THE PHIL MAY ALBUM "F^.L KA/ ^1

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ÎIIBRARYO/ ,,\WEl)NIVERV, -^tllBRARYO-: '^ %0JI1VJJ0'^ <ri]3DNVS01^ "^/iaJAINrt-JW^-' ^WJIWOJO"*^ -^ ^lOSANCElfj> ÔFCAllFOft^ ÔFCAllFOfi' 'Or ÔFCA1IFO% ,^\\EUNIVERi•/A v»,lOSANCElij> -n o O-n SO I :5 ,—»> I. £;. ^(?AHVH^^•^^^ •^TilJONVSOV^ "^^/iaJAiNnjwv^ >&AK\''H:inY<*> ^^û;liRARVQ<: \<S\. UNI\ [B.J/^_ ÎQi tîXdS.^ ÎtlBRARY/?/- ^VllBRARYQr .W.tUMVtKVA '^ 1^ THE PHIL MAY ALBUM "f^.L KA/ ^1 BLOWING A CLOUD THE PHIL MAY ALBUM COLLECTED BY AUGUSTUS M. MOORE HETHUEN & CO. 36 ESSEX STREET, W.C. LONDON 1900 EDMUND EVANS PRINTER RACQUET COURT FLEET STREET CONTENTS PAGR PAGK BLOWING A CLOUD . 2 WOMANLY 43 INTRODUCTION 7 ON THE BRAIN: MR. ARTHUR THE LEGITIMATE . 17 ROBERTS 44 A QUESTION OF HOSE 18 OUR CLIM.\TE 15 FALLEN GREATNESS . 19 ON THE BRAIN: SIR GEORGE "NOT GOLDEN, BUT GILDED 20 NEWNES 46 THE TEMPTATION OF ANTHONY 21 CHEEK 47 ON THE BRAIN: THE QUEEN ANI ON THE BRALN : Sn< GEORGE DIBBS 48 MRS. MARTHA RICKS . 22 INFORM.VnON WANTED ... 49 FATE! 23 ON THE BRAIN: MR. HORACE ON THE BRAIN : H.R.H. AND STIG SEDGER 50 GINS 24 FRENCH, AS SHE IS SPOKE . 51 THE NOBLE ART . 25 ON THE BRAIN: THE MARQUIS OF ON THE BRAIN: H.R.H. THE DUKE QUEENSBERRY 52 OF CAMBRIDGE 26 HARD LINES 53 PRO BONO PUBLICO . 27 ON THE BRAIN: MR. W. T. STEAD. 54 ON THE BRAIN : THE DUKE OF I MUTUAL CONSIDERATION ... 55 : FIFE 28 ! ON THE BRAIN MR. WILLIAM ACCOMMODATING . 29 MORRIS 56 ON THE BRAIN : THE GERMAN LiRITONS IN PARIS .... 57 EMPEROR .... 3° ON THE BRAIN : SIR HENRY PARKES 58 AT A PROVINCIAL BANQUET 3' READY FOR THE BALL ... 59 ON THE BRAIN: THE DUG D'ORLEANS 32 ON THE BRAIN: THE MARQUIS OF ALL THE DIFFERENCE 33 DUFFERIN AND AVA ... 60 61 THREE MEN IN A BOOT . 34 BEFORE HIS FRIENDS .... A FRIEND IN NEED . 35 ON THE BRAIN: SIR AUGUSTUS • LIKE A BIRD .... 35 HARRIS . 62 ON THE BRAIN : MRS. ANNIE BESANT 36 SAINTLY POLITENESS .... 63 AN UPRIGHT COURSE . 37 ON THE BRAIN : SIR EDWARD ON THE BRAIN : MR. HENRY GEORGE 38 L.\WSON 64 A BENEVOLENT CONNOISSEUR 39 "OH, LISTEN TO MY TALE OF 'WO'" 65 ON THE liRAIN : SIR CHARLES EWAN ON THE BRAIN : MR. RUDYARD S.MITH 40 KIPLING 66 ON THE SANDS 41 THE NEW JEW 67 ON THE BRAIN: MR. GEuRGE GROS STREET COMPLIMENTS ... 67 t.MITH 42 DEDUCTION .67 CONTENTS ON THE BRAIN: SIR WILLIAM V. ON THE BRAIN: SIR J. BLUNDELL HARCOURT, M.P 68 MAPLE, M.P 92 THE VICTIM OF CIRCUMSTANCES . 69 FORCE OF HABIT 93 ON THE BRAIN : M. ERNEST RENAN 70 ON THE BRAIN: MR. ALBERT CHE- A PAIR . OF SOILED KIDS , . 71 VALIER 94 LIP 71 THE UNKINDEST CUT. ... 95 ON THE BRAIN : LORD RANDOLPH DOUBLE SIGHT 95 CHURCHILL 72 PUTTING IT PLAINLY .... 95 THE CAPE MAIL 73 BRIDGET 95 ON THE BRAIN : LORD RUSSELL OF M. JAQUES 96 KILLOWEN 74 OBVIOUS 97 LIMITED 75 MONSIEUR SARDOU .... 98 ON THE BRAIN : MR. H. M. STANLEY 76 PLEASANT MEMORIES .... 99 INFORMATION 77 ADVICE 99 ON THE BRAIN : LORD ALINGTON . 78 A SONG AND A SINGER ... 99 INQUISITIVE 79 ON THE BRAIN : MR. BEERBOHM A HOWLING SWELL .... 79 TREE 100 RT. ON THE BRAIN: HON. A. J. A NASTY ONE loi BALFOUR, M.P 80 ON THE BRAIN : GENERAL BOOTH 102 AN IDLE FELLOW . 81 THE ACCENT ON THE PEG . 103 THE BRAIN: ON MADAME ADELINA A RECOMMENDATION . ... 103 PATTI 82 PICKSOME 103 A GOOD PLACE . , . 83 ON THE BRAIN: AN EX-LORD MAYOR 104 POODLES 83 THE WRONG SHOP . .105 A PLEASANT PROSPECT ... 83 ON THE BRAIN : MR. G. A. SALA . 106 ON THE BRAIN: RIGHT HON. W. E. BAKERS' STRIKE . .107 GLADSTONE 84 GOING THE PACE 107 ON THE SANDS 85 A POSER FOR GRAN'PA . , .107 ON THE BRAIN: THE RIGHT HON. A PRIOR ENGAGEMENT . .107 JOSEPH CHAMBERLAIN, M.P. 86 THE NORTH POLE . .108 REALISM 87 SUGGESTIVE 109 ON THE BRAIN : M EMILE ZOLA . 88 LEG-ISLATION . no AT THE RIDING SCHOOL . 8y INTELLIGENCE DEPARTMENT . in ON THE BRAIN: LORD TENNVSON 90 THE CONSUMING PASSION . m NO CHANCE 91 THE DOWN TRAIN . m A FACT 91 A DISTINCTION n, A PROMINKNT FEATURK . 91 ON THE BRAIN: MR. PUNCH . 112 — PHIL MAY AND HIS ART AND now, Mr. Whistler, what about Black and White Art?" said an interviewer. "Black and White Art," said Mr. Whistler, "is summed up in two words Phil May!" Nor is this merely a New School of Art paradox. It is one which is held by artists of all grades alike, and even by the art editor who professes to know and supply what the public likes. That a youth who nevêr had a lesson in drawing in his life should have earned such a reputation between the ages of seventeen and thirty, and should have gone above men as honoured in their profession as Sir John Tenniel and Mr. George du Maurier, and on a level with Charles Keene, Mr. Abbey and Mr. Gibson, is enough to make Mi*- May's art extremely interesting. But his art is not nearly so instructive as Mr. May himself; he is a human document to the hand of the realist, and the student of heredity— if ever there was one. He has been interviewed in a sketchy fashion by the journalistic Mrs. Mangnall innumerable times; the high-art magazines have added him to their lists of " Our Gra[)hic Humorists, ' " Black " and White Artists, ' and How Caricaturists Draw." The 7 s INTRODUCTION world is familiar with his own grotesque sketches of himself, and, whether he is attired in riding breeches, a straw hat perched on the back of his head, as he drives a coster's cart, or is being flung out of a cab, his long cigar and his hair cut in a bang straight across his forehead, are unchangeable and unmistakeable. The public no doubt thinks that this is only one of Phil May's jokes at his own expense, for the bold Rabelaisian roundness of his humour suggests a man the very reverse of the lean and hungry Cassius. But Phil May's humour does not consist of making fat people thin, thin people fat, exaggerating features, putting big heads upon little legs, and such methods of distortion as we have so often seen resorted to. This we learn from a glance at his home, which is his studio life. Mr. May's artistic treasures are none of them the old masters of a millionaire, but purely personal household gods, each with a little story of a friendship, a reminiscence of hard-up times, or some personal taste. The volumes in the old oak book-case are not first editions, but they show a fine apprecia- tion for the best literature, and even the blue china is not wired and hung-up. The drawing-board seems to act as an address- book, and the grandfather's clock by the fireplace in its old age has given up making a nuisance of itself by repeating " For ever, never." The mantelpiece is peopled with little Japanese dolls, little bronzes and brasses, and figures carved in yellow ivory. These, with a few plaster casts of arms and legs which hang on the walls, a line of Japanese prints put around the ceiling " to try an effect," a few Japanese lanterns hanging from the roof, some Japanese lay-figures in armour standing round the walls, and a few sketches, are about all the — PHIL HAY AND HIS ART 9 decoration of this long sky-lit room. But most important of all is the index to as remarkable a story as was ever told by a successful man, a story which has never been told before. It is only an old mug. The substance is earthenware, the decoration obviously pseudo-oriental, and the design and glaze nothing marvellous. It clearly comes from the English potteries, but it has no mark, and it is certainly not Chelsea, Derby, Yarmouth, Bristol, Lowestoft, or any of the rarer and higher-priced wares. The hand of Wedgwood, Voyez, or Elers is not seen in its design, and, indeed, it is difficult precisely to locate its origin.

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