In the same year Richard Doyle's brother Henry—better known as a distinguished member of the Royal Hibernian Academy, and best of all as the grave and extremely able Director of the National Gallery of Ireland—made a number of small cuts for Punch, which were published in 1844 and the following years; but as I was informed, at the time of his death, by his elder brother James, now also dead (the chronicler, and the compiler of the "Official Baronage of England"): "The Punch episode was the merest child's play to him. His line, chosen years before, was sacred or poetic art; and his illustrations to Telemachus, done before this time, remarkable for invention and colour, were greatly admired by Prince Albert. That he drew for Punch at one time is, of course, true; but the mention of it gives a false impression of his taste and principal work at that period." Yet the spirit of humour was strong within him, for he was one of the "Great Gunners" in 1845; and from 1867 to 1869, when he was appointed to Dublin, he was cartoonist for "Fun," signing with a Hen, or "Fusbos."
W. McCONNELL.
(From a Photograph by Southwell Brothers,
Baker Street.)
Thomas Onwhyn, best known, nowadays, perhaps, by his "extra illustrations" to "Pickwick" and "Nicholas Nickleby," and by his plates to "Valentine Vox" and Cockton's other novels, began to contribute a few blocks to Punch—a fact which has hitherto been denied. His first drawing, published on p. 130, Vol. XIII. (1847), illustrates an article by Gilbert à Beckett, entitled, "The Friends Reconciled." The next was a "Social," on p. 230 of the same volume, representing a hatter's wiles and their victim. But Onwhyn was better used to the etching-needle than the pencil, and his drawing on wood was hard and unsympathetic, and his figures were usually rather strained than funny. About this time he was retiring from his position as a popular illustrator of books. Throne Crick's "Sketches from the Diary of a Commercial Traveller," embellished by Onwhyn, had just appeared; and the artist was beginning to bring out his series of albums of plates, big and small, on all sorts of humorous subjects. The time was, therefore, appropriate at which to embark on independent illustration in Punch. But in the following year he contributed not more than a sketch or two; and thenceforward, until he finally laid down his pencil in 1870, he confined his artistic efforts to his own happy ideas with but few exceptions—such as "Welcome, a Charade; by W. Shakesides" (1850). Onwhyn died so late as 1886.
For four years, if we except two or three unimportant cuts contributed by E. J. Burton in 1847-8-9, no new name appears upon the draughtsman's roll. Then John Macgregor—the celebrated "Rob Roy"—who had begun to contribute paragraphs and short articles in 1847, commenced adding sketches, such as his "Silence in the Gallery," in January, 1848. "Prince Albert's Hat" was also his, and others besides; and it is worth remarking that the proceeds of these sketches and articles were given to the police-courts, wherewith the magistrates might assist poor cases.
The year 1850 became of the first importance in the history of Punch. Not that William McConnell and his gentle art would make the year remarkable, for his early defection from Punch, and his premature death from consumption, cut short a career which promised considerably more than it achieved. Mr. Sala tells me that McConnell was a handsome little fellow, bright, alert, and full of originality. He was always exceptionally well-dressed—and with good reason, for his father, on coming over from Ireland and settling in Tottenham Court Road, resumed his trade of tailor. The youth sent in some sketches, which were highly thought of by Mark Lemon. He was turned over to Mr. Swain for some instruction in drawing on the wood, and subsequently took up his residence in the engraver's house for a time; but, not living long enough to prove his individuality, he remained to the end an imitator of Leech. Perhaps that was the reason that he drew so small a salary from Punch; at any rate, he always resented what he considered to be the contumelious and shabby treatment meted out to him by Mark Lemon. But for such money as he did receive, it must be admitted that he gave full value in the fierceness of his cartoons on Louis Napoleon. He did much book illustration, besides drawing for the Press, serious and comic—his Punch work including a couple of cartoons in 1852, among a great number of "socials." His last appearance was in July of that year. He was a good and improving draughtsman, especially of horses; and he revelled in beggars, "swells," and backgrounds.
