Thomas Townsend Bucknill
Publication date (printed above the picture): 10 May 1900
Caption below picture: 'Tommy'
VANITY FAIR Cartoon: JUDGES #56. BUCKNILL Thomas Townsend: In wig. Gown. By Spy. 'Tommy'. Counsel in Royal College of Physicians. Practicing at Epsom. Coloured. Overall size c. 8x14 ins.
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|Text of the original biographical notes accompanying the cartoon:|
MR. JUSTICE BUCKNILL.
THOMAS TOWNSEND BUCKNILL became the second son of one of Her Majesty's Visitors in Lunacy just five-and-fifty years ago; so that he is still quite a young Judge. He was a Westminster boy who was called to the Bar at three-and-twenty, and began to practise in the Admiralty Court. There at one time he shared with the present Mr. Justice Barnes the bulk of the junior practice: and when the two took silk and Mr. Barnes took most of the practice within the Bar, he rightly determined to work in the Queen's Bench and to lead the Western Circuit. Without being great in either direction, he was a sound lawyer and a good advocate; while few barristers have been so generally or deservedly popular with the Bench or the profession. He lives at Epsom, and when there happened a vacancy in that division he was chosen to fill it; and he only left the House for the Bench. He was once standing Counsel to the Royal College of Physicians, and he has been a Recorder. He is a good all-round sportsman who never did or said an unkind thing. But he has been guilty of several legal works. He is a good-tempered, capable, hard-working Judge, in whom is no fault unless it be the exuberance of his good nature.
DATE PRINTED: 10 May 1900 (this date is printed above the picture)
|IMAGE SIZE: Approx 31 x 18.5cm, 12 x 7.25 inches|
PROVENANCE: Vanity Fair magazine
TYPE: A genuine original coloured (color) Lithograph.
VERSO: There is nothing printed on the back, which is plain.
CONDITION: Good; suitable for framing. A copy of the original biographical notes, published as a separate text page, will be supplied with the print. Virtually all antiquarian maps and prints are subject to some normal aging due to use and time which is not obtrusive unless otherwise stated. I offer a no questions asked return policy - see below.
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AUTHENTICITY: This is a genuine, authentic, antiquarian/historic print, published at the date stated above. I do not offer reproductions. It is not a modern copy.
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RETURNS POLICY: I offer a no questions returns policy. All I ask is that you pay return shipping and mail back to me in original condition, suitably packed & insured, within 7 days of receipt.
About Vanity Fair Lithographs
Also known as 'Spy' Cartoons
Vanity Fair was a weekly magazine published in London which was founded & edited by Thomas Gibson Bowles. His aim was to expose to contemporary vanities of Victorian society. From 1868 to 1914, full page colour lithographs appeared in most issues, both lampooning and lauding their subjects which included artists, athletes, royalty, politicians, scientists, authors, actors, sportsmen, lawyers, diplomats, soldiers, clergy, scholars & other celebrities of the day. More than two thousand of these images appeared, and they are considered the chief cultural legacy of the magazine, forming a pictorial record of the period.
They are renowned throughout the world and highly collectible. They range in price from around $20 up to several hundred for the scarcer & more sought after subjects. Best known and most remembered for its colour caricatures, over 2300 were published in Vanity Fair during its nearly half century in print, from 1868 until 1914. Famous artists contributed to Vanity Fair, typically under pen names.
The best remembered today is Leslie WARD (1851-1922), who signed his works as Spy, and whose caricatures account for well over half of those featured in Vanity Fair. So famous have these fabulous prints become, Vanity Fair caricatures today often are referred to and recognised immediately simply as Spy Cartoons. 'Spy', his nom de crayon, referred to his frequently used method of observing his victims secretly or from a distance for example at the racecourse, in the law courts, in church, in the university lecture theatre, or in the lobby of the Houses of Parliament.
Whether drawn by Ward himself or another of the Vanity Fair artists, such as Carlo PELLEGRINI, aka 'Singe' and 'Ape' (whose work is regarded by many as technically and artisitically superior), all caricatures from this exceptional and unique publication have become prized collectibles. They are embodiments epitomising British society during the Empire's most glorious years.
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