Being a 19th Century freak, I am fascinated by pop-culture-art of the Three Penny Paper, or the Penny Dreadful.

In stark opposition to the serious tones of fine art of the 1800’s illustrated papers reflected the satirical side of Victorian culture; cynical, darkly humorous and critical of society. Punch, or The London Charivari as it was also known was definitely the most popular. Started in London in 1841 this weekly paper became an icon of British pop culture, the beak-nosed Punch character was taken from the medieval puppet show Punch & Judy,  and was read by the likes of Queen Victoria herself.

Punch cover December 1842 by Sir John Gilbert

Here we find the birth of the cartoon- from the slums and high streets, affluent households, the royal court or Parliament, Punch illustrations helped to tell a story. This medium existed already and would continue with The London Illustrated News, The Illustrated Police News…and the list goes on. In short three penny papers were a dime a dozen, the prices varied, the name stuck.

Unforgettable is Dickens’ first work Sketches by Boz; stories of London brilliantly illustrated by George Cruickshank, or his serial fiction in All The Year Round or Household Words all illustrated to the height of Victorian satirical duality or proper moral values. I never tire of the quirky yet proper British style of illustrators such as George DuMaurier- creator of Svengali or Robert Seymour of Pickwick Papers fame. Indeed these were classic works and not mere penny dreadful pulp fiction (‘pulp fiction’ by the way, was coined as paper from pulp was cheap to produce.) Virtually all printed publication was illustrated whether cartoon or society scenes heading chapters and weekly story episodes.  

Industrial advances in printing were rapid through the century especially in illustration developments in relief lithography or intaglio engraving, and eventually photography; allowing fast printing for the equally rapid popular demand for the penny paper. One can certainly see how the characteristic pen and ink, scratchy shading monochrome style may have gained popularity. It was a style that reflected and represented the grotesque characters, grim humor, and subtle cynicism of Victorian fascination with the mystery, crime, or ghost story and political, moral or ideological outrage. Punch was actually quite radical in its content in the beginning, containing controversial articles and tackling issues such as poverty, corruption, human rights, and plenty of Parliament punching.

Dirty Father Thames
courtesy of Punch

One particular characterization Dirty Father Thames (Newman 1848) personifies the Thames during ‘The Great Stink’ in London which led to modern sewage works being built. Notice the filth, muck and dead fish in the cartoon, and the ragged, forgotten father river.

Bubbles of the Year…
courtesy of Punch
 

I must admit I find it a challenge to decipher the precise meaning of many of the political and social cartoons and illustrations of the day. It is obvious, and more fascinating to realize that one had to have lived in the times or be a modern Victorian geek to fully understand the underlying message. For example:

• Bubbles of the Year-Cheap Clothing (Leech 1845) Skeletons, a fat boss, bubbles? I know not!
• Queen Visiting Imbeciles of the Crimea (Leech 1855) This illustration may represent the condition of British troops during the Crimean war, or their incompetency? Possibly even Victoria’s surprise at not knowing the bad state of affairs.
• A Little Christmas Dream (Du Maurier 1868) One of my favorite pieces- which basically says: Don’t open the minds of kids with fairy tales, rather with the appreciation of natural history. I love it’s stuffy yet obtuse message!

Punch 1855
courtesy of Punch

The amount of artwork available to view online is quite extensive, especially for Punch and various illustrated fiction. However, I have found on casual search through my travels that I have never found an issue of Punch or anything comparable with the exception of old and rare books. On my next trip to London I will know what to look for- it’s still nicer to peruse the old pages rather than download digital images! In Berlin I discovered an English book shop called East of Eden with a nice cache of old and rare works. There I finally discover a Penny Dreadful!

A Little Christmas Dream
courtesy of John Coulthart

This rather shoddy document titled Davenport Dunn or The Man of the Day by Charles Lever seemed to me, at first glance to be just that-dreadful. No binding- only (still surviving) glue, printed on thick, rough pulp paper, and containing the serial story itself as well as a page or two of Ads for anything from parasols to electro-plated silver claret jugs; These being intriguing in themselves. Two illustration plates- rather run-of-the-mill in standard social scenes illustrate the story. I was surprised to see that it sold at one shilling- for it was rather cheaply made. Nevertheless the advertisements were illustrated and interesting seeming to me to appeal to an upper middle-class customer; Mappins’ Electro-Silver Plate- 12 table forks, fiddle pattern for £1-10-0 (£1-10 shillings and zero pence), how very delightful wouldn’t you say? The Penny Dreadful generally seemed to be geared to teenage boys and stories and illustrations of adventure otherwise. Neither illustrator nor a date was found in Davenport Dunn but I estimate it in the 1860’s- Lever died in ’72.

Davenport Dunn Ads
courtesy of East of Eden Bookshop

The end of each year long awaited and around Christmas countless issues of the Almanack were printed. These were of course compilations of the whole year, with some special features, art plates and catalog pages also in color. It was considered a rather fashionable yet appropriate present to give acquaintances. Punch, and most other magazines and journals had their special edition Almanacks annually ready for sale at Christmas or New Year.

The insights into the thoughts of the Victorians of the day are finely detailed in cartoon, illustration and print. Strange sometimes, humorous, reflecting everyday life of all classes and their fears and fascinations, for the Victorians were very aware of the times and rapid advances of the Industrial Age.

A quote from W.M. Thackeray says it all: “We are of the time of chivalry, and we are of the age of steam.”  

View all kinds of original cartoons and captions in Punch- The London Charivari.

Thanks to Andre Gailani at Punch in London, John Coulthart ( great work!) and Alan from the East of Eden English Bookshop in Berlin.

COPYRIGHT 2011 Paulus Nomadicus, All rights reserved.
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