2.2,/I'~4[97_. 1392. U B:1Zs:L- DEf‘1c>cILr~:n- Q""“°IDnTz-: h-THE I932 Ge:-.,ntm_ E‘ E.'z.IL1t no-.. N.-m 23,82 very... M‘ P‘-’‘‘'’’‘' LIVED R7 RSI-n_9/ H¢L).$E gE.El-c‘ER.‘/ LR!-42:, Kg,D6_E' PH’ Km /.932 AN Old Langtonian, Wing Commander Sylvia Gibson, WRAF; of High Street, :Bridge, and Major Ian Fraser, of Cheltenham, were married at St Clement WHEN would-be journalist Edward Pentin puts pen ‘[0 paper, politicians are brought into line. But it's not what he writes that has them trem- bling in their parliamentary seats. The 21-year-old university student, from Bridge near Canterbury, has taken up cartooning. And although not yet a reporter, he certainly knows how to bring out the best or worst in his targets. His canvas caricatures would feel quite at home in the columns of Private Eye magazine. Michael Heseltine, for example, is depicted running for Tory party leadership and about to fall down a man- hole (sketched just after Mrs. Thatcher resigned). Government Chief Whip Richard Ryder, in Edward's Cartoonist Edward Penlin. LINE 0 Report by Matthew Presland eyes, uses a lassoo to keep his team on the straight and narrow. And John Major's beaming smile pre- sumably reflects his recent election vic- tory. But it is now not only politicians who face artistic distortion from Edward's pencil. The Archbishop of Canterbury, Dr. George Carey, with his broad taste in music, becomes a one—man band busker. Anneka Rice and Bruce Forsyth are also framed. Edward's hilarious hall of fame was inspired by a conversation he had with a strip canoonist friend three years ago. "He encouraged me to take it up," said Richard, a former pupil at King's School, Canterbury, who now attends Keele University, Staffordshire, where he is reading intemational relations. The name Edward Pentin has recently been heard in the corridors of power — but not because he is the son of Canterbury Tory group leader David Pcntin. A drawing showing the Government's Chief Whip and his team has winged its way to Downing Street. "I persuaded Herne Bay MP Roger Gale to hand this sketch in relum for an interview with John Major for the stu- dent magazine, which I edit," he said. "I'm still awaiting a reply." Mr. Gale may have thought that in helping Edward he would have been guaranteed immunity from his wicked pen — not so! "I drew Mr. Gale and sent the sketch to him for his binhday. I think he liked , .- ur.........'...-1.» Pnapr Gale. rnearchusjtop ofqmterbury — one in Running for Tory party leadership, Michael Ileselline. 11.". Asked if he is not being a touch too hard on his subjects, Edward replied: "I'm trying to exaggerate more, but it's quite hard." Before Edward can set pen to paper, he must seize two or three photographs of his victi.m. "I study these photos, starting with the basic shape of the face, their adding the peculiarities as I go along. ''I stick to a style all of my own. 1 don't copy other cartoonists." Friends believe Edward's talent could earn him a high—profile career and pots of money, but he remains keen to become a journalist. "III were to do this professionally, it would take the hobby out of it," he said. "I only do this for my own enjoyment. I suppose it's an extension of my interest in politics." - 3. -1!- ani band. _ and water transport as well as a former ...m our past. dapper Mr Frank Clayson and his wife (inset ,right) welcomed travellers to the Red Lion Inn dge in the early years of the century, when as well as motor transport were catered for. . ging is offered according to the painted adver- nt, as well as livery and bait (food) stabling. F. ‘ .n offered carriages for hire from the stables, travellers’ thirsts were quenched courtesy of is, the Faversham brewers. ‘ ;boat (far right) is The Pioneer, which worked 7 - on Faversham Creek from 1868 until 1929. The s courtesy of the Faversham Society. tstable High Street is featured in the picture which judging by the fashions dates from the Os. Bunting flutters in the breeze — perhaps regatta week. ‘pen car making its way merrily up the middle road is not locally registered — MC 4159 — and it may be a De Di0n,judging by the rear axle. ‘eone who would have known for sure was the "or of Root and Clarke, motor and cycle engineers, of Station Road, Heme Bay, featured in the "plfctttre below. - ' Singer, Raleigh and Humber cycles were sold and the company manufactured its own machines. _ ' One of the wagons passing in St Peter's Street, Canterbury, in the last picture was carrying hop pockets from Stodmarsh, and the other was transport- ing the finished product —- beer from Ash’s Dane John Brewery. The date was almost certainly 1901. ,All pictures apart from the tug boat Pioneer are from the collection of Neil Mattingly. and are available the Saunders series of postcard reprints. g inn feature in this spread of pictures A pint of. T eorge Cruikshank was the last of a line of brilliantly savage cari- caturists who flourished m 1760 to 1820. The greatest of se was Gillray but there was also rather gentler Rowlandson and lost of others including Sayers, ghton, Darley and George’s. 1er,lsaac. Born 200 years ago, George was uught up in his father’s studio — was cradled in caricature" — and mt by finishing some of the wings started by Gillray. He :d on until the 1870s, but he tnged direction and became a )k illustrator when the fashion of ling separate caricatures faded Cl publishers found it easier to sell moloks with pictures. The Dickens was glad that uikshank illustrated his first- ak. Sketches by Boz, while his wings in Oliver Twist of Oliver Ling for more and Fagin in the 1th cell are stored in the pictorial rmory of millions. But for me his best work is his rliest: the caricatures that he blished from 1810 to 1821. As wspapers in the late 1 8th century 1 not have illustrations, a flour- ling trade developed of shops ling separately printed carica- res covering the political issues of 2 day. These were etched by the tist on copper and about 1,000 pies were run off —— they were sold 7 sixpenoe plain and a shilling loured in about 20 shops in ntral London. H rowds used to gather out- side Hannah Hum— phreys’s famous shop in St James’s Street to see I: latest scurrilous attacks on the rig, Napoleon or the leading rliticians who came to be recog- sed by the public through their ricatures. Kenneth Baker celebrates the anarchic art of Geo e Cruikshank, master of political caricature The scourge fauthority THE TIMES SATURDAY OCTOBER 24 1992/ or! !r==1.5 , '7‘ m".'.»TI?A’§l’.:n.!’ V‘ m.l’$!f« H//l’3vCZ~::‘?:.9"" writ»? ;?m2lé;»tta _.7Ma£‘&%m2.’/.’t§£tfi¢ C ‘ . rqr ‘.,‘.-‘........ ~ t L An adulterous pair: Cruikshank’s scathing commentary on George IV’s hypocritical investigation of Queen Caroline’s infidelity was relished by the general public .r.... .....,.-....v.. uug vvwlvuvnu «r sixpence plain and a shilling vloured in about 20 shops in :ntral London. rowds used to gather out- side Hannah Hum- phreys’s famous shop in St James’s Street to see e latest scurrilous attacks on the ng, Napoleon or the leading Jliticians who came to be recog- sed by the public through their .rir'°tures. '( ie artists were all living close the breadline. They were paid 2 5 30 shillings for one caricature. At e height of his popularity, Cruik- ank managed to raise this to ree guineas. In order to live, they ld to produce a lot of etchings and me were openly for hire by the uliticians. As a boy of 15 during the closing tges of the Napoleonic war, eorge helped his father with rtoons attacking Napoleon. In ie, Napoleon, who had just been iled to Elba, sits not upon a rone, but a chamberpot; the nnon is made from his old boot; .d be has an enema busy under sarrn. Napoleon, too, knew the power the cartoon because he instructed ; minister of police to get carica- .ists to lampoon George III and .1. Both Cruikshank and Gillray the height of their powers had IL Litical influence. The art of caricature is to hold the oject up to ridicule through :tortion and exaggeration: bo- ns are large and overflowing; unches and bottoms burst 'ough breeches; the royal family s a drunken and immoral gang; d politicians either had their nds in other people's pockets or somebody else’s skirt. There is everence. sometimes anger, al- ys scorn, and all verging into arious anarchy. The great carica- ists have to rein in and focus the archic potential of their art. Professor Robert Patten in his excellent new book, George Cruikshank’s Life, Times and Art, Vol I 1792-1835, (Lutterworth Press, £35) puts it well: “in the caricaturists’ theatre each man and woman had a price; the exchange of power, money or sex becomes a quintessential transaction that ex- plains all that goes wrong.” In 1812, Isaac Cruikshank died of drink and by then Gillray had sunk into madness. At the age of 20, it was up to George to continue their great tradition. One of his favourite targets was the Prince Regent. In one cartoon, Cruik- shank used the newly invented bicycle in a splendid drawing to depict the Prince of Wales being ridden by his mistress, Lady Hert- ford. She is clearly in charge and the medallion around her neck is the George and Dragon. The Prince Regent tried to stop such caricatures by ordering the attomey-general to prosecute the artists. But, to their great credit, London juries did not convict. When he ascended the throne as George IV in 1820, he bought up whole issues of cartoons, including the copper plates. in order to destroy them. In 1819-20, the country was close to revolution. The govem- ment introduced the most draconi- an measures; Habeas Corpus had been suspended; political meetings were banned; a newspaper tax was An adulterous pair: Cruikshank’s scathing commentary on George IV’s hypocritical investigation of Queen Caroline’s infidelity he Dany of Sixy " a (left) and t ebom En .£p'..f.V3’Fc.war:l-;«» " _.,11m~J: 3' .'.,M.~» ..~;:é,/’;2mt”;ae mm j?aea..:.a_,g,;lk5,wVifl% W ;),a,¢L&% m ... ' j v ~. ' ' .‘f»?3i!:I2?.:' ".5224! £35: ' introduced to put the price of newspapers beyond the reach of ordinary people. Cruikshank re- sponded by producing his cartoon of a free born Englishman: John Bull emaciated, padlocked, mana- cled and ragged, clutches in his bound hands a paper saying Free- dom of the Press, as Magna Carta is trampled upon. The attomey- general said it was “an indecent caricature”. n the same year, Cruikshank joined William Hone, a radi- cal publisher, to produce the first popular political pam- phlet called “The Political House that Jack Built". Instead of copper etchings that had to be printed separately, Cruikshank used wood- en engravings that could be printed alongside Hone’s satirical poem. The pamphlet went to over 20 editions in six months and was called “gunpowder in boxwood”. One of the illustrations was the Dandy of Sixty, a man of vain pomposity where the Prince of Wales feathers are replaced by peacock feathers and, hanging among all his Orders is a corkscrew. King George was so appalled at these attacks that in June he paid Cruikshank E100 (nearly £4,400 today) to secure a pledge “not to caricature His Majesty in any immoral situation”. Cruikshank stuck precisely to those terms and was relished by the general public J only drew pictures of the king as a drunken debauchee. The situation changed, however, when Caroline, the Queen Consort, decided to return to England to claim her right to be queen. She had an Italian lover, who was her major domo, and she soon became a figure of fun. Cruikshank support- ed her cause. In his famous cartoon, George and Caroline are depicted in green bags (the green bags were equiva- lent to today’s red dispatch boxes). A commission had been set up to investigate the alleged adultery of Queen Caroline and the evidence had been submitted to Parliament in green bags. This caught the public’s imagination and it was not ,long before the wags claimed that when it came to adultery the king? bag would be much bigger than tl. queen’s. This superb cartoon of the two bags, with its pear—shaped figures, predates the cartoons of Philippon and Daumier by 30 years. By this time, Cruikshank was following his own father. Hone urged him not to spend so much time on “blue ruin and the dollies”. His successors, Doyle and Leech, didn’t have his bite, anger or vulgarity. The great age of carica- ture had ended, Punch was about to take over. The author, former home secretary, is MP for Mole Valley. Pictum:DEI?EA_’8T/NGBIIORE .luly‘l0; -' 9 Sarah blows in and joins the top brass ' YOUNG musician Sarah Field has a busy summer ahead after earning herself a place in the prestigious National Youth Brass Band of Great Britain. She has scaled such heights atjust 17, but her achieve- ment follows on from years of dedicated playing with the Canter- bury Youth Band and the KM Band (Medway). I It was not until she was nine that Sarah (pictured lefi) fi-om Bekesboume Road, Bridge, first played a brass instrument, but she soon became principal of the Can- terbury Youth Band. It took six months after re- plying to an appeal for new mem- bers before she was offered an audition with the national band. “It was quite exciting and I was a bit nervous,” she said. was offered a place and is now all set for a week-long course later this month, culminat- ing in concerts at York and Leeds. The opportunity fits in well with herGAi;evSe:lhw¢'f'lé at Simon Langton ir ’ oo anterbury, although she may have to give up her place with the Kent Youth Wind Orchestra. Sarah, who plays comet and saxophone, is hoping to go on to college to study music. But her first love is brass bands: “It’s such a mellow sound,” she said. “A nice, kind sound. 'l'here’s nothing else quite like it.”