OUR GUIDE TO THE ACADEMY; Or, sometimes, Our Academy Guy d.
Don’t speak to the man at the wheel—the turn
stile—hut walk right in,
and this being your second visit, go at once to—
No. 9. “ Here we go round the Mulberry Bush. ”
W. F. Ye ames, R. A. Children dancing round a cannon, not a mulberry bush. It evidently ought to have been entitled “ Infantry and Artillery. For re-christening the picture, note this in Yeames’s Diary.
No. 16. We have re-arranged this picture, “ The Cheetah Hunt, by J. T. Nettles mi .
Our version is the correct one.
No. 18. Trying a Quack Remedy on a Child. Ernest ZIMMERMAN.
No. 21. “ Of course I can Dance a Hornpipe ! Ready f
Off ! ! ” Sydney Hodges. Hodges’ best. Ileal spirit.
No. 29. The Genius of the Family. J. B. Burgess, A. First
melody on the banjo. The infant Moore preparing to be a Christy Minstrel; painted, of course, by Burgess for presentation to St. James’s Hall.
No. 38. Still Life. A sweetly lemon-colic picture by M. Caltkrop. We give another effect, as seen from some distance.
No. II. Sir Bartlemy Fair. George Reid. Not Reid’s Entire, only three-quarters.
No. 63. A Skullery in the House of the Original Bones. H. Schmalz.
No. 70. Rock Ahead. George Smith. Subject, a baby in a cradle.
No. 71. Fowl Play. Gaetano Chierici. One of the best things in the Academy.
No. 97. ‘ Why Give More? Edwin Long, A. Without the information in the Catalogue, we may take this to represent a dispute about a cabfare, or a car-fare before a Roman Magistrate. Dapper young driver is hold
ing out his hand and saying “ Vide hid Quid sit hoc ? ” to a
youthful Mrs. Giaco
metti Prodgers, who positively refuses to give more. The crowd
anxiously await the Magistrate’s decision.
No. 99. A Boat for Sale ; or, Doing him out of Ilis Pocket- Money. M. K. Peto.
No. 100. Two Poor Creatures; Or, Mis-fortunes Never Come Singly. George Clausen. A “knee plus ultra” example of Art. Melancholy scene. The Artist calls it Haverstock Hill. Very sad. A healthy Navvy stands by regarding these two wretched specimens
of humanity. Mr. Clausen should engage them and start a caravan. He has already got the picture for the outside show.
No. 108. How. to Spend a Happy Day; or, Combining Instruction with
Amusement. J. C. Horsley, R.A. A happy couple having discovered the subtle point of Mr. E. L. Sahbourne’s allegorical design about Sir Vernon Hare-caught’s “ Ground Game Bill ” in Punch, are thinking out another humorous idea to send to that journal anonymously. Excellent likenesses— the portrait of Punch being photogra
phically exact. They are evidently very superior people, the Artist’s riph colour
ing denotes their wealth; but is it the custom in that part of the
country to wear satin gaiters ? Of course, Mr. Horsley will reply that he “ sat in gaiters” for his portrait. But this is not a satisfactory answer.
No. 121. Model Cottagers. Joseph Clark. So clean and neat!! No. 124. “ Over the Garden Wall. T. Clark.
No. 182. Swift and Sure to Make a Hit. W. P. Frith, R.A. This, of Swift and Vanessa, will have a lasting place in the records of English Art. It is more than e-Vanessa-ent.
No. 202. Listeners Never, S,-c. G. A. Storey, A. Show
ing Octavia—Lady Beaumont —in an awkward position in front of a screen, evidently bothered by what the people on the other side of it are saying about Octavia.
No. 296. “ What a Lyre it is! L. Alma Tadema, R.A. It is Sappho listening to Phaon.
The expression about the Lyre refers, of course, to the instru
ment. The picture is a little
puzzling at a distance, as it
seems to represent a first attempt at Photography—Phaon sighting Sappho with the instrument, and perhaps calling the operation Sapphotography. Look closely at the Marble ! Marbellous!
THE GOLDEN AGE.
The Whitechapel Gold Mining Company (Limited).—[Advt.]
This is a Company formed to utilise the valuable gold-fields which have existed unworked for centuries in the Great Essex Marshes. It is difficult to account for the want of intelligence and enterprise
shown by the population of I.ondon, except upon the theory that people generally neglect the opportunities for acquiring wealth which may be found almost under their noses. The development of these fields will employ the surplus labour of the East-End, and thus commend the scheme to the practical philanthropist; while the minute subdivision of the shares enables the smallest capitalist to
avail himself of a class of investment only brought, as a rule, within the reach of bankers and millionnaires. The following certificate from M. T. Quarts, Esq., F.I.G.S., is the best guarantee of the value of this investment:—
“ I have examined the Essex Marshes, and I have no hesitation in saying that large masses of gold are quite as likely to be found in that district as in many others.”—M. T. Quarts, F.I.G.S.
A Disclaimer.—[Advt.]
The Wormwood Scrubs Gold Mining Company (Limited) beg to give notice that they have no connection with the Essex Marshes Gold Mining Company (Limited).
Another Disclaimer.—[Advt.]
TnE Essex Marshes Gold Mining Company (Limited) beg to give notice that they have no connection with the Salisbury Plain Gold Mining Company (Limited).
One more Disclaimer.—[Advt.]
The Salisbury Plain Gold Mining Company (Limited) beg to give notice that they have no longer any connection with gold, hut have gone into the Out of Date Tea Business.
Conscience Money.—[Advt.]
The Secretary of the Asylum for Idiots begs to acknowledge the receipt of four nuggets—probably containing Australian gold—from the Nover-too-latc-to-Mend Gold Mining Company, Pumicestone Chambers, E.C.
No. 9.—Infantry and Artillery.
No. 16.—Stop Thief !
Or the Cheeter Hunt.
No. 29.—The Christy Minstrel Boy—Burgess.
No. 38.
Civil Oranges.
No. 97.—“What’s this ?”
Or the Classic Cabman and the Unhappy Fair.
No. 100.
“ Knee Plus Ultra.”
No. 296.—“ Sap-pho-tograpey.”
Don’t speak to the man at the wheel—the turn
stile—hut walk right in,
and this being your second visit, go at once to—
No. 9. “ Here we go round the Mulberry Bush. ”
W. F. Ye ames, R. A. Children dancing round a cannon, not a mulberry bush. It evidently ought to have been entitled “ Infantry and Artillery. For re-christening the picture, note this in Yeames’s Diary.
No. 16. We have re-arranged this picture, “ The Cheetah Hunt, by J. T. Nettles mi .
Our version is the correct one.
No. 18. Trying a Quack Remedy on a Child. Ernest ZIMMERMAN.
No. 21. “ Of course I can Dance a Hornpipe ! Ready f
Off ! ! ” Sydney Hodges. Hodges’ best. Ileal spirit.
No. 29. The Genius of the Family. J. B. Burgess, A. First
melody on the banjo. The infant Moore preparing to be a Christy Minstrel; painted, of course, by Burgess for presentation to St. James’s Hall.
No. 38. Still Life. A sweetly lemon-colic picture by M. Caltkrop. We give another effect, as seen from some distance.
No. II. Sir Bartlemy Fair. George Reid. Not Reid’s Entire, only three-quarters.
No. 63. A Skullery in the House of the Original Bones. H. Schmalz.
No. 70. Rock Ahead. George Smith. Subject, a baby in a cradle.
No. 71. Fowl Play. Gaetano Chierici. One of the best things in the Academy.
No. 97. ‘ Why Give More? Edwin Long, A. Without the information in the Catalogue, we may take this to represent a dispute about a cabfare, or a car-fare before a Roman Magistrate. Dapper young driver is hold
ing out his hand and saying “ Vide hid Quid sit hoc ? ” to a
youthful Mrs. Giaco
metti Prodgers, who positively refuses to give more. The crowd
anxiously await the Magistrate’s decision.
No. 99. A Boat for Sale ; or, Doing him out of Ilis Pocket- Money. M. K. Peto.
No. 100. Two Poor Creatures; Or, Mis-fortunes Never Come Singly. George Clausen. A “knee plus ultra” example of Art. Melancholy scene. The Artist calls it Haverstock Hill. Very sad. A healthy Navvy stands by regarding these two wretched specimens
of humanity. Mr. Clausen should engage them and start a caravan. He has already got the picture for the outside show.
No. 108. How. to Spend a Happy Day; or, Combining Instruction with
Amusement. J. C. Horsley, R.A. A happy couple having discovered the subtle point of Mr. E. L. Sahbourne’s allegorical design about Sir Vernon Hare-caught’s “ Ground Game Bill ” in Punch, are thinking out another humorous idea to send to that journal anonymously. Excellent likenesses— the portrait of Punch being photogra
phically exact. They are evidently very superior people, the Artist’s riph colour
ing denotes their wealth; but is it the custom in that part of the
country to wear satin gaiters ? Of course, Mr. Horsley will reply that he “ sat in gaiters” for his portrait. But this is not a satisfactory answer.
No. 121. Model Cottagers. Joseph Clark. So clean and neat!! No. 124. “ Over the Garden Wall. T. Clark.
No. 182. Swift and Sure to Make a Hit. W. P. Frith, R.A. This, of Swift and Vanessa, will have a lasting place in the records of English Art. It is more than e-Vanessa-ent.
No. 202. Listeners Never, S,-c. G. A. Storey, A. Show
ing Octavia—Lady Beaumont —in an awkward position in front of a screen, evidently bothered by what the people on the other side of it are saying about Octavia.
No. 296. “ What a Lyre it is! L. Alma Tadema, R.A. It is Sappho listening to Phaon.
The expression about the Lyre refers, of course, to the instru
ment. The picture is a little
puzzling at a distance, as it
seems to represent a first attempt at Photography—Phaon sighting Sappho with the instrument, and perhaps calling the operation Sapphotography. Look closely at the Marble ! Marbellous!
THE GOLDEN AGE.
The Whitechapel Gold Mining Company (Limited).—[Advt.]
This is a Company formed to utilise the valuable gold-fields which have existed unworked for centuries in the Great Essex Marshes. It is difficult to account for the want of intelligence and enterprise
shown by the population of I.ondon, except upon the theory that people generally neglect the opportunities for acquiring wealth which may be found almost under their noses. The development of these fields will employ the surplus labour of the East-End, and thus commend the scheme to the practical philanthropist; while the minute subdivision of the shares enables the smallest capitalist to
avail himself of a class of investment only brought, as a rule, within the reach of bankers and millionnaires. The following certificate from M. T. Quarts, Esq., F.I.G.S., is the best guarantee of the value of this investment:—
“ I have examined the Essex Marshes, and I have no hesitation in saying that large masses of gold are quite as likely to be found in that district as in many others.”—M. T. Quarts, F.I.G.S.
A Disclaimer.—[Advt.]
The Wormwood Scrubs Gold Mining Company (Limited) beg to give notice that they have no connection with the Essex Marshes Gold Mining Company (Limited).
Another Disclaimer.—[Advt.]
TnE Essex Marshes Gold Mining Company (Limited) beg to give notice that they have no connection with the Salisbury Plain Gold Mining Company (Limited).
One more Disclaimer.—[Advt.]
The Salisbury Plain Gold Mining Company (Limited) beg to give notice that they have no longer any connection with gold, hut have gone into the Out of Date Tea Business.
Conscience Money.—[Advt.]
The Secretary of the Asylum for Idiots begs to acknowledge the receipt of four nuggets—probably containing Australian gold—from the Nover-too-latc-to-Mend Gold Mining Company, Pumicestone Chambers, E.C.
No. 9.—Infantry and Artillery.
No. 16.—Stop Thief !
Or the Cheeter Hunt.
No. 29.—The Christy Minstrel Boy—Burgess.
No. 38.
Civil Oranges.
No. 97.—“What’s this ?”
Or the Classic Cabman and the Unhappy Fair.
No. 100.
“ Knee Plus Ultra.”
No. 296.—“ Sap-pho-tograpey.”