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8/9/2019 Marie Duval
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Marie Duval
A Caricaturist Rediscovered
D VID KUNZLE
Feminist art historians are now aware of the ten-
dency to ascribe work done by a wife (or daughter)
to a professionally established husband (or father),
which
s
part of the larger phenomenon of the dis-
counting and dismemberment of the oeuvre of women
artists. Such is the case of Marie Duval (b. 1850 in
Paris a s Isabelle Emilie de Tessier), whose innumer-
able clearly signed and perhaps as many unsigned
drawings published between 1869 and 1878 enjoyed
considerable popularity. Much of her work at that
time, and almost a ll of
t after, has been misattributed
to her husband Charles Ross. Both were caricaturists
who worked both independently and together on Judy,
one of the most popular family humor magazines in
late-19th-century England.
The various disabilities which afflicted women in
pursuit of an artistic career are compounded in the
case of caricature, a more thoroughly male-dominated
profession even th an painting. Caricature, a s a major
branch of magazine illustration, provided a livelihood
for a large number of western European ar tist s during
the 19th century. All, with the exception of Marie Du-
val, seem to have been men. This is not hard to ex-
plain: Woman's nature was considered anti thet ical
to the aggressive polemical an d critical nature of so
much journalism in general and caricature in
particular.
An article by Peter Bailey on W.G. Baxter's Ally
Sloper (from 1884-86), the first truly popular cartoon
figure in England, recently appeared in History Work-
shop,1 a magazine which, ironically, carries the subtitle
a journal of socialist and feminist history. For, su-
perb as it is as a piece of social analysis, and con-
cerned as it is with Ally Sloper in his second,
post-Duval incarnation, Bailey's article serves unwit-
tingly to further wipe away, in the words of Duval's
first an d only chronicler, those faintly impressed foot-
prints on the sands of time 2 which women artists of
the past have left. It is apparently that tendency to
see women art ists as appendages to male innovators
rather than as innovators them~ elves , ~hich ha s con-
spired, in the present case, to wipe away not just
faintly impressed footprints, but the most conspic-
uously marked handprints-literally hundreds of
signatures.
The question of who is primarily responsible, Marie
Duval or Charles
H
Ross, for the figure of the origin
Ally Sloper a s he appeared in Ju dy between 1867 a
1876 is to be taken seriously. At s take here i s not on
credit for the development of the fi rst regular, contin
ing comic strip and cartoon character in England
enjoy, in the last quarter of the 19th century unpa
alleled popularity and at tain , thereby, a s Sloper d
the status of prototype for the new commercializ
popular culture. This would be merit enough, but w
must add to this another contribution relating to t
very language of caricature. It was Marie Duval rath
than Charles Ross who, through Ally Sloper and oth
drawings in Judy, experimented with and expand
this language in a direction which would eventua
transform graphics and picture-making in the 20
century.
Peter Bailey, hitherto the only serious student
Ally Sloper, without showing particular concern abo
the question of the authorship of the first Judy versi
of the character, is undecided: Charles Ross
w
the creator of the original Ally Sloper ; Ally Slop
was drawn in collaboration with his wife ; an d C.
Ross seems to have used his wife's initials as
a l i a ~ . ~ailey's source for this is presumably Sim
Houfe's Dictionary of British Book Illustra tors an
Caricaturists 1800-1914, where under Marie Duva
we find see C.H. Ross, and under Ross we read th
he generally signed 'Marie D ~ v a l . ' ~his is on t
author ity of the Dalziel brothers , whose Record
work 1840-1890 states that Ross's pages
humorous pictures, which appeared in Judy, we
generally signed 'Marie Duval' (his wife's maid
name).'16 Such a statement coming from the heads
the firm that engraved and owned Judy comman
credibility, but does not jibe with a cursory referen
by Ross's son, whose main purpose was to defend h
father's invention against its subsequent appropri
tion by the Dalziels. Char les Ross, Jr ., describes h
mother as co-author with h is father of an Ally Slop
book and (more significant) a s the only comic lad
artist of her day, whose nom-de-plume was 'Mar
D ~ v a l . ' ~
defender of Duval came forth in A.J . Wilson, wh
identifying himself as a former Punch engraver (
DuMaurier and Tenniel), wrote in 1927: Marie Duv
who invented Ally Sloper, was i ts [Judy's] mainsta
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Wom an s Art Journal
The drawings were excruciatingly bad, but the leg-
ends were always amusing, and they led up to the
establishment of Ally Sloper's Half-Holiday. Dalziel
reasserted hi s position promptly: Marie Duval is not
the inventor of tha t remarkable character. I a m fully
aware that the statement has been previously made
in print, but it is nonetheless incorrect. The inventor
of Ally Sloper was Charles H. Ross, Editor of Judy.
He goes on to identify, correctly, the first appearance
of the character and Ross's own confirmation in the
Ally Sloper Summer Number for 1885. The invention
of the character should not be in dispute, but Dalziel
goes on to suggest th at Ross claimed ownership of his
entire development: Moreover, for many years I met
Charles H. Ross practically every day of the week,
and I never heard him speak to the contrary. All the
drawings i n the above-mentioned subject ar e plainly
signed 'C.H.R. ' In a patent contradiction, an d an odd
admission of less th an complete certainty on the topic,
Dalziel continues th at Ross no doubt availed himself
of her [Duval's] artistic tendency in helping him with
his 'Sloper' drawings. Often these would be signed
either 'M.D.' or 'Marie Duval'; but they were in reality
the creations of Ross hi m~ el f. ~hatever claims Ross
may have voiced, Dalziel's memory of the matter may
have been clouded by the quarrel the two men had
later over the use of the character in Ally Sloper's
Half-Holiday. It is possible, too, that Ross became es-
tranged from his wife. There are few biographical de-
tails extant on either Duval or Ross.
Conclusive evidence of Marie Duval a s a n indepen-
dent artist with responsibility for Ally Sloper can be
found in Ellen Clayton's English Female Artists
(1876).yClayton, an artist, novelist, and anthologist,
was herself a contributor to Judy and in a position
to know Marie Duval personally. Duval appears in a
short section called Humorous Designers, which con-
tains brief reports of three other women, herself in-
cluded, none of whom, apart from Duval, is counted
as truly humorous or comic (as opposed to witty). This
does not surprise Clayton, who holds that wit is the
female attribute, humour (tending to coarseness), the
male one. Duval's style is contrasted to that of her
sister-artist on Judy, Adelaide Claxton, from whose
hand came graceful an d witty upper-class subjects.
Marie Duval, we learn, is the nome d'artis te of a
clever lady born Isabelle Emilie de Tessier in Par is
of French parents twenty-five years ago (i.e., about
1850). She was a t age 17 a governess (presumably in
England, which employed a lot of French governesses)
and appeared on the stage of several London and pro-
vincial theaters until 1874, when, in the course of a
successful tour featuring the play Jack Sheppard, she
suffered a serious accident which (we infer) curtailed
her career as an actress. The circumstances of the
accident are curious, especially in relation to a young
woman who had already established herself in the
very male career of caricaturist: in the title role of
Jack Sheppard, a criminal an d escape artist an d thus
a quintessentially male character, she was desperately
fleeing on a rope-ladder from Jonathan Wild, the thief-
taker, when a cartridge clumsily shot from his gun
hit her in the face, causing her to fall and gash her
leg on an iron scenery support. The performance was
suspended and the stricken actress taken to a hot
where she was stitched by a surgeon. As a fellow
actor testified, she bore the operation bravely, li
Jack would have done. 10
She ha d meanwhile (presumably 1869) marrie
Charles Ross, who would have met her through h
own work in the theater. At the time of her intervie
with Clayton, she is credited with having drawn f
three or four English, French, and German journal
and illustrated several books under different pseu
o n y m ~ . ~ ~er work on the Ally Sloper character w
the most familiar to the public. Nothing could
more irresistibly droll than 'Ally Sloper,' absurd
comic, with a n undercurrent of serious reflection, som
times with a touch of strange pathos, wrote Clayto
Ally himself has become a pronounced character,
familiar friend, like Micawber, and a few other terrib
old schemers. She continued, primly, as was de
gueur in such a case: Austere morality forbids a
proval of the villainies and subterfuges of the dro
old scamp, yet somehow a smile will relax the featur
of Just ice herself, where a frown should mark disple
sure and discouragement. Duval's drawing (put
quotes in the original, as if the very word was ina
propriate) was humorous to the point of grotesqu
ness and downright incorrect, which Clayto
forgives because the artist was self-taught. She w
also passionately fond of music, which she playe
easily, but by ear. In this description of her busy an
changeful life there is no mention of her marriag
or a husband, or the name of Ross. This omission
especially curious since Clayton paid close attentio
to the marital status of the women she chronicled
English Female Artists, and suggests that the coup
was separated at the time of the interview. Neverth
less, their collaboration continued for another sever
years.
Charles H. Ross, dramatist, novelist, illustrator, an
former civil servant, has about 50 different indepe
dent works credited to h is name in the British Libra
catalogue, none of which are plays. From 1863 to 186
when he joined the new magazine Judy, Ross wro
some half dozen children's books with nonsen
rhymes a nd pictures and two novels, all of which ha
numerous illustrations signed
CHR.I4Ally Sloper w
conceived by accident, with doodled lines and blot
while Ross was working as a clerk at the Admiralty
The name is well-chosen: to slope in British slan
of the period meant to abscond without paying, esp
cially the rent ( slope down the alley ). Ally first tro
the boards in the form he was basically to retain a
his years-elderly an d gangly, bald, dishevele
with a bulbous potato nose, often flushed as wi
drink. His two sartorial hallmarks, which were almo
characters in themselves with adventures of their ow
were a bizarre an d battered stove-pipe ha t and an ou
rageous umbrella. The degraded symbols of bourgeo
respectability, they become, on the head and in t
hand of Sloper, symbols of disreputability. Ally s
irized the Victorian work ethic: ' his adventures we
directed at a lower-middle-class audience who value
the work ethic highly and felt frustrated to see
flouted everywhere with impunity. He exposed t
petty frauds of the service sector, where the lowe
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28 Woman s Art Journal
middle class was concentrated, and allowed them to
vent forbidden fantasies-all this in an otherwise per-
fectly respectable family journal.
Ally first appeared in Judy in 1867, the year of its
founding as a cheap (two penny) rival to Punch and
Fun. Judy appealed more to a lower-class readrship than
either of its r ivals, and particularly to women.
At least two of the staff cartoonists were women. In
a populist opening editorial, Judy spoke to a platform
marked Protection (not Rights ) of Women. It s fem-
inism was not political but social, and favored a type
of cartoon showing witty and poised young females
fending off conceited and impudent or foolish men.
Jo hn Stuart Mill's On the Subjection of Women was
published in 1867, an d the Second Reform Bill, which
almost doubled the male franchise, was passed that
year. In 1867 Judy's publishers promised special de-
votion to the weak and helpless an d a working
class whose very existence as a distinct class was
threatening to a lower-middle class perched precar-
iously above it. The audience was fluid, restless, and
uncertain of its identity, a mixture of lower-middle
and upper-working classes, more anxious, in all prob-
ability, to leave the working class tha n identify with
it. I n terms of party politics, Ju dy campaigned forth-
rightly for Conservatism of the Truest and Bluest ;
Disraeli was a hero, Gladstone, a villain. The new
magazine, in the arrogance of its youth, even accused
Punch of a senile lack of traditional patr iotism.
But Judy, whose enlarged audience depended on ad-
vances in education among the lower classes, was a
fierce champion of the Compulsory Education Bill of
1870, the first nat ional act dealing with primary ed-
ucation. The children who benefited from this would
become readers of Judy (and her even more popular
and cheaper-one
~enny-offspring in the 1880s, Ally
Sloper's Half-Holiday). They would also, thanks to labor
agitation, have more money and more leisure-the
means to buy and the time to read the magazine.
Ally Sloper made his debut in Judy on August 14,
1867, with Some Mysteries of Loan and Discount,
a title that set the tone for the petty financial sub-
terfuges an d business swindles which were to become
his hallmark. His accomplice was Iky Moses, with
whom he shared the honors (and twice the title) over
the next four appearances, through October 9. Ross
then dropped the series for serious novel writing, and
perhaps for theater work as well. He returned to Judy
on May 26, 1869, with a comic strip called The Awful
Ending of a n Early Worm. In 1869, we surmise, he
met and married Emilie du Tessier-Marie Duval. The
first drawings signed with her initials, comic fashion
sketches, were published in Judy August 18, 1869 (p.
173), but a n unsigned page of vignettes, At Belong
(Boulogne-sur-Mer), of two weeks earlier i s in her al-
ready distinctive style. Her entree into the magazine
was certainly facilitated by Ross, presumably now her
husband, taking over as Judy's editor.18 In October
she began regular weekly appearances, all signed MD,
with topics which must be designated as typically fe-
male as well as theatrical: The story of a lady who
married a walking gent, The Beast and the Beauty,
Gymnastics for Ladies (October 13, 20, 27), and
When they wore powder, historical-theatrical-fashion
designs (Almanac, November 3). A Tale of a Tooth
the first true comic strip in her style, appeared (u
signed) November 16, 1869. Illustrated is the gruesom
matter of a young man who secretly an d misguided
sacrifices his eye-tooth to replace one which his b
loved has lost in a n accident.
Discounting a perfunctory, unsigned appearance o
September 29, Ally Sloper does not return until D
cember 1,1869. He reappears as Judy 's official report
from the just-opened Suez canal (see inside fro
cover). Five of the eight drawings are signed MD, i
cluding a n elegant, quite risque (for the time) portra
of a harem girl in a dance of the veils. Two of t
drawings here are signed CHR, and husband and wi
collaborated in this manner, sharing the various draw
ings on the page, with two other Ally Sloper strip
one from December 15,1869, the other Ja nuary 5,187
Ross signs for the las t time, now jointly with hi s wi
MD CHR, on February 9,1870.
Ally Sloper, now a fixture in the journal and t
sole responsibility of Marie Duval (who signs most o
the strips) , reaches an apotheosis of comic cowardi
and braggadoccio as war correspondent, working so
(that is without the benefit if Iky Moses) during th
Franco-Pruss ian War (August 10-September 21, 187
With nearly 60 appearances between 1870 and 187
Ally was becoming a public favorite, a status co
firmed by the publicat ion of some of the most r
markable episodes in the life of the world-famed Al
S l~per , ' ~ collected one-shilling edition bound in
volume entitled Some Playful Episodes in the Care
of Ally Sloper, late of Fleet Street, Timbuctoo, Wag
Wagga, Millbank and elsewhere, with Casual Refe
ences to Iky Mo, pictorially portrayed by Marie Duv
and verbally explained (with moral observations) b
Judy's Office boy (i.e., Ross). The advertisements f
this work in other Judy publications do not mentio
Ross by name, only 750 comic sketches by Marie D
val. The phrase pictorially portrayed in the tit
placed so as to give the artist precedence over t
writer, leaves no doubt that Ross intended to gi
credit for the drawings to h is talented young wife;
even removed his initials from the few early Slop
strips which he had drawn. Of the 78 episodes, 47 a
signed MD, an d one M Duval; the bulk of the remai
der are also in her style.
Marie Duval's Ally Sloper strips continued in Ju
at the somewhat lower density of about a dozen
year, fading away in 1877 (last one on August 22
having been replaced, since May 1876, by a differe
format: a solid text recounting his adventures and op
ions illustrated by two to four small drawings in
exceedingly crude, stick-like style, supposedly by Al
himself, and probably also by Duval. A second, si
penny collection of Sloper strips appeared in Novemb
1877 under the title Ally Sloper's Book of Beaut
with literary embellishments by Charles H. Ross a
artistic adornments by Marie Duval. The credit aga
is unambiguous. A reviewer singled out the artwor
By i ts artistic eccentricity [it] constitutes a rare rem
dial dose for those who are dull, or in need of curio
pictorial am~ ser nen t. ~ f the 35 narrative strips he
15 are signed, boldly,
DUVAL
and
2
MD
many
the other illustrations are also signed by the arti
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heseNuitntiona from the rifted
F e n d
of A. SLOTER eprctent JUBT B
ffice
Biy g o b out on the quiet whm ha thought the Ever Young
and Lovely
had her
back turned.
lso
the ~pirlte
r y n
which the ETCI- oung
w d Lovely
gtive chaae
bod fetched him
back
Fig.
1. Marie Du val, from
udy
June 21, 1876 ; April 15, 1874; Septem ber 12, 1877; January
1,
1873).
Ross's initials appear nowhere.
The following year, 1878, saw several sixpenny Ross-
Duval collaborations: in May
Ally Sloper's Guide to
the Paris Exhibi t ion,
to which is added some literary
luggage by Charles H. Ross and many pictures by
Marie Duval was published. A reviewer aga in singled
out the (nearly 90) illustrations: Some of the woodcuts
by Marie Duval are exceedingly grotesque, and others
show a keen sense of beauty on the part of the art-
i~ t ~l -t he atter not a judgment which could ever be
made of drawings signed CHR. In October appeared
a pseudo-political frivolity called
Th e Eas tern Ques-
t ion tackled and sat is factori ly disposed of by Ally
Sloper (th e literary torpedo),
with 70 illustrations (the
greater part now first published) by Marie Duval, three
maps of the seat of war by A. Sloper himself; and a
brief account of certain singular circumstances by
Charles H. Ross. Finally , at the very end of the year
appeared
A Sh i l l ingswor th o f Moonsh ine (w i t h t in -
thunder a t th e wi ng) , being a s tr ing o f s trange s tories
some a wfu lly true and others aw full y otherwise ,
told
'without prejudice' by Marie Duval and Charles Ross.
This consists mainly of nearly fifty old
J u d y
comic
strips (excluding Ally Sloper), twenty-five of them
signed MD, fourteen DUVAL, and two MARIE
DUVAL.
By the mid-1870s Marie Duval was certainly estab-
lished as one of the dominant, if not the dominant
contributor to
J u d y ;
and one may surmise that the
increased emphasis on her signature, which appears
progressively larger and more often in full, was in-
tended to offset rumors current a t the time that i t was
the husband who did the drawings signed with her
initials. Her initials di sappear from the journal, with
Ally Sloper himself, in 1878-79,= and it is doubtful
that she had much to do with the Ally Sloper spinoffs,
the various cheap (one penny) almanacs and summe
numbers called
Ally Sloper's Comic Kalendar
(annu
ally, 1876-88),
Ally Sloper's Summ er Num ber
(1880
84), and the sixpenny
Ally Sloper's Comic Crackers
which are credited by Charles Ross, Jr. , as entirely
written an d illustrated by C.H. Ross, practically a one
man publication, each of which reached unprece
dented sales in six figures and which are precursor
of Gilbert Dalziel's penny weekly
Ally Sloper's Hal
H ~ l i d a y . ~ ~
With the launching of th is new penny weekly, which
survived from 1884 to 1923, an d the widespread com
modification of his name and character, Ally's im
mortality was assured. The marketing of so cheap
paper crammed with so many pictures was facilitate
by the heavy reliance on reruns from
Judy:
the entir
Ally Sloper oeuvre of Marie Duval (and Ross) wa
republished, together with other Duval strips and draw
ings , through July 13, 1886, so tha t Duval should als
be credited with an essential contribution to this pi
oneering journalistic venture. The ul timate success o
the Half-Holiday,
however, probably depended mor
upon the grand, large, front-page drawing of Ally'
antics, now very much among the upper classes, by
W.G. Baxter (1884-86) and W.F. Thomas (after 1886).
Duval also produced a children's book,
A Rare an
Choice Collection of Queens and Kings and othe
thingsÑ6 Th Pictures, Poetry and strange, but ver
table Histories designed and written by the S.A. [He
Highness] the Princess Hesse Schwartzbourg. Th
whole imprinted in Gold and many Colours By th
Brothers Dalziel At their Camden Press a nd publishe
by Chatto and Windus, London [lo Dec. 1874]. 24Whil
the captions to her comic strips are amusing, the
show no particular instinct for verbal frolics. The tex
of
Queens and Kings,
however, has a charming non
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Woman s
Art
Journal
Clayton, En glish Female Artists, 11,331-33.
An exhau stive search a t the Public Record Office for their m ar-
riage certificate proved fruitless. They were probably married
in France.
It ma y be tha t Clayton h ere misremembered some statem ent of
Duval's about her drawing for rather th an from French and
German journals, a s she palpably did. The only other English
journal in which I have chanced upon her style is Will o' the
Wisp for Jun e 5,1869, 139 (thus an teda ting her work for Judy),
a strip called Emma's Uncle Obadiah, evidently influenced
by the German caricaturist Wilhelm Busch, with whom Duval
was certainly familiar. The pseudonyms mentioned by Clayton
include noir, which appears in Judy (Duval always dressed
in elegan t black), an d Princess of Hesse-Schwartsbourg.
Houfe, Dictionary, 438; th e Dalziels flatter
him
as a
gifted
writer
of varied powers, a dramatist and novelist of the most sensa-
tional order. But above all, Ross was a great humorist, with a
man ner perfectly his own ; G. an d E. D alziel, A Record of work,
320.
In only th e very earliest work, Ye comical rhymes of Ancient
Times [January 27, 18631, are the illustrations not initialed.
(Bracketed dates here and below refer to those of the stamp
markin g th e entry of the volume into th e British Library.)
See David Kunzle, The Fi rst Ally Sloper: the Earliest Pop ular
Cartoon Character as a Satire on the Victorian Work Ethic,
Oxford Art Jo urn al, I (1985), 40-48.
Ross, Jr., Brief Notes.
A Week with M ossoo, with num erous illustrations signed CHR;
an d The Pretty Widow, 2 vols. [I8681 an d A Lo ndon Rom ance,
3 vols. [1869], neit her of which is illustrated .
18. By October 20,1869, the d ate of the preface to volume 6.
19. Adve rtisemen t of November 1872, in C harl es H. Ross, A Bo
of Comicalities.
20. Preston Gazette, cited in a n advertisem ent in Ally Sloper's Com
Cra cke rs [1883], 2.
21. Sheffield Telegraph, cited in ibid.
22. The last signed drawing by her th at I hav e found appear
August 20, 1879. The 1878 Comic Kalendar is th e last in t h
series to carry her signed work; thereafter Charles Ross tak
over. signing with his initials and imitating some of his wife
graphic-effe&.
23. Ross, Jr., Brief Notes. In Ally Sloper's Comic Kal end ar f
1888 (the last of the series) all the drawings are signed C.H
Ross or CHR, as
if
Ross were trying to reappropriate from Dalz
the character he had invented.
24. I mak e the attribution to Duval on the basis of Clayton, Engli
Female Artists, 11, 333, there being no other work listed in th
British Library catalogue under th is pseudonym.
25. G. an d E. Dalziel, A Record of work, 320.
26. Fir st in J udy , September 8, 1875, then Ally Slopers' Book
Beau ty (1877).
DAVID KUNZLE,
Profes sor of
rt
History
at
UCLA,
i s auth
of Early Comic Strip
Art
c.1450 1826 (1973), its sequal, fro
1827-95 (inpress), an d Fashion
and
Fetishism (1982).
ARTISTS WRITERS
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JUDY,
O R
THE
LONDON SERIO-COMIC
J O U R N A L ,
[ AGO
s,
1872.
S L O P E R
I N
S A V A G E A F R I C A .
1 .
SWPERrossin t he country. Unseemly levity
2.
SLOPKR n an tmpiardi'd miiment, uncovers
of blacks in
the rear.
3 Si.orm inds t he ¡oui e
ii
thc Si 'e
H e i l
k be-td.
Pm ic aulong The b1~c k-f . ways did go to the biit -,m of things.
4. T h i s i s S m ~ m ~ketch
th e course of the Nile,
bowing the source dis-
overed by himself. In it8
resent atate it seems to
equire expl,~n.~tii.m
5 Pictureof
Mrs
r r ( ; L L . \ ir; ian
on ) .
i 110
I
say-"
B:.^ thu . ,
-if cr
rill. ~ ~ 1
hnpy one must conform to the c ~ ~ - ~ o n i sf ttir
cuuiitiy. Only she mie-ht L
I..-c
l~c-ena Lulu
8.
Model in wood of
mi
'OO' '""~.
African beauty, who had
mn y offers, hut died a t
s t f a broken hout.
1 0 SI.OPER mproves the native mind. He 11 The simple savage is excited when h 12. SLOPER ears for the first timo of a fi ne old
terches th e simple savage a p rett y little game
lo-es. African inst itut ion, csilled cutt in8
off
the extremi-
wi t t i three thimblm and a pa .
ties. Wo leavehim in the hands
nf
the cxccutioner
PuLl l~h~:
tho Proprtcto-, at 73, Fleet Street,
E C
Printed by WOODFALLN D K IN DE R , i l f o r d.tine, Str and , Loudon, W.C.-WEDSES>AY, Aup ist 23, 187'2.
Marie Duval, Sloper in Savage Africa Judy , August 28, 1872), from Marie Duval: A Caricaturist Rediscovered.
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