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

thingsÃ‘6 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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8/9

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 Â¡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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Marie Duval