User:Ikeshut2/sandbox3

From Wikipedia, the free encyclopedia


Melbourne Punch
Cover-page of Melbourne Punch, Vol. 1.
CategoriesPolitics, culture, humour, satire
FrequencyWeekly
FounderFrederick Sinnett
Edgar Ray
Founded1855
First issue2 August 1855
Final issue1929
CountryAustralia
Based inMelbourne
LanguageEnglish

Melbourne Punch (from 1900, simply titled Punch) was an Australian illustrated magazine founded by Edgar Ray and Frederick Sinnett,[1] and published from August 1855 to December 1925. The magazine was modelled closely on Punch of London which was founded fifteen years earlier.[2] A similar magazine, Adelaide Punch, was published in South Australia from 1878 to 1884.

History[edit]

Beginnings[edit]

Melbourne Punch, a colonial version of the London Punch, began as the joint enterprise of Frederick Sinnett, a journalist working for The Argus newspaper, and Edgar Ray, the proprietor of a Melbourne printing office at 66 Collins Street from which he published the daily Auction Mart Advertiser. Sinnett became the editor of the new venture and "wrote the greater part" of the first issue which was published on 2 August 1855. The first issue of Melbourne Punch was almost entirely illustrated by a Mr. Gill (using the pseudonym 'Quiz') and was "as crude and ineffective as might have been expected of an amateur".[3][4]

The first issue included the magazine's first full-page cartoon, drawn by 'Quiz' and engraved by Frederick Grosse, anticipating and imagining the departure from the colony of Victoria's governor, Sir Charles Hotham, whose popularity as a government official had declined during his tenure.[5][6] The cartoon depicts Hotham standing on the wharf with his wife, preparing to depart for England. The governor "wears a haughty scowl and carries a cash-box" and his cabin-trunk sitting on the wharf is marked 'Not Wanted'. Despite being a "poor drawing", the historian Marguerite Mahood wrote of the cartoon: "But in spite of its imperfections, it uses all the picturesque points of public gossip about an unpopular governor".[7][5]

The engraver (either Samuel Calvert or Frederick Grosse) at work and at his leisure; Melbourne Punch, 20 December 1855.

Melbourne Punch was published each week on a Thursday, initially as a quarto-sized, eight-page magazine costing sixpence, and was an acknowledged imitation of the London Punch.[8] From its inception the magazine used the basic format of articles and illustrations on social and political topics as well as humorous and satirical writings, verse, jokes and cartoons.[9] The issues constituting volume one of Melbourne Punch were published from 2 August 1855 to 31 January 1856. Although the pages in volume one were numbered consecutively, each weekly issue was undated.[10] The dating of pages began with the 7 February 1856 issue, the first in volume two.[11] In the early years of the magazine the method used for the reproduction of images was wood engraving, whereby the artist drew on a block of wood which was then given to an engraver to cut recesses which corresponded to the white areas of the image. The raised surface of the wood block could then have ink applied for printing. The quality of the finished image was dependent on the skill of the engraver and the time constraints of print deadlines.[12]

By the second issue the artist Nicholas Chevalier had been engaged to provide the illustrations and James Smith, another journalist working for The Argus, joined the staff on a weekly contract "to supply a specified quantity of copy".[3] Smith, writing in 1907, commented that Chevalier's early drawings were crudely rendered as the artist was unfamiliar with the woodblock process used by the magazine, but his drawings "gained force and facility by time and practice".[3] During the remainder of 1855 Chevalier contributed most of the cartoons published in Melbourne Punch, with the occasional contribution from 'Quiz' (Mr. Gill). The engravers Frederick Grosse and Samuel Calvert produced the woodblocks for printing purposes.[10][13]

'An Editor's Room in Melbourne', Sinnett's satirical response to the assault with a whip by Augustus Bernal in September 1855.
'Punch Migrans', Melbourne Punch, 8 May 1856; at the rear of the staff-members walking alongside the procession are depicted the artist Nicholas Chevalier and the engraver Samuel Calvert.

On 22 September 1855 Augustus Bernal, previously a Victorian gold commissioner, appeared in the Melbourne Police Court to answer a complaint that he violently assaulted Frederick Sinnett at the Collins Street offices of Melbourne Punch two days previously. The circumstance leading to the incident was that a picture had been published in the current issue of Punch "which somewhat approached in appearance to Mr. Bernal, who fancied the sketch applied to himself". Bernal took offence at the picture and went the Punch office to request an apology from Sinnett, as editor, "for the unwarranted liberty which had been taken with his countenance". When Sinnett refused, Bernal "unceremoniously laid his whip across" the editor's shoulders. In court Bernal justified the assault and protested "against the right of any publication to make him public property". He explained that the annoyance to which he had been subjected "was perfectly unbearable". He claimed that boys in the street had asked him "to buy his own likeness" and he "was pointed out by men, women and children, as 'the man wot's in Punch'". The bench of magistrates found Bernal guilty of the assault ("on his own confession"), though they agreed it had been committed "under circumstances of great provocation" and inflicted a nominal fine of one shilling.[14][A] After the court case a couple of sham advertisements were printed in the pages of Melbourne Punch. The first was addressed "To Pugilists and Others" and read: "Wanted an Editor – Literary qualifications not required, but he must be up to anything under twelve stone". The second advertisement was addressed to "Editors and Others", adding: "The recent decision of the Bench of Magistrates in the case of Mr. Bernal, emboldens Messrs. Colt and Bowie to call renewed attention to their very superior assortment of Requisites for an Editor's Room", beneath which was listed an assortment of weapons, including revolvers, "swordsicks, bludgeons and canes", and inkstands "with compartments for Bullets, Caps and Powder", concluding with "N.B. – A few very superior thorough-bred bull-dogs on sale".[15]

During the first few years James Smith and Chevalier wrote and illustrated the bulk of the magazine's political satire.[8] Other paid contributors in the early years of Melbourne Punch included R. H. 'Orion' Horne, Edward Whitty, James Stiffe, Charles Whitehead, Frederick Terry, W. Jardine Smith and the poet Henry Kendall.[16] Nicholas Chevalier drew the cartoons in Melbourne Punch from August 1855 to 1861.[17]

In early May 1856 Melbourne Punch moved premises from 66 Collins Street to 23 Collins Street, which involved the transfer of the printing machine, ink, paper and woodblocks to the new locality. The magazine's issue of 8 May 1856 included an account of the relocation as well as a cartoon depicting a triumphal procession down Collins Street with the printing machinery, directed by Mr. Punch. At the rear of the staff-members walking alongside is depicted the artist, Chevalier, with his folio under his arm and his engraver, Calvert, with a block and holding a bunch of gravers.[18][19]

In May 1858 James Smith took over the editorship of Melbourne Punch after Sinnett left to become editor of the Geelong Daily News, a new publishing venture by Edgar Ray.[3][20][21][B]

An annual, variously titled Punch Almanac, Melbourne Punch Almanack, Melbourne Punch's Office Almanack and similar, was published for a time.[22] Review of the first almanac.[13]

The 1860s[edit]

In early 1861 Edgar Ray sold Melbourne Punch to Captain Butler Stoney, who James Smith described as "a military officer with some literary ambition". Smith then purchased from Stoney the copyright of Melbourne Punch for four hundred pounds, including the stock of back numbers and engraved blocks. At about that time "a wave of commercial depression swept over the colony".[3]

The colony of Victoria was experiencing "a wave of commercial depression" at the time, affecting sales of the magazine, as a result of which the issue of 7 February 1861 was published without any illustrations. The page where the usual feature cartoon was printed was left blank, which Smith entitled 'The Political Prospects of the Colony'.[23] The opposite page stated the "honest truth": "Punch is suffering from the prevailing epidemic – impecunimonia – or tightness of the chest". The reason for the lack of illustrations was explained as: "He [Punch] is in arrears with his artist and engraver, and cannot blame them those worthy people for declining to pursue an unremunerative occupation".[24]

Nicholas Chevalier, the principal artist at the magazine, "believing that the ship was sinking, quitted her". However, as Smith later related, the financial situation for the magazine began to improve soon afterwards "and all liabilities were honestly met". Montague Scott replaced Chevalier and remained as artist at Punch until at least the end of 1864. In February 1863 time James Smith was appointed librarian to the Victorian parliament.[25] He departed as editor of Melbourne Punch and "parted with the copyright" for zero value to the new owner, William Lancelot Kelly.[26][3]

Smith was replaced as editor by Charles Bright. When Bright took over the editorship he was also editor of The Examiner (a weekly newspaper that in 1864 was replaced by The Australasian). During his three years of editing Melbourne Punch, the magazine "enjoyed... phenomenal success" due to the "business energy and tact" of the proprietor Kelly and the popularity of the writer, Butler Cole Aspinall.[26][C]

Possibly owned by Edgar Ray up until late March 1863, when it was sold to William Lancelot Kelly.[27][28]

Oswald Rose Campbell began contributing illustrations to Melbourne Punch from about March 1865.

Kelly was the proprietor of Melbourne Punch from March 1863 until his death in May 1866. It was claimed that during his period of management the magazine "secured an amount of success which no former proprietor achieved". He "surrounded himself with the best available literary and artistic talent, and won the hearty co-operation of an able editor, contributors, artists, and engravers".[29]

William Lancelot Kelly died on 11 May 1866 at Collingwood, aged fifty.[30] After Kelly's death the ownership of Melbourne Punch passed to John Noble Wilson, an executor of Kelly's will.[31][32] After Kelly's death Jardine Smith began negotiations with his executors for the ownership of Melbourne Punch. An agreement was reached between the parties on 1 July 1866, but not signed until the 27th of that month. In the interim the back copies in stock in twenty-one bound volumes were removed from the Punch offices. Smith contended that the volumes were included in the agreement and took the executors to court over the issue. The judge agreed with Smith and gave a verdict for the plaintiff of £19 19s, "to be reduced to one shilling on the delivery of the books".[33] When Jardine Smith became owner of the magazine in late July 1866, he took on the role of editor (until 1869).

Tom Carrington (intermittently) and John Bede Dalley (1924).

The principal cartoonist for the publication was Oswald Rose Campbell, who was mainly responsible for the featured full-page illustrations on page five of the journal.[34][35]

In September 1866 Tom Carrington joined the staff of Melbourne Punch, beginning the artist's association with the journal of more than twenty years.[36]

Campbell left Melbourne Punch in May 1867 after which Carrington took on the responsibility of producing the full-page feature cartoon in each issue, as well as the smaller format cartoons.[37]

The McKinley brothers[edit]

Alexander and James McKinley, whose father was a newspaper proprietor, had emigrated to Melbourne in about 1857. In April 1871 the McKinley brothers sold the Talbot Leader newspaper, which they had acquired in 1869, and purchased Melbourne Punch.[38] The McKinley brothers were "staunch conservatives" who instigated a campaign in the pages of their magazine against the protectionist liberal faction that had become dominant in the Victorian Legislative Assembly.[39][D]

From 8 January 1874 the number of pages in each issue of Melbourne Punch was increased from eight to ten pages.[10]

In 1881 Alex McKinley bought out his older brother and Tom Carrington and became the sole owner of Melbourne Punch. He also acquired the Melbourne Bulletin, which was run from the Punch office.[38]

The cover page of Melbourne Punch Almanack 1880.

In about 1880 Tom Carrington purchased a third share in Melbourne Punch, together with Alex and James McKinley. About a year later he sold his share and entered into a partnership with James McKinley and Edmund Finn (another Punch staff-member) to start a newspaper called the World, the first issue of which was published on 20 November 1881. The World was short-lived, however, and soon afterwards Carrington sold his share and purchased a part share of Punch from Alex McKinley.[40][41][42]

In December 1882 a number of cartoons and illustrations by Tom Durkin were published in Punch Almanack 1883, the magazine's annual holiday-season publication.[43] Durkin had become known as a leading Melbourne illustrator for his series of caricatures of prominent citizens published as coloured lithographic prints in The Weekly Times in the mid-1870s.[44] A reviewer of the Almanack described Durkin as "well known for the special talent he possesses of delineating facial expression". His contributions included 'The Last Woman', depicting a semi-nude female figure addressing "Old Sol on the subject of departed fashion", against a background of "a heavy thunderstorm and impending chaos".[45] Durkin contributed seven other large-format cartoons to the 1883 almanac, together with a number of "smaller etchings".[43]

A weekly threepenny magazine called the Melbourne Bulletin began to be published in 1880, printed by the McKinley brothers at 61 Queen Street in Melbourne. The McKinley brothers acquired the magazine in 1882 and by 1886 they decided to amalgamate it with Melbourne Punch. On 4 March 1886 "the new series" of Melbourne Punch was launched, printed with a larger glossy format, incorporating "all the best features of the Melbourne Bulletin".[46][47] It incorporated the Melbourne Bulletin in 1886, after which it became more involved with "society" news.[9] In 1886 Alexander McKinley, who already owned the Melbourne Bulletin (established 1880), a rival to Punch, acquired sole proprietorship of the older paper, and Punch was transferred to the McKinley Brothers’ printing establishment at 59–61 Queen Street — a great advantage in production.[48]

It was involved in the creation of The Ashes cricket trophy in 1883.[49][50]

From 4 March 1886 the number of pages in each issue of Melbourne Punch was increased to twelve pages.[10] In June 1886 it was reported that J. H. Leonard, the principal artist and cartoonist for the Adelaide satirical periodical The Lantern, had accepted an offer to join the staff of Melbourne Punch.[51] Leonard's cartoons (signed 'Leo') were published in Punch until about 1891.[52]

Tom Carrington's final cartoon for Melbourne Punch was the full-page 'The Good Santa Claus' (subtitled "The Ministerial Man of Ice Still Fills The Stockings of His Obedient Little Children"), published on 22 December 1887, which featured a caricature of the Victorian Premier, Duncan Gillies, as Santa Claus, together with members of his cabinet.[53] Carrington's feature cartoons for "Melbourne Punch" during the period of May 1867 to December 1887 were described as "the long fusillade of pictures that wrought such havoc in the politics of the day".[40]

From 2 February 1888 the number of pages in each issue of Melbourne Punch was increased to sixteen pages.[10]

In 1888 the American-born Luther Bradley became chief cartoonist of Melbourne Punch after Tom Carrington resigned. Bradbury remained at Punch until 1893, with notable coverage of the Australian labor movement.[54] He popularized Carrington's 'King Working Man' figure, a crowned giant representing organized labor.[55][56]

James McKinley was the editor of Melbourne Punch from 1893 until his death in 1908.[57]

Tasmanian-born artist Alfred Vincent began contributing political cartoons to Melbourne Punch in 1895 and was a staff cartoonist for several years before being appointed as the Melbourne artist for Sydney's Bulletin in April 1898.[58][59]

The artist and designer, George Dancey, emigrated to Melbourne from England in 1891 and joined the staff of Melbourne Punch in 1894, becoming the chief cartoonist. In 1896 he relinquished the position due to ill health and was replaced by George Treeby (who used the pseudonym 'G. Bron').[60][61] In 1898 Dancey returned to the magazine, replacing Treeby as chief cartoonist. George Dancey remained as the leading cartoonist at Punch until his retirement in 1919.[60] During much of his time with the magazine, Dancey worked with Alexander Sass.[62]

From 4 June 1896 the number of pages in each issue of Melbourne Punch was increased to twenty pages.[10] From 27 January 1898 the number of pages was increased to twenty-four pages.[10]

A cartoon titled "BAIL-UP!" in 1900 was possibly the first published use of the Kelly Gang in a satirical context.

The editor of Melbourne Punch, James McKinley, died at the magazine's offices at midday on 27 May 1908. McKinley suddenly complained of chest pains While he was reading some proofs. Medical aid was summoned but the editor died in the office of his brother Alexander.[57]

In May 1920 it was reported that Alexander McKinley had sold Melbourne Punch to F. W. Hughes of Sydney, who intended to form a company to run the magazine.[63]

The New Zealand-born artist Cecil 'Unk' White contributed to Melbourne Punch after coming to Australia in 1922.[64]

Corporate takeover[edit]

Full-page advertisement in Melbourne Punch, 10 December 1925, announcing the incorporation of Punch into Table Talk.

On 18 December 1924 Melbourne Punch was acquired by The Herald and Weekly Times Pty. Ltd., a publishing company whose periodicals included Melbourne's daily newspaper The Herald.[16] After the acquisition by The Herald publishing group the magazine was launched with an expanded format and a new cohort of literary and artistic staff-members including Percy Leason (chief cartoonist) and the writers Hugh McCrae and Kenneth Slessor, with John Dalley, a journalist with a previous long-standing association with The Bulletin magazine in Sydney, as editor.[65][66]

The banner of the contents page from Punch (Melbourne), 10 December 1925.

The Australian artist Will Dyson, who had achieved international recognition as a political cartoonist in London, was induced back to Australia by Keith Murdoch, editor of The Herald, to join Percy Leason as a staff cartoonist for Punch.[67] Dyson returned to Melbourne in March 1925.[68] The editor of Punch, John Dalley, was willing to give Dyson full freedom to express himself, but the proprietors exerted pressure to limit his social and political satire. Eventually "Dyson was edged from his special field into the production of pleasant comic drawings, and he finally accepted this role of entertainer with a wry resignation".[69]

Another of the artists published in Punch in its last year was Jimmy Bancks, at that time Australia's highest paid black-and-white artist whose output included the successful 'Us Fellers' comic-strip.[70]

In December 1925 Punch was incorporated into the weekly magazine, Table Talk (which had been acquired by The Herald group in 1924).[71][72] The final issue of Punch as a separate periodical was The Christmas Punch, dated 10 December 1925, costing sixpence and comprising 92 pages.[73] From the issue of 17 December 1925 the masthead of Table Talk included the conspicuous phrase "with which is incorporated Punch".[74] In January 1926 it was reported that the editor of Punch, John Dalley, had resigned his position to take up a newspaper position in London.[75] On the 12 May 1927 and subsequent issues the previously prominent phrase under the Table Talk masthead was reduced to an insignificant "Incorporating Punch", a practice continued until the final issue of the magazine in September 1939.[76]

homeless[edit]

Contributing artists included Ambrose Dyson and his brother Will Dyson, Alex Gurney, Hal Gye, Percy Leason, Emile Mercier, Alex Sass, Samuel Garnet Wells.[2][77][78]

Writers included Charles Gavan Duffy, R. H. Horne, James Smith, Thomas Carrington and Nicholas Chevalier.[9]

Gallery[edit]

A selection of images from the pages of Melbourne Punch

Notes[edit]

A.^ Augustus Woodley Bernal was the Commissioner of Crown Lands (Gold Fields) in 1854 and 1855. A week after appearing in court on the assault charge, Bernal returned to England, leaving Melbourne aboard the clipper ship Donald McKay. He died in London on 1 December 1908.[79] In James Smith's account of this incident (see: Origin of "Melbourne Punch"), Smith misremembered the name of the person who assaulted Sinnett as 'Bernal Osborne'.
B.^ Frederick Sinnett was the editor of the Geelong Daily News until its closure in August 1859, after which he moved to Adelaide for "family reasons", where he managed the Adelaide Ice Works. Sinnett died in Melbourne in November 1866.[21][3][1]
C.^ Butler Cole Aspinall wrote for Melbourne Punch on an irregular basis until about the early 1870s.[80]
D.^ James and Alexander McKinley were two of four brothers. Henry McKinley was a solicitor in Melbourne and William McKinley was a journalist for The Argus newspaper.[81]

References[edit]

  1. ^ a b Mennell, Philip (1892). "Sinnett, Frederick" . The Dictionary of Australasian Biography. London: Hutchinson & Co – via Wikisource.
  2. ^ a b Lindesay, Vane The Inked-In Image Heinemann Melbourne 1970 ISBN 0-09-135460-9
  3. ^ a b c d e f g James Smith (1907), Origin of "Melbourne Punch", Punch (Melbourne), 27 August 1907, pages 9-10.
  4. ^ Melbourne Punch (page one), Melbourne Punch, 2 August 1855, page 1.
  5. ^ a b Marguerite Mahood (1973), page 47.
  6. ^ Peter A. Dowling (2005), Frederick Grosse (1828–1894), Australian Dictionary of Biography website, National Centre of Biography, Australian National University; accessed 16 January 2024.
  7. ^ The Right Man in the Right Place, Melbourne Punch, 2 August 1855, page 6.
  8. ^ a b Marguerite Mahood (1973), page 45.
  9. ^ a b c Lurline Stuart (2008), Melbourne Punch, eMelbourne website, School of Historical & Philosophical Studies, University of Melbourne; accessed 11 January 2024.
  10. ^ a b c d e f g Melbourne Punch, Trove website, National Library of Australia; accessed 14 January 2024.
  11. ^ Melbourne Punch (page one), Melbourne Punch, 7 February 1856, page 4.
  12. ^ Vane Lindesay (1970), The Inked-In Image: A Survey of Australian Comic Art, Melbourne: William Heinemann, pages 3-5.
  13. ^ a b Wood Engraving, The Age (Melbourne), 25 January 1856, page 3.
  14. ^ "Shave and Change Your Name", The Age (Melbourne), 24 September 1855, page 6.
  15. ^ Advertising, Melbourne Punch, undated (27 September 1855), page 73; see also An Editor's Room in Melbourne, undated (probably 27 September 1855), page 69.
  16. ^ a b Marguerite Mahood (1973), page 44.
  17. ^ Marguerite Mahood (1973), pages 50-52.
  18. ^ Punch Migrans and Punch Migrans, Melbourne Punch, 8 May 1856, pages 107-108.
  19. ^ Marguerite Mahood (1969), page 69.
  20. ^ The Late Mr. Frederick Sinnett, The Argus (Melbourne), 24 November 1866, page 5.
  21. ^ a b Marjorie J. Tipping (1976), Frederick Sinnett (1830–1866), Australian Dictionary of Biography website, National Centre of Biography, Australian National University; accessed 11 January 2024.
  22. ^ Melbourne punch's almanack
  23. ^ The Political Prospects of the Colony, 7 February 1861, page 13.
  24. ^ Concerning Himself, Melbourne Punch, 7 February 1861, page 12.
  25. ^ Government Gazette, Geelong Advertiser, 9 February 1863, page 2.
  26. ^ a b Anecdotal Photographs. No. 55. — Mr. Charles Bright, Table Talk (Melbourne), 18 November 1892, pages 3-4.
  27. ^ Notice, Melbourne Punch, 19 March 1863, page 7; To Our Readers, Melbourne Punch, 2 April 1863, page 7.
  28. ^ To Be, or Not to Be, Geelong Advertiser, 1 April 1863, page 3.
  29. ^ Melbourne, Gippsland Times, 17 May 1866, page 3.
  30. ^ Deaths, The Argus (Melbourne), 12 May 1866, page 4.
  31. ^ Law Report, The Argus (Melbourne), 1 July 1867, page 6.
  32. ^ In the Supreme Court..., The Herald (Melbourne), 23 May 1866, page 4.
  33. ^ Mr Jardine Smith..., Mount Alexander Mail, 17 April 1867, page 2.
  34. ^ Oswald Rose Campbell, Design & Art Australia Online website; accessed 5 December 2023.
  35. ^ See an example of O. R. Campbell's cartoons: 'Pardonable Vanity', Melbourne Punch, 1 November 1866, page 141.
  36. ^ Marguerite Mahood (1969), Francis Thomas Dean (Tom) Carrington (1843–1918), Australian Dictionary of Biography website, National Centre of Biography, Australian National University; accessed 2 December 2023.
  37. ^ For example, cartoons in Melbourne Punch, 16 May 1867: 'The "Modus Operandi"', page 153; '"Awkward"', page 156; 'The Parliamentary Arena' (full page), page 157; '"Poor Little Fellow"', page 160.
  38. ^ a b J. Ann Hone (1974), Alexander (Alex) McKinley (1848–1927), Australian Dictionary of Biography website, National Centre of Biography, Australian National University; accessed 11 January 2024.
  39. ^ Marguerite Mahood (1973), page 105.
  40. ^ a b Vale "T. C.", Punch (Melbourne), 17 October 1918, page 19.
  41. ^ MacKinnon v. The "World", The Argus, 21 April 1882, page 9.
  42. ^ James McKinley (c1847-1908), Brighton General Cemetery website; accessed 8 December 2023.
  43. ^ a b Punch's Almanac for 1883, Williamstown Advertiser, 13 December 1882, page 2.
  44. ^ Joanna Gilmour (2016), Showing Character, National Portrait Gallery website, Australian Government; accessed 23 November 2023.
  45. ^ The Last Woman, Melbourne Punch, 28 December 1882, page 3.
  46. ^ Marguerite Mahood (1973), page 158.
  47. ^ The New Series of "Punch", Melbourne Punch, 25 February 1886, page 74; Melbourne Punch, New Series, Melbourne Punch, 4 March 1886, page 3.
  48. ^ Marguerite Mahood (1969), page 80.
  49. ^ The Ashes, State Library of Victoria website; accessed 16 January 2024.
  50. ^ Who's on the Cricket Field?, Melbourne Punch, 1 February 1883, page 1.
  51. ^ We understand that Mr. J. H. Leonard..., The Express and Telegraph (Adelaide), 7 June 1886, page 2.
  52. ^ Joan Kerr (1996), John H. Leonard, Design & Art Australia Online website; accessed 16 January 2024.
  53. ^ The Good Santa Claus, Melbourne Punch, 22 December 1887, page 296.
  54. ^ Mahood, Marguerite (1979). "Bradley, Luther (1853–1917)". Australian Dictionary of Biography. Vol. 7. National Centre of Biography, Australian National University. ISSN 1833-7538. Retrieved 26 February 2017.
  55. ^ "Luther D. Bradley". Punch. Melbourne. 22 March 1917. p. 4.
  56. ^ Joan Kerr (1996), Luther Bradley, Design & Art Australia Online website; accessed 16 January 2024.
  57. ^ a b Mr. James McKinley, Observer (Adelaide), 30 May 1908, page 38.
  58. ^ Mr. Alf. Vincent, Critic (Adelaide), 9 April 1898, page 13.
  59. ^ Joan Kerr (1996), Alfred James Vincent, Design & Art Australia Online website; accessed 17 January 2024.
  60. ^ a b Joan Kerr (1996), George Henry Dancey, Design & Art Australia Online website; accessed 17 January 2024.
  61. ^ Joan Kerr (1996), George Treeby, Design & Art Australia Online website; accessed 17 January 2024.
  62. ^ Joan Kerr (1996), Alexander Phillip Sass, Design & Art Australia Online website; accessed 17 January 2024.
  63. ^ Melbourne "Punch", The Sun (Sydney), 12 May 1920, page 5.
  64. ^ Joan Kerr (1996), Unk White, Design & Art Australia Online website; accessed 16 January 2024.
  65. ^ Punch (advertisement), Smith's Weekly (Sydney), 20 December 1924, page 28.
  66. ^ The New "Punch", The Telegraph (Brisbane), 23 December 1924, page 6.
  67. ^ Leason as Cartoonist, The Herald (Melbourne), 15 January 1925, page 7.
  68. ^ "Australia Again!": Delight of Will Dyson, The Herald (Melbourne), 10 March 1925, page 5.
  69. ^ Vance Palmer (1949), 'Will Dyson', Meanjin, Vol. 8 Issue 4 (December 1949), pages 220-221.
  70. ^ Joan Kerr (1996), James Charles Bancks, Design & Art Australia Online website; accessed 16 January 2024.
  71. ^ Table Talk With Which is Incorporated Punch, Punch (Melbourne), 10 December 1925, page 4.
  72. ^ Melbourne "Herald"..., Labour Call (Melbourne), 25 September 1924, page 7.
  73. ^ The Christmas Punch (page one), Punch (Melbourne), 10 December 1925, page 1.
  74. ^ Table Talk (page one), Table Talk (Melbourne), 17 December 1925, page 1.
  75. ^ Dilly-Dalley, Smith's Weekly (Sydney), 23 January 1926, page 18.
  76. ^ Table Talk (page one), Table Talk (Melbourne), 12 May 1927, page 1; Table Talk (page one), Table Talk (Melbourne), 14 September 1939, page 1.
  77. ^ Allan McCullough (1968), Encyclopedia of Australian Art, London: Hutchinson, ISBN 0-09-081420-7.
  78. ^ Memoirs of Harold Gye, The Worker (Wagga Wagga), 29 September 1910, page 21.
  79. ^ Augustus Woodley Bernal, 1825-1908, The Golden Colony website; accessed 9 January 2024.
  80. ^ Butler Cole Aspinall, Ballarat Star, 1 June 1875, page 3.
  81. ^ Personal, The Australasian (Melbourne), 21 September 1929, page 11.
Sources
  • Marguerite Mahood (1969), 'Melbourne Punch and its Early Artists', The LaTrobe Journal, No. 4 October 1969.
  • Marguerite Mahood (1973), The Loaded Line: Australian Political Caricature 1788-1901, Melbourne: Melbourne University Press.
  • Shu-Chuan Yan (2019), '"Kangaroo Politics, Kangaroo Ideas, and Kangaroo Society": The Early Years of Melbourne Punch in Colonial Australia', Victorian Periodicals Review (Baltimore), Vol. 52 Issue 1 (Spring 2019), pages 80-102 (DOI: 10.1353/vpr.2019.0003).
  • W. H. Wilde, The Oxford Companion to Australian Literature 2nd ed. ISBN 0-19-553381-X

Further reading[edit]

  • Lurline Stuart (2023), James Smith: The Making of a Colonial Culture, Taylor & Francis, ISBN 1000857077.

External links[edit]

  • Digitised Melbourne Punch (2 August 1855 to 3 May 1900) from the Trove website, National Library of Australia.
  • Digitised Punch (Melbourne) (10 May 1900 to 26 December 1918; 10 December 1925) from the Trove website, National Library of Australia.


Retrieved from "https://en.wikipedia.org/w/index.php?title=User:Ikeshut2/sandbox3&oldid=1211104428"