spoiled, and Rejected—"Toby" as a Dachshund—Death of "Frau"—Keene's Technique—His Inventions and Creations—And what He Earned by Them—Charles Martin—Harry Hall—Rev. Edward Bradley ("Cuthbert Bede")—"Verdant Green" or "Blanco White"?—Double Acrostics—George Cruikshank Defies Punch—Mr. T. Harrington Wilson—Mr. Harrison Weir—Mr. Ashby-Sterry—Alfred Thompson—Frank Bellew—Julian Portch—"Cham"—G. H. Haydon—J. M. Lawless | 475 |
| CHAPTER XXI. | |
| PUNCH'S ARTISTS: 1860-67. | |
| Mr. G. du Maurier's First Drawing—The "Romantic Tenor"—Polite Satire—His Types and Creations—His Pretty Women—And Fair American—"Chang," "Don," and "Punch"—Mr. du Maurier as a Punch Writer—Mr. Gordon Thompson—Mr. Stacy Marks, R.A.—Paul Gray—Sir John Millais, Bart., R.A.—Mr. Fred Barnard—First Joke Refused as "Painful"—Mr. R. T. Pritchett—Initiation by Sir John Tenniel—Fritz Eltze—His Amiable Jocularity—Mr. A. R. Fairfield—Colonel Seccombe—Fred Walker, A.R.A.—Mr. J. Priestman Atkinson ("Dumb Crambo")—C. H. Bennett—Mr. W. S. Gilbert ("Bab")—His Classic Joke—G. B. Goddard—Miss Georgina Bowers—Mr. Walter Crane | 503 |
| CHAPTER XXII. | |
| PUNCH'S ARTISTS: 1867-82. | |
| Mr. Linley Sambourne—His Work—His Photographs—And Enterprise—Strasynski—Mr. Wilfrid Lawson—Mr. E. J. Ellis—Mr. Ernest Griset—Mr. A. Chasemore—Mr. Walter Browne—Mr. Briton Riviere, R.A.—An Undergraduate Humorist—A Punch Initial Converted into an Academy Picture—Mrs.—Jopling Rowe—Mr. Wallis Mackay—Mr. J. Sands—Mr. W. Ralston—Mr. A. Chantrey Corbould—Charles Keene's Advice—Randolph Caldecott—Major-General Robley—R. B. Wallace—Colonel Ward Bennitt—Mr. Montagu Blatchford—Mr. Harry Furniss—Origin of Mr. Gladstone's Collars—A Favourite Ruse—How It's Done—Mr. Furniss and the Irish Members—The Lobby Incident—Clever Retaliation—Mr. Furniss's Withdrawal—Mr. Lillie—Mr. Storey, A.R.A.—Mr. Alfred Bryan. | 531 |
| CHAPTER XXIII. | |
| PUNCH'S ARTISTS: 1882-95. | |
| Mr. William Padgett—Mr. E. M. Cox—Mr. J. P. Mellor—Sir F. Leighton, Bart., P.R.A.—Mr. G. H. Jalland—Monsieur Darré—Mr. E. T. Reed—His Original Humour—"Contrasts" and "Prehistoric Peeps"—Approved by Sports Committees and School Classes—Mr. Maud—A Useful Drain—Mr. Bernard Partridge—Fine Qualities of his Art—Mr. Everard Hopkins—Mr. Reginald Cleaver—Mr. W. J. Hodgson—Excites the Countryside—Miss Sambourne—Sir Frank Lockwood, Q.C., M.P.—Mr. Arthur Hopkins—Mr. J. F. Sullivan—Mr. J. A. Shepherd—Mr. A. S. Boyd—Mr. Phil May—A Test of Drunkenness—Mr. Stafford—"Caran d'Ache"—Conclusion | 558 |
| Appendix. | 573 |
| Index. | 581 |
LIST OF ILLUSTRATIONS.
| PAGE | |
| "The Mahogany Tree." By Linley Sambourne | Frontis. |
| Headpiece to Preface. By G. du Maurier | vii |
| An Introduction. From First Sketch by C. H. Bennett | x |
| Mr. Punch. By Harry Furniss | xiv |
| Mr. Punch portrayed by Different Hands | 7 |
| Ebenezer Landells | 15 |
| Prospectus of Punch, Facsimile of Mark Lemon's MS. | 20-22 |
| Preliminary Leaflet | 23 |
| Signatures to the Original Agreement | 25 |
| First Cover of Punch. By A. S. Henning. | 27 |
| The Four Earlier Proprietors | 37 |
| The Five Later Proprietors | 39 |
| Second Cover. By "Phiz" | 42 |
| Third Proposed Cover. By H. G. Hine | 43 |
| Third Cover. By W. Harvey | 44 |
| Fourth Cover. By Sir John Gilbert, R.A. | 45 |
| Fifth Cover. By Kenny Meadows | 46 |
| Sixth Cover. First Design. By Richard Doyle | 47 |
| Sixth Cover. Second Design. By Richard Doyle | 48 |
| The First Punch Table: "Crown Inn" | 57 |
| The Present Punch Table: Bouverie Street | 59 |
| Twenty-six Initials Carved upon the Table | 60-75 |
| The Dinner Card | 69 |
| "Peel's Dirty Boy": Leech's First Sketch | 112 |
| "Peel's Dirty Boy": The Cartoon | 113 |
| The Anti-Graham Envelope | 115 |
| Punch's Anti-Graham Wafers | 117 |
| The Draughtsman's Revenge | 127 |
| Bennett's Benefit—The Cast | 133 |
| Playbill of the Guild of Literature and Art | 137 |
| Musical: First Sketch. By Henry Walker | 148 |
| Musical: Drawing. By G. du Maurier | 149 |
| The Political "Pas de Quatre." By A. S. Henning | 154 |
| The Political "Pas de Quatre." By J. Leech | 155 |
| General Février. By J. Leech | 175 |
| The "Pas de Deux:" Original Drawing. By Sir John Tenniel | 178 |
| "The Political Mrs. Gummidge." By Sir John Tenniel | 181 |
| Portraits of Beaconsfield. Re-drawn by Harry Furniss | 201 |
| "The Mrs. Caudle of the House of Lords:" Original Sketch. By J. Leech | 203 |
| Portraits of Gladstone. Re-drawn by Harry Furniss | 207 |
| Maternal Solicitude. By J. Leech | 212 |
| "A Word with Punch" | 229 |
| Joseph Swain | 247 |
| Mark Lemon | 254 |
| "Mr. Punch's Fancy Ball" | 261 |
| Portraits of Punch Staff | 262 |
| Lemon's Presentation Inkstand | 264 |
| Henry Mayhew | 268 |
| J. Stirling Coyne | 271 |
| Gilbert Abbott à Beckett | 272 |
| Douglas Jerrold | 284 |
| Albert Smith | 303 |
| John Oxenford | 308 |
| W. M. Thackeray | 309 |
| Thackeray and Jerrold ("Authors' Miseries") | 312 |
| Thackeray's Presentation Inkstand | 321 |
| Thackeray at Work. By E. M. Ward, R.A. | 325 |
| Horace Mayhew | 327 |
| Thomas Hood | 330 |
| Tom Taylor | 338 |
| Leech, Tom Taylor, and part of Horace Mayhew. By R. Doyle | 339 |
| Henry Silver | 347 |
| Dickens' Sole (and Rejected) Contribution | 350 |
| J. Hannay | 354 |
| Shirley Brooks | 356 |
| F. C. Burnand | 363 |
| R. F. Sketchley | 369 |
| "Artemus Ward" | 370 |
| H. Savile Clarke | 371 |
| Arthur W. à Beckett | 375 |
| E. J. Milliken | 378 |
| Gilbert à Beckett | 381 |
| Punch's Family Trees | 382 |
| John T. Bedford | 385 |
| J. Ashby-Sterry | 386 |
| H. W. Lucy | 390 |
| F. Anstey | 396 |
| R. C. Lehmann | 401 |
| A. S. Henning | 411 |
| H. G. Hine | 414 |
| Punch's Seal. By H. G. Hine | 415 |
| John Leech. By Sir J. E. Millais, Bart., R.A. | 418 |
| "How long have you been gay?" By J. Leech | 428 |
| "Leech's 'Pretty Girl'": A Skit. By Sir J. E. Millais, Bart., R.A. | 431 |
| Leech's House in Kensington. By J. Fulleylove, R. I. | 438 |
| The Historical Ash-tree in Leech's Garden. By J. Fulleylove, R. I. | 439 |
| "Two Roses": Sketch by John Leech | 440 |
| A Page from Leech's Sketch-Book: My Lord Brougham | 441 |
| Kenny Meadows | 447 |
| Alfred "Crowquill" | 450 |
| Hablôt K. Browne ("Phiz") | 451 |
| R. J. Hamerton | 453 |
| W. McConnell | 461 |
| Sir J. Tenniel. By Himself | 462 |
| Sketch for the Pocket-Book, "Arthur and Guinevere." By Sir John Tenniel | 464 |
| Sketch for the Cartoon "Will it Burst?" By Sir John Tenniel | 465 |
| Sketch for the Pocket-Book: "Thor." By Sir John Tenniel | 468 |
| Sketch for the Cartoon "Humpty-Dumpty." By Sir John Tenniel | 469 |
| Captain H. R. Howard | 475 |
| Charles S. Keene. By J. D. Watson | 478 |
| Keene torturing the Bagpipes. By Himself | 485 |
| From Keene to his Editor | 486 |
| "Frau," alias "Toby"—Keene's last Drawing | 488 |
| "Cuthbert Bede" | 492 |
| T. Harrington Wilson. By T. Walter Wilson | 497 |
| George du Maurier | 503 |
| "My Pretty Woman." By G. du Maurier | 508 |
| Pencil Study. By G. du Maurier | 509 |
| "Chang." By G. du Maurier | 514 |
| "Don." By G. du Maurier | 515 |
| Pencil Study. By G. du Maurier | 516 |
| Pencil Study. By G. du Maurier | 517 |
| Fred Barnard. A Libel on Himself | 518 |
| R. T. Pritchett | 520 |
| J. Priestman Atkinson | 524 |
| In a Hansom with Mark Lemon. By J. Priestman Atkinson | 524 |
| C. H. Bennett. By Himself | 526 |
| Mrs. Bowers-Edwards (Miss G. Bowers) | 529 |
| Linley Sambourne. By Himself | 531 |
| Ernest Griset | 538 |
| Mr. Griset introduces himself to Mark Lemon | 538 |
| J. Moyr Smith | 541 |
| J. Sands | 542 |
| W. Ralston | 543 |
| A. Chantrey Corbould | 544 |
| M. Blatchford | 548 |
| E. J. Wheeler | 549 |
| Harry Furniss | 549 |
| Punch as the Bishop of Lincoln. By Harry Furniss | 550 |
| Mr. Gladstone Collared. By Harry Furniss | 552 |
| Two Friends. By Harry Furniss | 554 |
| "A Happy Release:" A Rejected Trifle. By C. J. Lillie | 556 |
| E. T. Reed. By Himself | 560 |
| J. Bernard Partridge. By Himself | 564 |
| Phil May at Work. By Himself | 568 |
| Phil May as Punch. By Himself | 570 |
| The Punch Staff at Table, 1895 | 571 |
| "Finale." By Linley Sambourne | 572 |
| Index. Original Sketch. By Charles Keene. | 581 |
The engravings here borrowed from Punch are reproduced (in all cases in smaller sizes) by special permission of the Proprietors, Messrs. Bradbury, Agnew & Co. The Portrait of Charles Keene by J. D. Watson, and of Himself with the Bagpipes, were first published in Black and White, through whose courtesy they appear here. To all who have accorded the various permissions for reproductions, or who have lent drawings for the better illustration of this volume, the acknowledgments of the writer are gratefully recorded. The Copyright of the illustrations is in every case strictly reserved.