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

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.

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.

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.

A Bayswater street, Tenniel Close, near his former studio, is named after him.

The Annotated Alice is a work by Martin Gardner incorporating the text of Lewis Carroll's major tales: Alice's Adventures in Wonderland and Through the Looking-Glass as well as the original illustrations by John Tenniel.

Sir John Tenniel is reported to have come to Oxford especially to sketch him for his illustrations.

He is first seen as Alice's soft toy, then becomes something that resembles a shriveled version of the John Tenniel illustration.

The description and drawing by John Tenniel gives comedic value to the Mock Turtle, as he is clearly an assemblage of creatures, therefore not a real turtle as his name rightly suggests.

Also, the fat man at right is taken from a trumpeter in another illustration by Tenniel, for John Milton's " L ' Allegro ".

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.

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.

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.

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.

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.

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.

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 ).

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 other major contributors were John Rogers Herbert, finishing in 1864 but having had some commissions cancelled, Charles West Cope who worked until 1869, Edward Matthew Ward until 1874, Edward Armitage, George Frederic Watts, John Callcott Horsley, John Tenniel and Daniel Maclise.

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.

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

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.

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.

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.

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 '.

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 ).

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.

Cards following Jaques's original designs, with grotesque illustrations possibly by Sir John Tenniel ( there was no official credit ), are still being made.

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.

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.

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 .”

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