Please see the Transcriber’s Notes at the end of this text. The texts insidesome of the illustrations may be read by clicking on the caption.
The Artist.—It’s no good makingthat noise, my good fellow. As I told you justnow, being a landscape-painter, I don’t want models.
(From a drawing by Philip Baynes.)
The Fun Library
Edited by
J.A. Hammerton
Editor of the
Punch Library
of Humour
STAGE, STUDY & STUDIO
As pictured by Fred Barnard, W. S.Brunton, George du Maurier, ErnestGriset, Charles Keene, John Leech, Phil May, Gordon Thomson, H. M.Bateman, J. L. C. Booth, W. K. Haselden,Philip Baynes, ThomasMaybank, Charles Pears, and many other humorists of the pencil.
LONDON: EDUCATIONAL BOOK CO Ltd
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PREFACE
The life of what still passes in London for “Bohemia”—in andabout the theatres, the studios and the literary clubs—figuresconspicuously in the pictorial humour of our time. It is but naturalthat the artist in search of inspiration should occasionally turn hisattention to his own immediate surroundings, and find subjects for hisart in the comic representation of his fellows of the brush and pencil,his friends the authors and the actors, and not infrequently, himself!Some of the most pointed jokes of Keene, Du Maurier and Phil Mayintroduced “the artist,” and in the case of the last mentioned he usuallydepicted his own form and features, as Cruikshank was fond of doingmore than half a century before him.
This tradition has been well maintained among the artists of a laterday. We shall find that a very considerable proportion of the humorousart of the moment concerns itself with the sayings and doings of ourBohemians—a term, by the way, that indicates a very mild and inoffensivevariety of an almost extinct type of character.
The Bohemian of the twentieth century is a much more wholesomeperson than his prototype of the middle of the nineteenth. He maybe still as irresponsible, as u