Posts Tagged ‘black and white artists’

Harry Furniss: he Lika Joko

January 10, 2020
Lika Joko first issue cover

Lika Joko first issue cover in 1894. It was ‘conducted’ by Harry Furniss

Harry Furniss was a popular black and white artist of the late Victorian and Edwardian periods who launched his own magazine, Lika Joko in 1894 after he left Punch. The name was a pun on ‘like a joke’ and one of his noms-de-crayon. Like many periodicals of the time, the cover was dominated by advertising.

Note how Furniss portrays himself alongside the magazine’s title with his quill pen piercing the artist’s palette and the nib appearing to be covered in blood – the pen being mightier than the sword. He is dressed in a kimono with sheets of paper held in place at his back by the belt. The patterns on the kimono are formed from parts of his signature. The lettering of the title also has a Japanese feel. Furniss had produced a series of cartoons, ‘Our Japanneries’, under the name Lika Joko in 1888, pretending to be ‘the celebrated Japanese Artist … who is now on a visit to this country’. In the late Victorian period, Japan had a huge influence of art in Britain, resulting in a phenomenon known as Japonisme. Japan and Britain were great allies until World War II.

Illustration from Lika Joko editorial page: How Harry Furniss portrayed Mr Punch and Toby

How Harry Furniss portrayed Mr Punch and Toby in the Lika Joko editorial

On Punch, Furniss was renowned for his quick-fire caricatures of MPs in parliament for the Essence of Parliament pages, which were collated into books, but he turned his pen to all sorts of subjects and illustrated many books. RGG Price in his History of Punch (1957) says: ‘During the years of his Punch work, Harry Furniss dominated the pages. He was all over the place with jokes, illustrations, dramatic criticisms, headings and parliamentary sketches … It is said that he would chat to a man and caricature him on a pad held in his pocket.’

One of his cartoons in the satirical weekly was a spoof on advertising for A&F Pears (now part of Unilever), which used endorsements from celebrities such as the actress and notable beauty, Lillie Langtry, to sell its translucent amber soap. The spoof (26 April 1884) showed a tramp writing a letter saying:

I used your Soap two years ago; since then I have used no other.

Furniss and Punch fell out when the magazine sold the copyright in the drawing to Pears for use in advertising. Price describes Furniss as being ‘dictatorial and slick’ over the issue and the Punch people as ‘patient and disinterested’ in their correspondence. Despite this, the Pears advert was carried on the back cover of the first issue of Lika Joko – see at the bottom of this post – though with a slightly different caption. Pears used the Furniss cartoon advert at least for 16 years – I have a copy of it in a 1910 issue of TP’s Magazine.

pears_soap_bubbles_original_337_475.jpg pears_soap_bubbles_crop.jpeg

Pears took the Millais painting ‘A Child’s World’, added a bar of soap by the boy’s foot to advertising reproductions, and called it ‘Bubbles’

Pears famously turned another image, the painting ‘A Child’s World’ by the Pre-Raphaelite artist John Millais, into advertising – the  image became so famous because it was reproduced as colour lithographs millions of times over several decades. Thomas Barratt, the company’s managing director, bought the painting from Illustrated London News owner Sir William Ingram, who had reproduced it in the magazine as a colour poster for a Christmas issue. Pears had the image copied with a bar of its soap added and today we know it as ‘Bubbles’.

Barratt has been described as ‘the father of modern advertising’ for his innovative strategies. The boy in the painting was the artist’s grandson, Willie James, who later became a Royal Navy admiral. Like Pears’ soap, ‘Bubbles’ is now owned by Unilever and is on loan to the Lady Lever art gallery in Port Sunlight, on the Wirral. Copies of the colour advertising can be seen online from the V&A museum catalogue.

Pear's soap took the back page of Lika Joko with its Harry Furniss advertisement

Pears took the back page of Lika Joko with its Harry Furniss advert

Lika Joko lasted for just 26 issues, from 20 October 1894 to 13 April 1895. Price describes how Furniss was refused a gallery ticket to parliament for Lika Joko – a disaster for a political caricaturist – and that this proved fatal to the paper. Later, Furniss went to the US, where the Internet Movie Database lists him as directing, writing and appearing in three films for Edison Studios, a company controlled by the inventor Thomas Edison: The Mighty Hunters and The Artist’s Joke (1912), and Rival Reflections (1914). Furniss returned to Britain and has been credited with helping to pioneer animated cartoon films in 1914 with War Cartoons and Peace and Pencillings. The BFI credits Furniss on 15 films.

There is a short film online at Brighton University, Winchelsea and its Surroundings. A Day with Harry Furniss and his Sketchbook, which shows Furniss at the cottage of Helen Terry and painting the actress. Other scenes are filmed in Winchelsea and Hastings.

Price reckons Furniss made a lot of money but lost most of it to making films. He died in 1925, in the seaside town of Hastings, where he is buried.

The National Portrait Gallery has a self-portrait of Furniss and more than 450 of his sketches for sale online as prints.

>> Harry Furniss profile in Tit-Bits, alongside Sir Leslie Ward (‘Spy’ of Vanity Fair) and the theatrical caricaturist Alfred Bryan

>> More on Punch, a weekly satirical magazine that lasted 150 years


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 


Kitchener poster and the Washington Post film

November 20, 2019
The cover of Art Buchwald's 1968 book, Have I Ever Lied to You? is on the wall of the editor's office in The Post

The cover of Art Buchwald’s 1968 book is on the wall of the editor’s office in The Post

I rabbit on so much about Alfred Leete’s Kitchener poster that I wrote a book about it, but it still never ceases to amaze me the way that Leete’s Kitchener image – and the many derivatives of it – keep popping up. One example is in the Steven Spielberg film, The Post.

A poster for Have I Ever Lied to You?, a book by the Washington Post columnist Art Buchwald, is on the wall of the editor’s office. It can be seen in several scenes. Buchwald is portrayed as Uncle Sam from the 1917 recruiting poster by James Montgomery Flagg.

The Flagg image, which, like Leete’s, first appeared on a magazine cover (Leslie’s Weekly), was a blatant copy of Leete’s September 1914 cover for London Opinion magazine. Flagg simply replaced Kitchener with himself as Uncle Sam, and the poster has been as big a hit in the US as Leete’s was in Britain.

In The Post, Tom Hanks plays the editor, Ben Bradlee. It comes across just like the 1980s TV series Lou Grant. In that, Mrs Pynchon, the widowed owner of the fictional Los Angeles Tribune, was based on two women: Katherine Graham, the widowed owner of the Washington Post; and ‘Dolly’ Schiff, owner and publisher of the New York Post.

Artists, their signatures and monograms

April 12, 2018
Alfred Leete's monogram

Alfred Leete’s monogram

Alfred Leete, creator of the Your Country Needs You poster of Kitchener, had a distinctive signature for his work, as did one of his artistic contemporaries, Lawson Wood, the creator of the Gran’pop chimpanzee character. Both were famous illustrators and in both cases, the signature evolved over time.

Richard 'Dicky' Doyle's monogram on Punch

Richard ‘Dicky’ Doyle’s monogram from Punch

Other illustrators and cartoonists used a monogram, a graphic device made up of their initials. A great example of this was the Punch illustrator Richard Doyle. He used a reversed R to share the upright of the D, with a bird on top to symbolise his nickname, Dicky Doyle. Monograms seem to have become less popular in the 20th century, but Simon House has a spread of Victorian examples in his book, The Dictionary of 19th Century British Book Illustrators.

Leete’s and Wood’s signatures are easy to make out, whereas Doyle’s is a rebus. However, some cartoonists’ signatures seem perverse in their illegibility – Gilbert Wilkinson being a prime example with his covers for Passing Show and Illustrated weekly magazines.

To help get my head round them all, I’ve started a page of signatures and monograms on Magforum with 100 examples. Another illegible example is East on a Health & Efficiency cover – pointers as to what it says or in identifying some others would be appreciated!

east monogram from 1928 Health and Efficiency

Illegible signature for part of ‘East’


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 


 

Leete, Kitchener and the pointing man

February 6, 2015

Alfred Leete’s Kitchener poster was the subject of great debate last year with James Taylor’s book suggesting it might never have existed, but The Amazing Story of the Kitchener Poster proved that thesis wrong by uncovering pictures of the poster on display during the Great War (a book I wrote with Martyn Thatcher).

We also discovered an image that Leete might have seen of a pointing man used in advertising. Now, I’ve unearthed two more pointing figures, one that Leete very possibly saw, and one that he undoubtedly did see.

The first is this one, a pointing man in an advert for The Power Within from Pearson’s magazine (June 1907). I don’t know if Leete was a contributor to Pearson’s at this time, but it was a big illustrated monthly and he would probably have had an eye on it – he certainly did covers for Herbert Jenkins’ Mrs Bindle series in the magazine in 1921. So this advert has to be considered a possible inspiration for Alfred Leete’s Kitchener image. Note the way the word ‘you’ is picked out just below the man’s hand.

A pointing man in an advert from Pearson's magazine (June 1907)

A pointing man in an advert from Pearson’s magazine (June 1907)

The second image that he probably did see is this one:

The pointing man from an advert in London Opinion magazine, 17 September  1910

The pointing man – from an advert in London Opinion magazine, 17 September 1910

Why am I so sure Leete will have seen these? Because Leete was an established illustrator on magazines by 1910, regularly doing covers as well as drawings inside for London Opinion. The latter advert is from London Opinion, of a veterinarian from Kalamazoo in the US, Derk P. Yonkerman, who sold a supposed cure for consumption. Also, there is the illustration below in that very same issue of London Opinion as Yonkerman’s advert – note Leete’s signature to the bottom right. When the war came along, he was in the right place to dash off the ‘Your Country Needs You’ image for the magazine cover.

Drawing by Alfred Leete in the same issue of London Opinion

Drawing by Alfred Leete in the same issue of London Opinion

Cartoon perils of the phone

December 22, 2014
Black and white cartoon: Alfred Leete - the artist behind the 'Kitchener poster - shows this woman yelling into the earpiece of an Edwardian wall phone

Alfred Leete – the artist behind the ‘Kitchener poster – shows this woman yelling into the earpiece of an Edwardian wall phone

Thomas Maybank shows a drunk trying to call using a gong stick. He drew for Punch and did Oojah the elephant series in the Daily Sketch in the 1920s

Thomas Maybank shows a drunk trying to call using a gong stick. He drew for Punch and did Oojah the elephant series in the Daily Sketch in the 1920s

I bumped into a friend a while back who showed me her new mobile phone. Searching the web… email… using it as a torch, she had it mastered – but not receiving calls, where she had failed miserably!

Yet problems with new technology and gadgets are no new thing – who hasn’t done battle with a video recorder? These cartoons from Royal magazine demonstrate the sort of issues that my pal and I would have faced a century ago.

Alfred Leete, Thomas Maybank and Starr Wood were among the black-and-white artists who contributed to this article from 1913 in the Royal magazine.

And no doubt many recipients of new phones this Christmas will be facing similar problems once they’ve got the device charged up.

Starr Wood has been kept waiting on the line once too often!

Starr Wood has been kept waiting on the line once too often!

Tom Browne: every dot counts

April 21, 2014
browne_golferfull500

RULES AND ETIQUETTE OF GOLF: A ball lying in the fork of a tree must be played, or the player will lose a stroke – Tom Browne cartoon for the Tatler

Tom Browne was one of the best black and white artists working the the late Victorian and Edwardian periods. He went out to work at the age of 11 as an errand boy in Nottingham and became apprentice to a lithographic printer where he began to do illustration jobs on the side.

At the age of 21, he moved to Fleet Street and established his reputation with the Weary Willie and Tired Tim cartoon for Harmsworth’s Illustrated Chips from May 1896. His fat and thin tramps carried on into the 1950s (in the hands of other illustrators) and no doubt had a hand in triggering later generations of tramp pairings, such as Laurel & Hardy (first film together in 1921), Samuel Beckett’s Vladimir and Estragon in Waiting for Godot (1953) and television’s Bootsie and Snudge (1963).

It’s the details in Browne’s work that count and took him out of cheap comics into the society weeklies such as Punch and Tatler and made him such a hit in the US, in papers such as the New York Times. The Tatler cartoon here is a classic example.

Consider the faces on the dynamic duo hauling up the tubby golfer: just a couple of dots for eyes and a few lines for the features. Yet, look closely and you can immediately tell which way they are looking – one at the golfer and the other at the reader.

Truly, every dot counts.

Tom Browne drawing detail

Tom Browne’s drawing show incredible attention to detail; he could do so much with so little

 

 

 

 

 

 

 

 

 

 

 

 

To see almost 500 magazine covers and pages, look out my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design