Noted

Pam’s Pictorama Post: It is threatening to be a hot summer’s day in May today – we are having now you see it, now you don’t warm weather here in Manhattan this spring. We whiplash between our light down filled jackets and sleeveless dresses, and I gather today will be the latter. I am heading to New Jersey to get the dahlias in for the year. They sit out the winter in the garage, tucked in paper bags, but for all the fickleness of the weather I think we are past frost here and I want them to have maximum time to bloom.

After yesterday’s excitement of reviewing Kim’s new book, I am afraid I have created a hard act to follow. I hope this Wain card from the recent postcard show does the trick – a palate cleanser of cat images to get back to the general business of Pictorama.

Upon reflection I realize I was slow to cede to Wain adoration – I resisted for quite a long time (overpriced postcards I remember thinking), but when I fell, I fell hard. I am a Wain addict. Few things dependably make me chuckle than a Wain image even if I have seen them many times before. A few of my past tributes can be found here and here but there are many!

His cat postcard parade is an almost endless variation playing on human foibles and attitudes – sardonic, malevolent, self-satisfied, mystified, distracted for starters. There are types too, fat, thin, businessman, solid citizen, and of course troublemakers galore. For types he is partial to tabbies – those nice decorative stripes I suppose. They can be a variety of shades. Today we have a gray tuxie which seems a bit exotic for him.

Today we have a Raphael Tuck & Sons card with four choral kitties – a cat quartet. Each holds a score which is inscribed, Nothing New Latest New Songs. Starting on the end with our pudgy, contented (self-satisfied?) fellow, gripping his book with both paws. He’s a fat cat in the best sense. (Somehow, we know these are all boy cats, yes?) Next to him is a small and skinny gray tuxedo, sporting a red bow looking a tad waifish, paw on tummy to help him emote. The two on the end are sort of a matched set of two colors of tabby, one has a blue bow for good measure and the music books they hold are a variety of green, red and blue. Each has a singing pose all his own showing his enthusiasm for his chorale endeavors.

When we look closely there is eye color variation and I assume Wain figured he could goose that a bit without anyone noticing – these cats have eyes of yellow, green and blue! They all are looking in different directions too which packs a smidge of action into this small image – and each singing with a different level of enthusiasm. Tails are curled in a variety of ways and directions, whiskers as well as eyebrows help complete the expressions. All these details are what Wain swaps out within his mental inventory of images he uses again and again. Finally, he supplies a sketched in shadow on the ground and nothing else aside from his signature which is sort of a visual element anchoring that side of the card, fat cat tail on the opposite side.

The title below is, The note duly reached in what I assume is Wain’s hand. Below that, in remarkably similar but lighter script someone has written, Hope I shall see you Thursday, Grannie. It was addressed to, Master C. T. Travers, Woolfanger, Warlingham, Surrey. The cancellation year is hard to read but appears to be August 13, 1905. Can I just say, how much fun must it have been to get a postcard like this when you were a kid? Yay for Grannie! Clearly enough that this card has survived more than 120 years.

So I leave you to revel in this smidge of Wain while I pack up my gardening togs and head out shortly. Look for some New Jersey pics on Instagram later.

Odd Illustration: Bonzo and Felix

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Pam’s Pictorama Post: Today is a rare post about something I do not own. I don’t make a habit of it, but this tidbit came to me via our good friend Bruce Simon. (He was mentioned most recently in our trip to Comic Con in San Diego post which can be found it all of its glory here.) Bruce thoughtfully sends wonderful odd treats from dvd’s of cartoons to items like this. Thank you Bruce! If you saw yesterday’s page in all its Felix glory this makes a sort of interesting bookend to the weekend. This one is casually dated ’25, so it is a year after yesterday’s magazine page. (For those who missed it you can find it here.)

This illustration appears to be in a copy of Punch magazine and was drawn by a British man named Arthur Watts. Watts was an illustrator and cartoonist for the likes of Punch and Tatler dating back to 1911. His line appears to have been social commentary on the divisions of class and etiquette of Britain.

*There is just a single blurry photo of him on the internet so I offer this – he’s in uniform and does look quite dashing however.*

He evidently had a strong dislike of modern art and so perhaps this is a bit of a rib on that among other things? Felix and Bonzo dancing together (ha cha cha!) as a huge mural? I mean, I love it and I’d have it in my restaurant in a heartbeat! Circles that remind me of champagne bubbles encircle them as cartoon cat and dog shake a leg. Was this his low brow elevated to high brow comment?

Interesting – I am just thinking about a truly odd vase I own where Felix and Bonzo are dancing – perhaps there was a thing about them that I don’t know? Was there a bit of interspecies cartoon romance? Huh. (That post can be found here.)

*Okay – at least I got the humor here! Undated Watts illustration.*

Perhaps it is just me, but I can’t quite entirely catch onto his sense of humor. In this picture, the man who is evidently the Detective is seated drinking alone, next to a crime scene, while the crowd of well heeled hoy polloi keep their distance and pile up to one side. Perhaps his humor is a bit too inside baseball to entirely get today?

His is a bit of a tragic story. Born in 1883, he showed artistic talent when young and eventually went to Slade art school. He served with note and honor in the Royal Marines Corp during WWI. He married a fellow artist, Phyllis Sachs, in 1911 and had a daughter. Phyllis died in 1922 (no record of how or why that I saw) and he remarried in ’24 to Marjorie Dawson Scott. They had three children and in July of 1935 he was rushing to fly home after the birth of their third child when his plane crashed in Italy flying from Milan, never clearing a mountain range and killing everyone.

The daughter from the first marriage became a well known costume designer, Margaret Furse. Among the other children one also became an illustrator, Marjorie Ann Watts – frankly I am inclined to like her crosshatch filled style a bit better.

*Marjorie Watts illustration – she seemed to be very interested in drawing anthropomorphic wolves.* *I like her more linear contrasting style.*

However, a hundred years later it is not news to Pictorama readers that Felix and Bonzo were the cultural icons of their day and make fun of them though Watts might, they are still quite fondly and well remembered even today!

Editha’s Burglar: Book vs. Film, an Unexpected Review

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Pam’s Pictorama Post: Just when I thought maybe I had come to the close of authoring my thoughts on Frances Hodgson Burnett I stumbled across a rather splendid DVD of the 1924 film, The Family Secret, issued by the film accompanist Ben Model under the Undercrank name. The disk (which can be purchased here) came out in 2015. We missed it then and I came upon this release while reading a blog post by Ben, via Twitter one morning about a week ago, concerning the short in the same package, Circus Clowns. (Ben’s fascinating blog post can be found here.)

Needless to say, when I realized that The Family Secret was based on a Frances Hodgson Burnett story published in 1888 under the title Editha’s Burglar, I almost spilled my morning coffee and couldn’t wait to get my hands on both the film and the story for comparison. (For those of you who have stuck with me through these several posts on Frances Hodgson Burnett and her adult fiction, you will remember that while discussing the women in her stories I also delved into the early films made of her work, many now lost. For new readers, that post can be found here. The other Hodgson Burnett posts can be found here, here and, yep, here.) The whole disk features Baby Peggy which is a super bonus as well.

The DVD arrived just in time for the commencement of our vacation. A short list had quickly formed for film watching vacation activity – Kim is working his way through the available films of Jessie Matthews with mixed results, and something called Faithless with Robert Montgomery and Tallulah Bankhead, 1933, is up next for me. We reconvene together over the ones good enough to share with the other. There’s also lots of trolling through what’s available on TCM – a trick I only recently taught our tv and we’re having fun with that. (A raucous sounding Jessie Matthews film is issuing forth from the television even as I write this. Sounds like a winner.)

The print quality of the film on the disk is really great, pieced together from a few sources, an Italian print and a Library of Congress one at a minimum, to maximizing all. It is a complicated and twisting melodrama, worthy indeed of Frances Hodgson Burnett (whose short story is credited), complete with separated lovers and a little girl who doesn’t know her father. I won’t spoil the plot, although I have probably already told you enough to figure it out. Baby Peggy was great. I don’t know what I expected, but she really sort of ruins me for other kid actors because she just sparkles on the screen in a way I hadn’t anticipated. She really had something.

This is definitely the print of the film you want and Circus Clowns is a treat too. The disk is topped off with another great short, Miles of Smiles (with Baby Peggy in a dual “twin” role), and some newsreel footage of Baby Peggy as well. All great and worth seeing – scoop up whatever copies are available immediately.

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This time Google Books provided the short story in question rather than Project Gutenberg and it is a story that is appropriate for children as well as adults. I probably would have been better to have read the story first, but it didn’t work out that way. The version I downloaded provided very good original illustrations, by Henry (Hy) Sandham and I offer samples below. (I always select the option to include the illustrations if any when downloading, but they are rarely as good or as plentiful as these engravings.) I didn’t know his work, but Hy Sandham, 1842-1910, was a Canadian painter and illustrator.

I am a tad confused about the letter that appears at the opening of the book and which I offer in its entirety below. Elsie Leslie is identified as the inspiration for Editha although what that has to do with Jordon Marsh (which I believe was affiliated with the Boston based department store) or what was written to Frances Hodgson Burnett I cannot say. The letter seems to always be included with the short story and Jordon Marsh is the publisher of the elegant, fully illustrated 1890 edition of the book. Elsie Leslie was the first child to portray Editha in a one-act stage version two years after the original publication.

March 25 1888

Dear Mr Jordan Marsh & Co

Mamma has left it for me to deside if I will let you have my picture for your book I think it wold be very nice. wont it seem funny to see my very own picture in Editha like the little girl that used to be in st Nickolas. I think mrs Burnet writs lovely storys I wrote her a letter and sent it away to paris and told her so and asked her if she wold hurry and write another story just as quick as she could I am looking for an anser everyday. I like to write letters but I like to get the ansers still better I am going to play Editha in boston for two weeks and I will ask my mamma to let me come to your store and see all of the butiful things I used to come every day when I was in boston last winter

your little frend
Elsie Leslie

72 West 92 Street
New York City

(Written by Elsie Leslie Lyde, the original Editha, eight years old.)

The play adaptation was written by Edwin Cleary and, from what I can tell from a (rave) review of 1887 which dates it to before the 1888 copyright of the Hodgson Burnett story – it is beyond my sleuthing to untangle what this means and if she adapted his play or the other way around, although the easiest guess is that perhaps the story was first published in a magazine under a different copyright, the thread of that tale now lost to us.

Interesting in her own right is Elsie Leslie (the Lyde somehow gets dropped in her professional moniker), who at age six was already three years into her stage career when she took the role of Editha which solidified her star billing. According to Wikipedia she is propelled into further stardom in her stage production of Hodgson Burnett’s Little Lord Fauntleroy and becomes America’s first child star, highest paid and most popular child actress of her day. William Merit Chase even paints her in the garb from Little Lord Fauntleroy. I have used a photo of her from the collection of The Museum of the City of New York to illustrate today’s post.

She doesn’t seem to make it into early film (an adult return to the stage in 1911 was not resounding), but was evidently a great correspondent and maintained contact with people from her stage career through her life. Wikipedia sites letters to and from her that can be found in the collected correspondence of such luminaries as Mark Twain, Helen Keller and Edwin Booth. Married twice, she was a great beauty, traveled the world with her second husband, lived to the age of 85 and in general seems to have lead a rollicking good life.

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The bottom line is the short story is lovely with a very simple plot which is purely about Editha, a rather extraordinary small child, and a burglar in her home whom she convinces to burgle very quietly so as not to wake and upset her rather fragile mother. Instead Editha and the burglar have a conversation (he a snack as well, helping himself to the well-stocked larder including a very large glass of wine) where she also convinces him to take her bits of jewelry rather than the things of value which belong to her parents as it would make them very sad. He takes those, and also appears to pile up the family silver, although not much note is taken of that. The dramatic arc of the story is Editha meeting up with said burglar in prison later.

I can’t help but feel that if a film had instead been made of the original story Baby Peggy would still have been my pick to play her. I believe Baby Peggy could have pulled off the role that way as well, based just on the character of the little girl. I end by saying that I was anxious to compare one of her original stories to what was contemporaneously being made from and inspired by her work and I accomplished that here. To my amazement, very little of the plot survives and instead only the plucky spirit of the character Hodgson Burnett created.

The Cricket in Times Square

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Pam’s Pictorama: I’m on a bit of a tangent today. In a previous post, Push Kitty, I mentioned my affection for the illustrator Garth Williams. For me The Cricket in Times Square, illustrated by Williams and written George Selden is a nearly perfect children’s early reader chapter book. As a committed New Yorker, I love the view of a somewhat period yet timeless New York, as seen from the ground up, in Grand Central station. Much like Charlotte’s Web it is a story that pairs unusual animal friends. There is the glorious, fluffy fat cat, Harry – he exudes purrs and tummy rubbing – and of course his wily friend Tucker the rat. (E.B. White did something entirely different with his story of a pig and a spider who become friends – and take on the subject of mortality of all things – whereas this story is about being far from home, and how even a cricket can make his way in the big city with a bit of talent, pluck and good friends.)

Garth Williams, (b. 1912-d. 1996) illustrated piles of children’s books – many of which became classics including Stuart Little and the Little House books. He wrote several as well, but it is the clutch that I have mentioned here that form an archetype in my mind. His illustrations are so synonymous with these books that, at least for me, his style is just what I think of when I think of children’s books and my earliest book experiences. (On his wikipedia page you can read about a book he wrote and illustrated, The Rabbits Wedding, which sparked controversy in the South because one of the rabbits in question was black…)

For those of you who don’t know the story of The Cricket in Times Square quite simply the Cricket, Chester, has found himself in Grand Central station, quite out of his element and country origins. He is adopted by the rat and cat duo, and a small boy whose father owns a newsstand, and who takes him as a pet – even supplying him with a cricket cage home acquired in Chinatown! Chester repays the kindness by providing cricket concerts in the train station, which makes all activity cease briefly and ultimately makes the newsstand wildly popular. Of course, eventually Chester, homesick, has to find his way back to the country, where I guess crickets belong.

I don’t remember my first reading of this. I believe I read it myself, rather than having it read to me, as was Charlotte’s Web by my third grade teacher. But the story and the illustrations – ones that made not only a kitty, but a rat and a cricket lovable, stayed with me forever. The book is still in print, but sadly only in paperback – luckily I believe that version does contain all the illustrations. (I was able to acquire a hardcover copy in excellent condition a few years ago on Amazon or eBay.) It is my favorite book to buy for the children of my friends – for those who have left the New York area I consider it my subversive move to convince their children that New York City is the only place to live – a world of wonders! Maybe you will consider it for a juicy little reading project as we head into fall this year. Let me know how you like it!

Wild Cats at Play

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Pam’s Pictorama Post: This illustration hails from The Illustrated Sporting and Dramatic News, February 26, 1881. I purchased it as a single sheet for one pound sterling in London a number of years ago. I usually wouldn’t be attracted to such a violent image, but it is just so impressively drawn I couldn’t resist. Poor Mr. Rodent thing (woodchuck?) doesn’t have a chance. The cat fangs are very well done (Blackie likes to show his fangs too – luckily mostly when he smiles or yawns, which he does a lot for a cat) and you can almost feel the fluff of the tail. There’s a latecomer kitten in the upper right corner. Just in time for a meal on the hoof, so to speak. Look at those claw paws!

One has to wonder why something called the Illustrated and Dramatic News would feature this particular illustration, and I have no answer. The articles above the illustration have nothing to do with it. There’s a mention of not very much thoroughbred stock in the market at present and a small piece, The Duke of Edinburgh on Swimming. The weekly paper existed from 1874 until 1945 under that name and continued under subsequent titles until 1970. On the internet I learned that Louis Wain graced the pages on occasion and Oscar Wilde was mocked there.

I purchased a number of things that day, the result of spending several hours happily immersed in the basement of a bookstore in the theater district of London. Most memorably I purchased a number of early film and other magazines for Kim I believe. It would be one of my first stops on a return trip, with the fervent hope it is still there and the boxes in the basement are brimming.