Among the irregular contributors with just a single Mad byline to their credit are Charles M. Schulz, Chevy Chase, " Weird Al " Yankovic, Andy Griffith, Will Eisner, Kevin Smith, J. Fred Muggs, Boris Vallejo, Sir John Tenniel, Jean Shepherd, Winona Ryder, Jimmy Kimmel, Jason Alexander, Walt Kelly, Rep. Barney Frank, Tom Wolfe, Steve Allen, Jim Lee, Jules Feiffer, Donald Knuth and Richard Nixon, who remains the only President credited with " writing " a Mad article.

He did so then as the author of a new serial fiction, the Gordian Knot, in January 1858 ; but this work, although illustrated by John Tenniel, and consisting of twelve numbers only, remained unfinished for upwards of two years.

By 1878 he was named the " cartoon junior ", second only to John Tenniel.

Early tributes as to what Tenniel in his role as a national observer meant to the British nation around the time of his death came in as high praise ; in 1914 New York Tribune journalist George W. Smalley referred to John Tenniel as “ one of the greatest intellectual forces of his time, ( who ) understood social laws and political energies .”

Sir John Tenniel is also the author of one of the mosaics, Leonardo da Vinci, in the South Court in the Victoria and Albert Museum ; while his highly stippled watercolour drawings appeared from time to time in the exhibitions of the Royal Institute of Painters in Water Colours, of which he had been elected a member in 1874.

It has been suggested in a biography by Carroll's nephew, Stuart Dodgson Collingwood, that one of the reasons for this suppression was due to the suggestion of his illustrator, John Tenniel.

Lewis Carroll's Alice's Adventures in Wonderland, illustrated by John Tenniel in 1866 was one of the first highly successful entertainment books for children.

Among these was Aesop's fables: a new version, chiefly from original sources ( 1848 ) by Thomas James, ' with more than one hunded illustrations designed by John Tenniel '.

Accounts of Martin ’ s evening parties reveal an astonishing array of thinkers, eccentrics and social movers ; one witness was a very young John Tenniel — later illustrator of Lewis Carroll ’ s work — who was heavily influenced by Martin and who was a close friend of his children.

Tenniel executed 2, 165 separate cartoons for Punch, a liberal and politically active publication that took full advantage of the Victorian time ’ s mood for want of liberal social changes ; thus Tenniel, in his cartoons, represented for years the conscience of the British people.

The restlessness of the Victorian period ’ s issues of working class radicalism, labor, war, economy, and other national themes were the targets of Punch, which in turn commanded the nature of Tenniel ’ s subjects.

Such anthropomorphic portrayals of animals were very popular in Victorian England and were often found in prints, on greeting cards and in satirical illustrations such as those of John Tenniel.

Sir John Tenniel ( Bayswater, London, 28 February 1820 – 25 February 1914 ) was a British illustrator, graphic humourist and political cartoonist whose work was prominent during the second half of England ’ s 19th century.

Tenniel is most noted for two major accomplishments: he was the principal political cartoonist for England ’ s Punch magazine for over 50 years, and he was the artist who illustrated Lewis Carroll ’ s Alice ’ s Adventures in Wonderland and Through the Looking-Glass.

Inspired by classic English illustrators such as E H Shepard, Tenniel Arthur Rackham, Ambrus chose to make his way to England, recognising that it would be a good place to continue his study of illustration.

Tenniel is considered important to the study of that period ’ s social, literary, and art histories.

As the influential result of his position as the chief cartoon artist for Punch ( published 1841 – 1992, 1996 – 2002 ), John Tenniel, through satirical, often radical and at times vitriolic images of the world, for five decades was and remained Great Britain ’ s steadfast social witness to the sweeping national changes in that nation ’ s moment of political and social reform.

When examined separately from the book illustrations he did over time, Tenniel ’ s work at Punch alone, expressing decades of editorial viewpoints, often controversial and socially sensitive, was created to ultimately echo the voices of the British public, and is in itself massive.

Despite the thousands of political cartoons and hundreds of illustrative works attributed to him, a measurable amount of Tenniel ’ s fame comes specifically from his work as the illustrator of Alice.

To establish his place within the Alice canon, Tenniel drew ninety-two drawings for Lewis Carroll ’ s Alice ’ s Adventures in Wonderland ( London: Macmillan, 1865 ) and Through the Looking-Glass and What Alice Found There ( London: Macmillan, 1871 ).

With such a reputation seemingly firm and in place for both Punch and Tenniel, it would stand to reason that the artist ’ s public status attracted high levels of attention and notoriety from his peers and the public ; Carroll, a regular reader of Punch, knew, of course, of Tenniel.

Because his task was to construct the wilful choices of his Punch editors, who probably took their cue from The Times and would have felt the suggestions of political tensions from Parliament as well, Tenniel ’ s work, as was its design, could be scathing in effect.

Famous illustrators for British editions include: Arthur Boyd Houghton, John Tenniel, John Everett Millais and George John Pinwell for Dalziel's Illustrated Arabian Nights Entertainments, published in 1865 ; Walter Crane for Aladdin's Picture Book ( 1876 ); Albert Letchford for the 1897 edition of Burton ’ s translation ; Edmund Dulac for Stories from the Arabian Nights ( 1907 ), Princess Badoura ( 1913 ) and Sindbad the Sailor & Other Tales from the Arabian Nights ( 1914 ).

Why should primers not have pictures that widen rather than narrow the associative richness the children give to the words they illustrate — drawings like those of the wonderfully imaginative geniuses among children ’ s illustrators, Tenniel, Howard Pyle, " Seuss ", Walt Disney?

Artists who published in Punch during the 1840s and 50s included John Leech, Richard Doyle, John Tenniel and Charles Keene.

He turned to cartoonist John Tenniel, who was known for his regular contributions to the satirical magazine Punch ( published 1841 – 1992, 1996 – 2002 ).

The British humorous magazine Punch, which was founded in 1841 riding on the earlier success of Cruikshank's Comic Almanac ( 1827 – 1840 ), employed an uninterrupted run of high-quality comic illustrators, including Sir John Tenniel, the Dalziel Brothers and Georges du Maurier, into the 20th century.

Randolph Caldecott, Walter Crane, Kate Greenaway, John Tenniel, Aubrey Beardsley, Roger Hargreaves, Arthur Rackham, John Leech, George Cruikshank and Beatrix Potter were notable book illustrators.

" DiTerlizzi was influenced by artists such as Hieronymus Bosch and Leonardo da Vinci to early 1900s magazine artists ( Maxfield Parrish, Heinrich Kley ) to classic children's book illustrators ( Arthur Rackham, Ernest Shepard, John Tenniel ) to offbeat modern fantastists ( Brian Froud, Moebius, William Stout, Jim Henson ).

Punch historian M. H. Spielmann, who knew Tenniel, understood that the political clout contained in his Punch cartoons was capable of “ swaying parties and people, too … ( the cartoons ) exercised great influence ” on the ideas of popular reform skirting throughout the British public.

On 27 February 1914, two days after his death, the Daily Graphic recalled Tenniel: " He had an influence on the political feeling of this time which is hardly measurable … While Tenniel was drawing them ( his subjects ), we always looked to the Punch cartoon to crystallize the national and international situation, and the popular feeling about it — and never looked in vain.

Justice, a print by Sir John Tenniel in an September issue of Punch ( magazine ) | Punch.

Leopold married the sister of John Tenniel, later famous as the cartoonist of Punch and illustrator of Alice's Adventures in Wonderland.

The first such honour ever bequeathed on an illustrator or cartoonist, his fellows saw his knighting coming as gratitude for “ raising what had been a fairly lowly profession to an unprecedented level of respectability .” With knighthood, Tenniel elevated the social status of the black and white illustrator, and sparked a new sense of recognition of and occupational honour to his lifelong profession.

* 1820 – John Tenniel, English illustrator ( d. 1914 )

In 1840 Tenniel, while practicing fencing with his father, received a serious wound in his eye from his father's foil, which had accidentally lost its protective tip.

Over the years Tenniel gradually lost sight in his right eye ; he never told his father of the severity of the wound, as he did not wish to upset his father to any greater degree than he had been.

In 1865 Tenniel, after considerable talks with Carroll, illustrated the first edition of Alice's Adventures in Wonderland.

MS Eng 718. 6 ( 12 ) Tenniel, John, Sir, 1820-1914.

The first print run of 2, 000 was shelved because Tenniel objected to the print quality.

After the Carroll projects were finished, Tenniel did virtually no such work after 1872.

Carroll did at some later time approached Tenniel again to undertake another project for him.

In his career Tenniel contributed around 2, 300 cartoons, innumerable minor drawings, double-page cartoons for Punch's Almanac and other special numbers, and 250 designs for Punch's Pocket-books.

An ultimate tribute came to an elderly Tenniel as he was honored as a living national treasure and for his public service was knighted in 1893 by Queen Victoria.

When he retired in January 1901, Tenniel was honoured with a farewell banquet ( 12 June ), at which AJ Balfour, then Leader of the House of Commons, presided.