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Tenniel and 2
The first print run of 2, 000 was shelved because Tenniel objected to the print quality.
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.
* Tenniel Evans as Perce ( Series 2 – 4 )

Tenniel and cartoons
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.
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.

Tenniel and for
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.
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.
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.
Carroll did at some later time approached Tenniel again to undertake another project for him.
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.
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.
Image: TheJabberwocky. jpg | The Jabberwock, as illustrated by John Tenniel for Lewis Carroll's Through the Looking-Glass, including the poem " Jabberwocky ".
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.
The Jabberwock, as illustrated by John Tenniel for Lewis Carroll's Through the Looking Glass, including the poem " Jabberwocky ".
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 ).

Tenniel and Punch
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.
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.
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.
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.
Tenniel became not only one of Victorian England s most published illustrators, but as a Punch cartoonist he became one of the “ supreme social observers ” of British society, and an integral component of a powerful journalistic force.
Artists who published in Punch during the 1840s and 50s included John Leech, Richard Doyle, John Tenniel and Charles Keene.
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.
He turned to cartoonist John Tenniel, who was known for his regular contributions to the satirical magazine Punch ( published 1841 – 1992, 1996 – 2002 ).
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.

Tenniel and publication
He added his own illustrations but approached John Tenniel to illustrate the book for publication, telling him that the story had been well liked by children.

Tenniel and took
Tenniel himself did not think highly of his work there and took the opportunity to redraw some in the revised edition of 1884, which also used pictures by Ernest Henry Griset and Harrison Weir.

Tenniel and full
The series was praised for its artwork, by Carol Lay, for its close emulation of the work of John R. Neill and John Tenniel, but the story, scripted by Joey Cavalieri was seen by many to be too close to the plot of Ozma of Oz to reach its full potential.

Tenniel and Victorian
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.

Tenniel and time
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.
The actor Tenniel Evans taught English and drama there for a short time in the early 1950s before returning to theatre.

Tenniel and
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 considered important to the study of that period s social, literary, and art histories.
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?
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 and ;
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.
Alice steps Through the Looking-Glass | through the looking-glass ; illustration by Sir John Tenniel
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.
The Tenniel illustration of the Mock Turtle specifically depicts it as a collection of creatures that make up the ingredients of mock turtle soup ; they are not random.
The The Hatter | Mad Hatter's tea party ; illustration by Sir John Tenniel
Tweedledum and Tweedledee ; illustration by Sir John Tenniel
The March Hare ; illustration by Sir John Tenniel
The often-displeased Queen of Hearts ( Alice's Adventures in Wonderland ) | Queen of Hearts ; illustration by Sir John Tenniel
Alice picks up the White King ( Through the Looking-Glass ) | White King ; illustration by Sir John Tenniel.
Alice discovers a Through the Looking-Glass | reflected, alternate world ; illustration by Sir John Tenniel.
The Gryphon ( Alice's Adventures in Wonderland ) | Gryphon ; illustration by Sir John Tenniel
The original illustration by John Tenniel at right, is something of a visual paradox ; the caterpillar's human face appears to be formed from the head and legs of a more realistic caterpillar.

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