Matt morgan and transatlantic illustrated journalism, 1850-90

Anglo-American Media Interactions, 1850-2000

Volumn , Issue , 2007, Pages 69-92

  Kent, Christopher ^a  

^a UNIVERSITY OF SASKATCHEWAN   (Canada)

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[No Author keywords available]

Indexed keywords

EID: 84996956215     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1057/9780230286221     Document Type: Chapter

References (40)

1. Henry Vizetelly mentions publishing Morgan's Algerian sketches which appeared in both the Illustrated London News and the Illustrated Times between January and June of 1858, though without artist identification.
2. Henry Vizetelly, Glances Back Through Seventy Years (London: Kegan Paul) I,389.
3. John Pemble, The Mediterranean Passion: Victorians and Edwardians in the South (Oxford: Oxford University Press, 1987).
4. Illustrated London News, 22 May 1859, p. 6. On the perils of being a war correspondent during this period see Mason Jackson, The Pictorial Press (London: Hurst & Blackett, 1885), 328-54.
5. Albert B. Paine, Thomas Nast, His Period and Pictures (New York: Macmillan, 1904), 34.
6. John Jackson, A Treatise on Wood Engraving (London: Henry Bohn, 1861),241.
7. Catalogue of the Pictures and Drawings Selected from the Works of the Leading Artists of the Day at the Gallery, 14 Berners Street, W. (London: Privately Printed (1862)), "Preface."
8. Stanley Weintraub accepts Whistler's claim that Morgan invented this title without consulting him. In his reply Morgan states that Whistler had given his approval to the title. Stanley Weintraub, Whistler: A Biography (London: Collins, 1974), 76. I agree with Gordon Fleming that the controversy was probably cooked up by both men in collusion in order to attract publicity by linking the painting in the public mind with Wilkie Collins's best selling novel (whose artist-hero, Walter Hartright, is transformed from an ineffectual drawing-master into a manly magazine illustrator). Gordon H. Fleming, James Abbott McNeill Whistler: A Life (Gloucestershire: Windrush Press, 1991), 92.
9. Daphne du Maurier, The Young George du Maurier (London: Peter Davies, 1951), 88, 154, 177.
10. Christopher Kent, "British Bohemia and the Victorian Journalist,"Australian Victorian Studies Journal 6 (2000), 31-3.
11. Arthur W. A. Beckett, Green Room Recollections (Bristol: Arrowsmith, 1896),70.
12. The Times, 28 August 1869, p. 4.
13. Britannia I, 514; II, 258-9, 350-1.
14. Christopher Kent, "The Angry Young Gentleman of Tomahawk," in Barbara Garlick and Margaret Harris eds., Victorian Journalism: Essays in Honour of . D. Edwards (Brisbane: University of Queensland Press: 1998), 75-94.
15. The Times, 8 May 1869, 4.
16. I owe this information to Morgan's granddaughter, Mrs Elizabeth Morgan Munsey.
17. H. G. Hibbert, Fifty Years of a Londoner's Life (London: Grant Richards, 1916), 157.
18. Joshua Brown, Beyond the Lines: Pictorial Reporting, Everyday Life, and the Crisis of Gilded Age America (Berkeley and Los Angeles: University of California Press, 2002), 43-4, 259 n.33
19. An upmarket version of the Police Gazette it attracted the attention of New York's anti-vice crusader, Anthony Comstock. Madeleine Stern, Purple Passion: The Life of Mrs. Frank Leslie (Norman: University of Oklahoma Press, 1953) 223-4
20. Helen L. Horowitz, "Victoria Woodhull, Anthony Comstock, and the Conflict Over Sex in the United States in the 1870s," Journal of American History 87 (September 2000): 425-6. The London edition began publication on 30 July 1870. The major newsagent W. H. Smith refused to stock it on the grounds of its alleged indecency. Its name was changed to Here and There on 24 February 1872 and it expired at the end of that year.
21. Days Doings, 12 November 1870, 9.
22. The extensive republication of British periodicals in the U. S., initially in pirate editions, but increasingly after the Civil War by arrangement, has been noted by Mott, who also notes the increasing publication in Britain of American illustrated magazines like Scribner's and Harper's from the 1870s.
23. Frank Luther Mott, A History of American Magazines: 1741-1930 (Cambridge:Harvard University Press, 1930-68), II, 128-30: III, 278-9.
24. Joshua Brown documents Leslie's assertions of its American character in Beyond the Lines, 265 n.4.
25. Christopher Kent, "War Cartooned/Cartoon War: Matt Morgan and the American Civil War in Fun and Frank Leslie's Illustrated Newspaper," Victorian Periodicals Review 36 (Summer 2003), 153-81.
26. Elizabeth Hepworth Dixon, As I Knew Them: Sketches of People I Have Met Along the Way (London: Hutchinson, 1930), 69.
27. G. H. Bernasconi, a Birmingham cartoonist who shared a studio with Morgan when he worked on Tomahawk, attributed Morgan's departure to America to the fact that he had "incurred the displeasure of certain exalted personages moving in the highest social ranks." Notes and Queries Ser.2, VIII, 53. Presumably Queen Victoria was not amused by Tomahawk, but it was in no sense republican - quite the contrary - and its other staff members remained in Britain and prospered. His American family was apparently encouraged to think of him as having been exiled.
28. "Arthur Penn" (Brander Matthews), "The Growth of Caricature," The Critic (25 February 1882), 49.
29. Brown, Beyond the Lines, 61.
30. J. C. Goldsmith, an editor of Leslie's in the early 1870s, confirms this view: Charles F. Wingate, Views and Interviews on Journalism (New York: F. R. Paterson, 1875), 104-50.
31. Julian Treuherz, Hard Times: Social Realism in Victorian Art (London: Lund Humphries, 1987), 119-20.
32. Mary C. Cowling, The Artist as Anthropologist: The Representation of Character and Type in Victorian Art (Cambridge: Cambridge University Press, 1989);
33. L. P. Curtis Jr., Apes and Angels: The Irishman in Victorian Character (Washington, D. C.: Smithsonian Institution Press, 1971).
34. Brown, Beyond the Lines, 274 n.65. I agree with Kemnitz that Morgan's Irish monsters in Tomahawk were Gothic representations of Fenian terrorism.
35. Thomas M. Kemnitz, "Matt Morgan of Tomahawk and English Cartooning, 1867-70," Victorian Studies 19 (September, 1975): 15-17, 5-34.
36. Stern, Purple Passion, 63-4, 206.
37. Morgan's most successful theater production was a series of tableaux vivants representing celebrated paintings of nude women. It encountered the opposition of Anthony Comstock on the grounds of obscenity, which Morgan vigorously rejected in the sacred name of art. Jack W. McCullough, Living Pictures on the New York Stage (Ann Arbor: UMI Research Press, 1984), 75. As "Matt Morgan's Living Pictures" the tableaux successfully toured the U. S. for several years.
38. William Allison, My Kingdom for a Horse (London: Grant Richards, 1919), 285, 288.
39. Christopher Kent, "Spectacular History as an Ocular Discipline," Wide Angle 18 (1996), 1-21.
40. Simon Houfe, The Dictionary of British Book Illustrators and Caricaturists, 1800-1914 (Woodbridge, Suffolk: Antique Collectors Club, 1978), 394.