EH Shepard at War

The Testing of a Patriot, 1915. Reproduced with permission of Punch Ltd.

At least two leading illustrators of Punch magazine in the mid-20th Century were warriors of World War I. Kenneth Bird (“Fougasse”) was seriously wounded in Gallipoli and went on to be the first cartoonist to edit Punch. And EH Shepard, OBE, MC (1879 – 1976), who saw extraordinary action in three theatres on the Western Front before serving in Italy.

Most of us know EH Shepard as the illustrator who gave us the Christopher Robin, Pooh and Piglet we all know so well, not to mention Ratty, Toad et al in Kenneth Grahame’s Wind in the Willows. After the war and for over 30 years afterwards, he provided cartoons and illustrations for Punch and other popular publications.

But during the war itself, during those long boring lulls between short outbreaks of terror, blood and death that soldiers know so well, he produced hundreds of sketches in pencil and ink as well as watercolours.

Shepard was born in London in 1879. In 1915, he signed up at a relatively advanced age of 35. He joined 105 battery Royal Garrison Artillery (RGA), with whom he remained for the whole conflict. Extraordinarily, he saw action at the…

Source: EH Shepard at War

Pilfering the Male Wardrobe: The Gibson Girl’s Retort to Fashion Satire | MCNY Blog: New York Stories

Originally posted on MCNY Blog: New York Stories.

Capricious, evanescent, outrageous: there has always been something to parody about fashion. It has had its moments of sanity, where form has actually nodded to function, but centuries-worth of acrid illustration captures its erratic permutations. Political satirists throughout the 18th and 19th centuries frequently targeted fashion’s absurdities – ballooning sleeves, wasp-like waists, meandering hemlines – as tantalizing subject matter for ridicule.

Currier & Ives, Thomas Worth (1834-1917), “The Grecian Bend” Fifth Avenue Style, 1868, Hand-colored lithograph. Gift of Mrs. Harry T. Peters, 56.300.1282

A deliciously obvious phenomenon was fashion’s “Grecian Bend” of 1868, itself a caricature with its forward-hunching posture (paraphrasing that of a tyrannosaurus) caused while attempting to counter-balance the backward thrust of an outrageously pronounced bustle and weighty mounded coiffure – made all-the-more comical while tottering along on the day’s tiny high-heeled shoes and balancing a miniature sunshade from tightly gloved hands. The conspicuous presence of the “Grecian Bend” along the main corridors of New York City’s fashionable shopping district (subsequently known as “The Ladies’ Mile,” and featured in the City Museum’s exhibition Gilded New York) prompted Thomas Worth’s sketch for lithographers Currier & Ives, typically known for their picturesque landscapes and sentimental visions of Americana. Their widely distributed “The Grecian Bend, Fifth Avenue Style” constituted a satirical sidebar for the firm, becoming the best known of their fashion commentaries.

The absurdity of the print’s imagery resonated throughout the day’s popular culture, inspiring the…

via Pilfering the Male Wardrobe: The Gibson Girl’s Retort to Fashion Satire | MCNY Blog: New York Stories.