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Claude Marquet
Claude Marquet as a young man (photographed in about 1885)
Claude Marquet as a young man (photographed in about 1885)
BornClaude Arthur Marquet
(1869-05-08)8 May 1869
Moonta, South Australia, Australia
Died17 April 1920(1920-04-17) (aged 50)
Botany Bay, Australia
OccupationArtist, cartoonist, illustrator
Signature

Claude Arthur Marquet (1869–1920) was an Australian political cartoonist, noted for his bold illustrative style and strong commitment to the labour movement and radical politics.

Marquet developed his artistic skills without formal training while working as a compositor for The Advertiser newspaper in Adelaide. In 1898 he was employed by Quiz magazine as a cartoonist. Marquet moved to Melbourne in 1902. His cartoons were published in the socialist newspaper The Tocsin, as well as Table Talk and the Sydney-based Bulletin. From March 1905 to October 1907 Marquet was employed by Melbourne's Punch magazine.

Marquet had a strong commitment to the labour movement reflected in much of his work (though occasionally compromised according to the more conservative views of his employers). Marquet was a prolific illustrator, at times creating up to four cartoons each week. He worked almost exclusively in the black-and-white medium, using hard lines that showed up well, even given the low production standards of many of the publications of the day. Most of Marquet's work appeared in publications that supported left-wing and radical political positions.

Biography edit

Early life edit

Claude Marquet was born on 8 May 1869 in the copper-mining community of Moonta on the Yorke Peninsula of South Australia, the only son of Charles Marquet and his wife Mary (née McArthur). His father, of French descent, was a painter by trade and a member of a local amateur theatrical group, the Moonta Amateur Histrionic Club.[1][2][3] Claude's father suddenly died in November 1872, aged 30, "of bronchitis after an exceedingly brief illness", leaving a widow and three young children.[4][5][2]

Young Claude was educated at Moonta and Wallaroo, the port town 11 miles (18 km) north of Moonta, in schools associated with the Anglican minister Rev. C. Goodenough Taplin.[6][7]

A compositor edit

After leaving school Marquet began his working life in the mines.[8] The young man also worked as a diver and as a labourer on the wharves in his early working life.[9][10] Later he gained an apprenticeship as a compositor on the Kadina and Wallaroo Times newspaper.[8][11]

In 1888 Marquet, aged nineteen, was employed as a compositor for the Broken Hill Argus, the township's first morning newspaper. By the end of the year the Argus had been bought out by the Silver Age newspaper. An early indication of Marquet's developing artistic talent was "the famous skull and crossbones picture he produced for the comical 'wake' the Broken Hill 'Argus' staff held on the corpse of the defunct morning paper". Following the closure of the Argus Marquet and many of his fellow 'comps' (typesetters) went to Adelaide to find work. Marquet joined the staff of the Adelaide morning newspaper, The Advertiser.[12][13]

It was said of Marquet that he was "born and bred amidst the tyranny and travail of capitalistically-controlled industrial conditions" where he "learnt to know what the wage-slaves were compelled to endure".[14]

While working as a typesetter, Marquet acquired a sound knowledge of the processes of producing a newspaper.[1][8]

Claude Marquet and Ann Donnell were married on 16 June 1891 in St. Mary's church at Wallaroo.[1]

Marquet had "an artistic turn of mind" and developed his artistic skills without any formal training.[12] An art-work by Marquet, titled 'Summer Afternoon', was included in the annual South Australian Society of Arts Exhibition in Adelaide, which opened in June 1896. A reviewer for Quiz magazine described the work as "middling".[15][16]

After the death of William H. Jeffery in December 1896, the managing printer of The Advertiser newspaper for the previous 22 years, funds were raised amongst his fellow employees to erect a headstone on his grave at the West Terrace Cemetery. The headstone, of Italian marble on a granite base and erected in September 1897, was designed by Marquet and incorporated elements of "the material used in the printers' craft".[17][18]

 
'Passing Notabilities', published in Quiz (Adelaide), 18 May 1899; featuring caricatures of William Booth, Charles Kingston, George Reid and the Governors of New South Wales and South Australia.

In a review in Quiz magazine of the 1897 Society of Arts Exhibition in Adelaide, the writer commented that "Mr. Claude A. Marquet can hardly be said to have made much advance in his art".[19]

Quiz magazine edit

In early 1898 Marquet found his first regular employment as an artist for the weekly Adelaide magazine Quiz, replacing John H. Chinner who had left to join the newly-established magazine The Critic.[20] Chinner's final cartoons for Quiz were published in December 1897. Marquet's cartoons and caricatures began to be regularly published in Quiz from early February 1898.[21] For many of his early cartoons Marquet worked directly onto wood or copper and prepared the surfaces for reproduction by carving or etching the material.[12]

The Quiz issue of 7 June 1900 included a special supplement featuring a portrait of Lord Roberts which was reproduced by color photography from a watercolour painting by Marquet. The fine art print, engraved by Mather & Hanks and printed by Hussey & Gillingham, was described as being "the first of its kind ever executed in South Australia". Lord Roberts, as commander of the British forces in the Second Boer War, had been a celebrated figure in the news after a series of early victories in South Africa.[22] Marquet's sympathetic portrait of Roberts could be compared to the artist's more cynical cartoon in the same issue of Quiz, 'John Bull Gathers in the Fruits of Victory'.[23]

In addition to his work for Quiz, Marquet also contributed illustrations to Adelaide's Sporting Life.[24] During 1900 Marquet also had cartoons accepted by The Bulletin magazine in Sydney.[25]

Marquet and fellow cartoonist Ambrose Dyson (who was on the staff of the weekly Adelaide magazine The Critic) were members of the Corkscrew Club. In April 1901, at the Earl of Zetland Hotel, a "valedictory dinner and smoke social" was held by the club for Oscar Bailey, a club member leaving Adelaide to work in Melbourne. Marquet and Dyson designed and illustrated decorative menu cards for the occasion, "illustrating the Bohemian aspect of the 'convivium', treated in a highly artistic manner".[26]

Marquet's final cartoons for Quiz were published in November 1901.[27] Towards the end of 1902 he moved to Melbourne.[28][24]

Melbourne edit

In May 1903 the Melbourne-based weekly socialist newspaper The Tocsin introduced illustrations to its format featuring the work of Claude Marquet. The 21 May issue included a full-page political cartoon by Marquet on the first page of the newspaper, a feature that was continued in subsequent issues.[29] In the 28 May issue (and subsequent issues) the newspaper's regular columns – 'Topical Echoes', 'Woman's Point of View', 'Concerning Somebody', 'Industrial Items', 'The Organiser at Work' and 'Political Labour Council' – were published with illustrated banners, each of them drawn by Marquet (signed with a distinctive 'c.a.m.').[30] A few of Marquet's feature cartoons published in The Tocsin in June 1903 were signed 'Quet', but from the 18 June issue his cartoons were signed with his full name.[31][32]

Beginning in 4 June 1903 double-page political cartoons by Marquet were published in the Melbourne weekly magazine Table Talk.[33] His double-page political cartoons in the body of the weekly journal became a regular feature for the next twelve months.[34] A cartoon by Marquet was published in the 1903 Punch Annual, Melbourne Punch's annual special publication.[35]

During October and November 1903 Marquet's regular page-one feature cartoon was absent from The Tocsin, though the issue of 26 November included a double-page cartoon as a supplement, 'Symeism Versus Democracy', notated with "Drawn on zinc and etched by C. A. Marquet".[36] By mid-December 1903 Marquet's regular cartoons had resumed, appearing regularly until early May 1904 (but only occasionally after that).[37][38]

Marquet's last cartoon for Table Talk was published on 4 June 1904.[39] In June 1904 he was replaced as the "special cartoonist" for Table Talk by Charles Nuttall. In announcing the change it was claimed that "Mr. Marquet has left Victoria to fill an important position in a neighbouring State". Considering that Marquet had regular cartoons published in the Sydney-based journals The Bulletin and The Worker during the latter half of 1904, it is possible that he relocated to Sydney for a short period.[34]

From July to December 1904 Marquet's cartoons were published in The Bulletin magazine.[40] Marquet also contributed cartoons to The Critic in Adelaide. His work was included in the special "Xmas number" of the magazine, published on 14 December 1904.[41] On 22 October 1904 a cartoon by Marquet was published on page one of The Worker, the Sydney-based weekly newspaper produced by the Australian Workers' Union.[42] Beginning from the 5 November 1904 issue his cartoons regularly appeared on page five of the newspaper.[43] Marquet's cartoons were a regular feature in The Worker until early March 1905, after which they appeared only occasionally.[44]

 
The compositors' Christmas card illustrated by Marquet (December 1904).

In late 1904 Marquet drew and printed a satirical Christmas card on behalf of the compositors employed by The Argus and The Australasian newspapers. The image on the card showed a anthropomorphised Linotype machine shaking hands with a compositor, at a time when mechanical type-setting was replacing the jobs of large numbers of 'comps' in Melbourne.[45]

A cartoon by Marquet was published in the 3 November 1904 issue of Melbourne's Punch.[46] The Punch Annual for 1904, published on 6 December, included at least eight of Marquet's cartoons, several of them being large format illustrations including a full-page illustration of 'An A.N.A. Conference' (incorporating the 1905 calendar) and a full-page twelve-frame comic strip 'Across the Continent'.[47] A short story written and illustrated by Marquet, 'How Smith Left Home', was published in Punch in the issue of 29 December 1904.[48]

 
'The Deluded Crankbournian', published in The Tocsin (a Melbourne socialist newspaper), 8 January 1904.
 
'Crushed!', published in The Supremacy of Socialism (a publication of the conservative Melbourne Punch newspaper), 30 October 1906.
Opposing views of socialism by Marquet.

During January and February 1905 Marquet had an occasional cartoon published in Punch, but from March 1905 his work was regularly featured in the journal.[49] He was employed as an artist for Punch until October 1907, working alongside another artist, Alek Sass, who became a friend. Melbourne's Punch had a conservative editorial stance, later described by Sass as "ultra-Tory".[50][51]

Marquet's cartoons for the Melbourne Punch were a mix of political and social satire. The conservatism of Punch probably led to a considerable amount of constraint and self-censorship by Marquet in regard to his more political cartoons.[52][53] His work for Punch often amounted to moderate jibes at politicians when compared to the more virulent and incisive cartoons of his later work for The Worker newspaper.[54] Alek Sass later commented that Punch "could not make of [Marquet] a mere repeating machine of its editorials".[51]

In late-May and June 1906 Marquet had three political cartoons published in Adelaide's The Critic magazine.[55] One of his cartoons was also published in The Worker in October 1906.[56]

On 30 October 1906 Melbourne Punch published a 50-page special issue titled The Supremacy of Socialism, a volume of anti-socialist articles and cartoons purporting to be a depiction of a future Australia "when Socialism has become the law of the land, and the Southern Cross shines wonderingly upon a country where all men are equal, and no one class has any advantage over the other". The publication had the stated intention influencing voters for the Federal election to be held on 12 December 1906 in favour of George Reid's Anti-Socialist Party.[57] The Supremacy of Socialism included a series of polemical cartoons by the Punch stable of artists, George Dancey, Alek Sass and Claude Marquet, as well as the London artist Dudley Hardy.[58] Marquet's later work for The Worker in Sydney was consistently critical of the Anti-Socialist Party.[59]

Marquet's contributions to the Punch Annual for 1906 included six cartoons, as well as two six-frame coloured comic strips about a kangaroo named 'Liza' Roo.[60][61]

During March and early April 1907 Australian newspapers published extensive reports describing the dramatic rescue of a miner, Modesto 'Charlie' Varischetti, at Bonnievale in the Coolgardie goldfields district of Western Australia.[62] Varischetti was trapped in an air pocket after a rainstorm flooded the underground mine where he was working. After five days of pumping and the clearing of debris, divers were able to reach the trapped miner via the flooded mine-shafts, taking with them supplies of food and candles. The divers continued to visit Varischetti until, after ten days, water levels had dropped sufficiently for the miner to be bought to the surface.[63] A painting by Marquet titled 'The Rescue of Varischetti' was published in the 4 April 1907 issue of Punch, depicting when one of the divers emerged from the water to reach "the entombed miner". Marquet's painting included a diagram of the mine-shafts "showing how Varischetti was reached".[64][9] A reference to the painting in The Worker praised the work for its authenticity, referring to the artist's practical experiences as both a diver and a miner when he was a young man.[9]

Marquet continued to produce cartoons for Punch until the issue of 24 October 1907.[50] Seven of his cartoons were included in the Punch Annual, published in December 1907, by which time Marquet had moved to Sydney to join the staff of The Worker, a newspaper closely aligned with the labour movement.[65]

Sydney edit

In about December 1907 Marquet relocated to Sydney to take up the position as staff cartoonist for The Worker, the weekly newspaper produced by the Australian Workers' Union. By that stage the newspaper's office was in Bathurst Steet in Sydney.[66] Marquet's full-page political cartoons on the cover page of The Worker commenced in the issue of 2 January 1908.[67][A]

 
Marquet "caricatured by himself" in 1909.
 
Another self-caricature (detail), May 1918.
 
A photographic portrait of Claude Marquet.

Marquet remained on the staff of The Worker (renamed The Australian Worker in November 1913) until his premature death in 1920. During this period he "drew a prodigious number of cartoons", sometimes at least four a week. His central thematic elements had been established in Melbourne and were carried through to his work in Sydney: "workers as muscular, heroic, generally urban and always male; their enemies as fat-men, monopolists, and monsters; the bound and suffering worker as noble sacrifice; and the armed and sometimes bloody worker as victor".[68] Marquet's cartoons and illustrations were drawn with pen and ink "in the traditional three-dimensional style". He used bold outlines in a style well suited to the newspaper reproduction methods of the day.[69]

Marquet was a contributing artist to Vumps, "a profusely-illustrated sixteen-page penny 'comic'", published in Sydney in August 1908.[70] He illustrated the cover of the comic book, as well as contributing a number of cartoons throughout the publication.[71] Marquet's contributions included a full-page eight-frame comic strip featuring two homeless vagrants named 'Marmyduke Miffles' and 'Snoofter McSnickle' (reminiscent of the English 'Weary Willie' and 'Tired Tim' characters from the Illustrated Chips comic magazine).[72] Vumps (subtitled "Pure Australian Fun") was Australia's first comic book, promoted as a rival to the English 'boys own' comics. However, the Australian publication did not survive beyond its first issue.[73]

 
A composite caricature of John Forrest, Alfred Deakin and Joseph Cook, an illustration from Fusion Fancies (1909).

Marquet contributed comic strips to the Melbourne Punch Annual for the years 1908 to 1910, published in early December for each year. His contributions in December 1908 were several six-frame comic strips, 'The Demon Motor' and 'The Tantanoola Tiger-Hunt'.[74] His comic strip contributions to the 1909 Punch Annual were 'The Tormented Trapper' and 'Strange Things Found in the Sea'.[75] The 1910 Punch Annual featured two more of his comic strips, 'Blierotter's Terraquaeroplane' and 'The Story of the Deadly Cigarette'.[76]

In November 1909 The Worker newspaper published a book called Fusion Fancies: A Selection of Political Cartoons. The book was a collection of Marquet's cartoons, "artistically printed in several colours", on the subject of the 'fusion' of the Protectionist Party and the Anti-Socialist Party to form the Liberal Party, which held office federally from June 1909 to April 1910 under prime minister Alfred Deakin and his deputy Joseph Cook (both of whom had previously been leaders of the merged parties).[8][77]

Marquet drew fifteen full-page illustrations for Steele Rudd's The Dashwoods, published in March 1911.[78][79] He illustrated a short story titled 'The Crippled Mare', written by Lyn Ridge and published in the December 1913 issue of The Lone Hand.[80]

In about 1914 Marquet built a "fine cottage facing the beach at Kurnell", south of Sydney on the southern headland of Botany Bay. The artist constructed the residence "with his own hands and skill". Claude and Ann Marquet kept fowls and ducks and had an extensive garden. The couple were known for their hospitality, with visitors welcomed "without any regard to color, caste. or creed".[14] Marquet owned a small sailing boat which he used for fishing, recreational pursuits and acquiring provisions from the suburb of Botany on the northern shore of Botany Bay.[81]

The war years edit

 
'The Blood Vote', written by W. R. Winspear and illustrated by Marquet (October 1916).
 
'The Death Ballot: Vote "No"' (1917 conscription plebiscite).
Anti-conscription plebiscite leaflets (October 1916 and December 1917) illustrated by Marquet.

At the outbreak of World War I in July 1914 there was widespread political support for Britain and the Empire, with some dissension within the labour movement.[82] With The Bulletin having embraced conservatism and actively supporting the war (and conscription in later years), The Australian Worker remained the most radical publication in general circulation throughout Australia.[83] As the war progressed The Worker's editor Henry Boote campaigned against wartime profiteering, supported by Marquet's cartoons on the subject. Increasing casualty reports from the Western Front began to lessen the original enthusiasm for the war in the general community. By mid-1916, with volunteer enlistments falling, the Labor prime minister Billy Hughes decided that conscription was the only viable option for supplying the replacement troops required for the British war effort, despite deep divisions on the matter within the Australian Labor Party. His solution was to hold a public vote on the question, in a nation-wide plebiscite to be held on 28 October 1916.[82] Marquet's illustrations in The Australian Worker began to address the conscription issue as early as 8 June 1916 with a cartoon linking the advocacy of conscription with rampant anti-union capitalism. His cartoon, 'Capitalism's Disorganising Crusade', depicts an overweight man labelled "Employers Federation" addressing a younger "wage earner" who holds a shield labelled "industrial unionism". The employer explains that he dislikes "the thought of sending able-bodied young men abroad to be shot as much as you do", adding: "If you'll voluntarily drop that annoying shield, I'll not press for conscription!".[84] Marquet's next cartoon on the subject of conscription was on 13 July 1916, portraying an armed "exponent of militarism" assaulting an anti-conscriptionist and kicking over a box labelled "free speech".[85] From late July 1916 until the plebiscite in late October the majority of Marquet's cartoons concerned conscription.[86]

The issue of 5 October 1916 of The Australian Worker included an anti-conscription poem by William R. Winspear titled 'The Blood Vote'.[87] In the following week's issue Winspear's verse was republished, accompanied by an illustration by Marquet depicting a woman, with a conflicted look on her face, about to cast a 'Yes' vote, with a sinister demonic figure resembling Billy Hughes in the darkened background.[88][53] The illustrated verse was subsequently reprinted as a leaflet for the anti-conscription campaign and over a million copies were distributed.[82][89] The handbill was distributed nationwide by the anti-conscriptionist groups and "were pasted up all over the place". The Worker journalist Robert J. Cassidy later asserted that the illustrated poem "played a very considerable part in defeating the proposals of those who advocated throat-slitting by compulsion".[90][B]

A leaflet printed and distributed prior to the second conscription plebiscite in December 1917 used an illustration by Marquet titled 'The Death Ballot', published in The Australian Worker on 15 November 1917.[91]

During the war years Marquet's cartoons from The Australian Worker were occasionally re-printed in Melbourne's Labor Call newspaper.[92]

Marquet's war-time cartoons usually dealt with home-front concerns, only occasionally covering international issues. His illustrations focussed on themes such as the anti-labour bias of mainstream newspapers, the greed of trusts and war profiteers, the bickering and posturing of politicians and the threat of military conscription.[69] Throughout years of World War I Marquet's cartoons and illustrations were popular and influential. His contributions, together with his colleagues on The Worker and throughout the labour movement, managed to maintained a focus in Australian politics on class-consciousness and the dignity and value of the individual within the wider society "that could easily have been overwhelmed by the patriotic hysteria induced by Hughes and his supporters in parliament and the press".[93]

Post-war edit

During the period from late February 1919 to early September 1919 Marquet's cartoons were published on page one of The Labor News, the official newspaper of the Australian Labor Party, on a semi-regular basis (in addition to his regular work for The Australian Worker).[94]

Death edit

On Saturday afternoon, 17 April 1920, Claude Marquet and a companion named Harry Palmer were drowned in Botany Bay. Earlier in the day Marquet and Palmer had crossed the mouth of the bay to the suburb of Botany and returned to Kurnell with provisions. On their return Marquet "discovered that they had forgotten to procure meat for Sunday", so the pair returned to Botany. As they were returning once more to Kurnell, about half-way across the bay "their sailing boat was caught in a sudden squall which had sprang up". When they did not reach home by Saturday evening, "it was thought that the boisterous weather had compelled their return to Botany for the night". By Sunday morning, however, it "became apparent that disaster had overtaken them" and it was presumed the boat had overturned or was swamped in the rough seas. Palmer was unable to swim so it was surmised that Marquet, who was strong swimmer, "endeavoured to save the life of his companion... with the result that both were drowned". Later on Sunday the boat was found floating upside-down in Botany Bay and several articles of clothing were washed ashore.[81][95][12] The bodies were never recovered.[1]

Marquet's last cartoon for The Australian Worker was 'Ulysses and the Sirens', published on 22 April 1920 (the same issue that carried the announcement of his untimely death).[96]

After Marquet's death fellow artist Alek Sass wrote of his friend's legacy: "Thinking his thoughts – vexing himself with the aching problems of humanity – keeping a fine, sane balance amidst the party hysteria of the papers he worked for – he brought a dignity and a personal force to his work that gives him an honoured place amongst the world's cartoonists".[51]

In July 1920 The Australian Worker published a limited-edition commemorative volume titled Cartoons by Claude Marquet. The book included 85 of the artist's drawings from the pages of The Worker, as well as tributes in verse and prose from writers, politicians, unionists and editors. Proceeds from the sale of the volume went to "the benefit of the widow, whose whole-hearted devotion to her husband and his work was the brightest feature of his life".[97][98]

In August 1920 the State Library of New South Wales purchased a collection of 75 of Marquet's original cartoons for permanent preservation in the archives of the Mitchell Library. The cartoons represented a record of the Labor movement during the previous fifteen years as well as being a "remarkable collection of one of Australia's ablest and most consistent cartoonists, whose influence will be felt far beyond his generation".[99]

Gallery edit

A selection of images by Claude Marquet
  •  
    'Sticking to His Kopje', published in The Bulletin (Sydney), 3 March 1900.
  •  
    'How It Was Done!', published in The Tocsin, 21 May 1903 (featuring a caricature of William Irvine, premier of Victoria).
  •  
    'It Will Sink Them' (1909), featuring representations of Alfred Deakin (the head of the camel) and Joseph Cook and John Forrest (the humps).
  •  
    'The Dashwoods by Steele Rudd' (1911), cover design artwork (including instructions by the artist for colour printing).
  •  
    'The "Overpaid" Miner's Frequent Visitor' (artwork), published in The Worker (Sydney), 24 October 1912.
  •  
    Artwork for 'Sheltering at the Old Address' (published in The Australian Worker, 16 March 1916); based on Johannes Oertel's 'Rock of Ages' painting (1876).
  •  
    'Wiping the Slate' (1919) featuring a caricature of Billy Hughes (original artwork).

Publications edit

  • Claude Marquet (1909), Fusion Fancies: A Selection of Political Cartoons, Sydney: The Worker Trustees.[8][77]
  • Steele Rudd (1911), The Dashwoods: A Sequel to On an Australian Farm, Sydney: N.S.W. Bookstall; with fifteen full page illustrations by Claude Marquet.[78]
  • Claude Marquet (1920), Cartoons by Claude Marquet: A Commemorative Volume, with Appreciations by Leading Representatives of Literature and Politics, Sydney: The Worker Trustees.[98]

Notes edit

A.^ Several reputable references erroneously state that Marquet "was invited to Sydney to be staff cartoonist on the Australian Worker in 1906", adding that "the first of his Worker cartoons appeared on 25 October 1906".[100] This information is probably drawn from Marquet's obituary, published in April 1920 in The Australian Worker (and cited as a reference in Marquet's Australian Dictionary of Biography entry), which states: "Later on he was appointed as the staff cartoonist of The Worker (in which his first cartoon appeared on October 25, 1906)".[14] Marquet's cartoons were actually published in The Worker as early as October 1904.[42][101] From early November 1904 until early March 1905 his cartoons were regularly published on page five of the newspaper.[43] From March 1905 until about October 1907 Marquet was employed as a staff artist by the Melbourne-based Punch magazine, with occasional cartoons appearing in other publications during this period (including the 25 October 1906 issue of The Worker).[56] Marquet probably relocated to Sydney to join the staff of The Worker newspaper in about December 1907, with his regular cover-page cartoons commencing in January 1908.[67]
B.^ William Winspear was credited as the author of the widely-read and influential 'The Blood Vote' poem. In 1940 Robert J. Cassidy, an Australian Worker journalist and author, disclosed that the verse had actually been written by the Sydney journalist Edward Dempsey, who at the time was employed by the pro-conscription Evening News newspaper.[102] Concerned for his job Dempsey asked Winspear, a socialist and anti-conscriptionist, to have the poem appear under his name.[103]

References edit

  1. ^ a b c d Vane Lindesay (1986), Claude Arthur Marquet (1869–1920), Australian Dictionary of Biography website, National Centre of Biography, Australian National University; accessed 22 May 2024.
  2. ^ a b Family records, Ancestry.com.
  3. ^ On Wednesday, June 19..., Wallaroo Times and Mining Journal (Port Wallaroo), 22 June 1872, page 2.
  4. ^ Sudden Death, Yorke's Peninsula Advertiser and Miners' News, 19 November 1872, page 2.
  5. ^ Family Notices, South Australian Register (Adelaide), 29 November 1872, page 4.
  6. ^ Moonta Grammar School, Wallaroo Times and Mining Journal (Port Wallaroo), 30 December 1874, page 2.
  7. ^ Wallaroo Educational Institute, Wallaroo Times (Port Wallaroo), 23 December 1882, page 2.
  8. ^ a b c d e Marquet and His Book, The Worker (Sydney), 18 November 1909, page 21.
  9. ^ a b c The full-page picture..., The Worker (Sydney), 2 May 1907, page 11.
  10. ^ Claude Marquet, the latest..., The Sun (Kalgoorlie), 1 July 1906, page 7.
  11. ^ Mr. Claude Marquet, Daily Herald (Adelaide), 20 April 1920, page 2.
  12. ^ a b c d Two Men Drowned, Barrier Miner (Broken Hill), 19 April 1920, page 2.
  13. ^ The Late Claude Marquet by C.W.C., Barrier Miner (Broken Hill), 24 April 1920, page 6.
  14. ^ a b c Claude Marquet by 'R.J.C.' (Robert J. Cassidy), The Australian Worker (Sydney), 22 April 1920, page 10.
  15. ^ The Society of Arts Exhibition, Quiz and The Lantern (Adelaide), 16 July 1896, page 13.
  16. ^ The Society of Arts, South Australian Register (Adelaide), 19 June 1896, page 7.
  17. ^ The headstone erected..., Quiz and The Lantern (Adelaide), 7 October 1897, page 6.
  18. ^ The Late Mr. W. H. Jeffrey, The Express and Telegraph (Adelaide), 17 September 1897, page 3.
  19. ^ Society of Arts Exhibition, Quiz and The Lantern (Adelaide), 14 October 1897, page 3.
  20. ^ Joan Kerr (1996), John Henry Chinner, Design and Art Australia Online website; retrieved 24 May 2024.
  21. ^ Poetry Pictorially Applied No. 25, Waiting the Signal and A Musician, Quiz and The Lantern (Adelaide), 3 February 1898, pages 8, 9, 13.
  22. ^ To Our Readers and Field-Marshall Lord Roberts, Quiz (Adelaide), 7 June 1900, pages 8, supplement.
  23. ^ John Bull Gathers in the Fruits of Victory, Quiz (Adelaide), 7 June 1900, page 8.
  24. ^ a b Joan Kerr (1996), Claude Arthur Marquet, Design and Art Australia Online website; retrieved 22 May 2024.
  25. ^ See examples: More Joy in Heaven!, The Bulletin (Sydney), 10 February 1900, page 15; Sticking to His Kopje, The Bulletin (Sydney), 3 March 1900, page 11.
  26. ^ Socialities, Quiz (Adelaide), 25 April 1901, page 14.
  27. ^ Topicalities, Quiz (Adelaide), 13 November 1901, page 9; cartoon, Quiz (Adelaide), 20 November 1901, page 9.
  28. ^ Art Notes by 'Palette', Daily Post (Hobart), 27 November 1909, page 10.
  29. ^ How It Was Done!, The Tocsin (Melbourne), 21 May 1903, page 3.
  30. ^ Topical Echoes, The Tocsin (Melbourne), 28 May 1903, page 3; the other illustrated banners appear on pages 5, 6, 7 and 8.
  31. ^ Lament of the Shades, The Tocsin (Melbourne), 4 June 1903, page 1; Nobody's Dog, The Tocsin (Melbourne), 11 June 1903, page 1.
  32. ^ The Brighton Sultan, The Tocsin (Melbourne), 18 June 1903, page 1.
  33. ^ Will the ... Realised?, Table Talk (Melbourne), 4 June 1903, pages 12-13.
  34. ^ a b The Week, Table Talk (Melbourne), 23 June 1904, page 2.
  35. ^ A Revolution in Aboriginal Architecture Predicted, Punch Annual 1903, 8 December 1903, page 40.
  36. ^ Symeism Versus Democracy, The Tocsin (Melbourne), 26 November 1903, supplement.
  37. ^ The Good Old Days, The Tocsin (Melbourne), 17 December 1903, page 1; Democracy Triumphant, The Tocsin (Melbourne), 24 December 1903, page 1.
  38. ^ A Significant Footprint, The Tocsin (Melbourne), 5 May 1904, page 3; Adulterated Sausages – Political or Otherwise, The Tocsin (Melbourne), 13 October 1904, page 3.
  39. ^ The Bone of Contention, Table Talk (Melbourne), 16 June 1904, pages 12-13.
  40. ^ See examples: Diligence, The Bulletin (Sydney), 7 July 1904, page 13; Bent's Little Girl, The Bulletin (Sydney), 4 August 1904, page 15; Why Not?, The Bulletin (Sydney), 13 October 1904, page 17.
  41. ^ The Cannibal King, The New Version and Not So Tractable as the Girls Up Home, The Critic (Adelaide), 14 December 1904, pages 20, 29, 37.
  42. ^ a b Australia: Oh, the degradation of it!, The Worker (Sydney), 22 October 1904, page 1.
  43. ^ a b Examples: The Race for Recess, The Worker (Sydney), 5 November 1904, page 5; Fighting the Octopus, The Worker (Sydney), 12 November 1904, page 5; Reid's Frail Bark, The Worker (Sydney), 19 November 1904, page 5; Who Said Nationalisation of Coal Mining?, The Worker (Sydney), 26 November 1904, page 5; The Survival of the Cheapest, The Worker (Sydney), 3 December 1904, page 5.
  44. ^ Scraping Off the Barnacles, The Worker (Sydney), 4 March 1905, page 5; The Modern Mercury, The Worker (Sydney), 15 April 1905, page 5.
  45. ^ Marian Quartly (2005), pages 167-168.
  46. ^ A "Straight" Tip, Punch (Melbourne), 3 November 1904, page 5.
  47. ^ A.N.A. Conference, The Treating Custom, Hospitality, Across the Continent, Same Old Confidence Trick, Among the Big Timber, The Mirage and The Start For the Sandy Blight Cup, Punch Annual 1904 (Melbourne), 6 December 1904, pages 5, 8, 22, 23, 29, 34, 35, 44.
  48. ^ How Smith Left Home, Punch (Melbourne), 29 December 1904, page 9.
  49. ^ See examples: Holidicitis, Punch (Melbourne), 9 February 1905, page 2; Crumpled Up!, Punch (Melbourne), 9 March 1905, page 19; One Aim and Not On in This Act, Punch (Melbourne), 20 April 1905, pages 4, 19; Rivals and Which Head Will He Hit?, Punch (Melbourne), 15 June 1905, pages 4, 18.
  50. ^ a b The Breaking Strain, Punch (Melbourne), 24 October 1907, page 5.
  51. ^ a b c Claude Marquet by Alek Sass, Smith's Weekly (Sydney), 1 May 1920, page 11.
  52. ^ Richard Scully & Marian Quartly (2009), 'Chapter 1: Using Cartoons as Historical Evidence' (in) Drawing the Line: Using Cartoons as Historical Evidence, Melbourne: Monash University ePress.
  53. ^ a b Claude Marquet (1869-1920), Old Treasury Building website; accessed 5 June 2024.
  54. ^ Cartoons featuring Alfred Deakin in Punch: A Friendly Understanding, Punch (Melbourne), 17 January 1907, page 5; Alfred's Pyrotechnics, Punch (Melbourne), 2 May 1907, page 5; At Dinner With the King, Punch (Melbourne), 16 May 1907, page 5. Compare with Marquet's depiction of Deakin in 'Fusion Fancies' (The Worker): Fusion Fancies, The Worker (Sydney), 30 December 1909, page 32 and subsequent pages.
  55. ^ An Accurate Diagnosis, The Critic (Adelaide), 30 May 1906, page 3; Mr. Deakin's Diplomacy, The Critic (Adelaide), 13 June 1906, page 3; Mr. Price at Mount Gambier, The Critic (Adelaide), 20 June 1906, page 3.
  56. ^ a b The Mighty Hunted, The Worker (Sydney), 25 October 1906, page 5.
  57. ^ "The Supremacy of Socialism", Punch (Melbourne), 1 November 1906, page 23.
  58. ^ The Supremacy of Socialism, Punch (Melbourne), 30 October 1906, page 3 and subsequent pages.
  59. ^ See 'Fusion Fancies', a collection of Marquet's cartoons on the subject of the 'fusion' of the Protectionist Party and the Anti-Socialist Party to form the Liberal Party: Fusion Fancies, The Worker (Sydney), 30 December 1909, page 29 and subsequent pages.
  60. ^ The Ballooning Craze, He Was Determined to Stick to Her, Very Appreciative, He Needed a Helpmate, Machinery Versus Cow, Good Old Santa Claus Has a Grievance, Punch Annual 1906 (Melbourne), 11 December 1906, pages 4, 6, 7, 9, 13, 19.
  61. ^ Unladylike Behaviour of 'Liza' Roo, The Accomplished 'Liza' Roo, Punch (Melbourne), 11 December 1906, pages 23, 30.
  62. ^ Survey of newspaper reports, Trove website.
  63. ^ Miner Modesto Varischetti defies all odds], Shire of Coolgardie website; accessed 4 June 2024.
  64. ^ The Rescue of Varischetti, Punch (Melbourne), 4 April 1907, page 18.
  65. ^ The Seven Ages of a Provincial Pressman, The Gold-Seekers' Adventures, The Scientific Development of Species, Not Lost Yet, In Full Bloom, A Slight Flaw, Another One in Sight, Punch Annual 1907 (Melbourne), 10 December 1907, page 9, 23, 38, 43, 45, 46, 47.
  66. ^ "Worker" Cartoonists, The Australian Worker (Sydney), 17 August 1938, page 13; a section of the article 'Single Sheet Production' on pages 11-15.
  67. ^ a b Leap Year, The Worker (Sydney), 2 January 1908, page 1.
  68. ^ Marian Quartly (2005), pages 168-169.
  69. ^ a b Vane Lindesay (1996), page 87.
  70. ^ "Vumps," a profusely-illustrated..., The Worker (Sydney), 20 August 1908, page 27.
  71. ^ Vumps v1#1, AusReprints website; accessed 21 January 2024.
  72. ^ Vane Lindesay (1970), The Inked-In Image: A Survey of Australian Comic Art, Melbourne: William Heinemann Australia Pty. Ltd., pages 36-37.
  73. ^ Ann Nugent (1996), 'From Fatty Finn to the Phantom', National Library of Australia News, Trove website, National Library of Australia; accessed 21 January 2024.
  74. ^ The Demon Motor or the Chauffeur's Dream and The Tantanoola Tiger-Hunt, Punch Annual 1908 (Melbourne), 8 December 1908, pages 6, 23.
  75. ^ The Tormented Trapper and Strange Things Found in the Sea, Punch Annual 1909 (Melbourne), 7 December 1909, pages 6, 29.
  76. ^ Blierotter's Terraquaeroplane and The Story of the Deadly Cigarette, Punch Annual 1910 (Melbourne), 6 December 1910, pages 6, 15.
  77. ^ a b Fusion Fancies, The Worker (Sydney), 30 December 1909, page 29 and subsequent pages.
  78. ^ a b Bookstall advertisement, The Bulletin (Sydney), 6 July 1911, page 21.
  79. ^ The Dashwoods, The Worker (Sydney), 30 March 1911, page 21.
  80. ^ The Crippled Mare, The Lone Hand, 1 December 1913, page 41.
  81. ^ a b Claude Marquet Drowned, The Worker (Brisbane), 22 April 1920, page 6.
  82. ^ a b c John McLaren & Vane Lindesay (1996), page 91.
  83. ^ John McLaren & Vane Lindesay (1996), page 97.
  84. ^ Capitalism's Disorganising Crusade, The Australian Worker, 8 June 1916, page 1.
  85. ^ A Sample, The Australian Worker, 13 July 1916, page 1.
  86. ^ Examples include: Down!, The Australian Worker (Sydney), 27 July 1916, page 1; Getting a Chill, The Australian Worker, 3 August 1916, page 1; Hope Deferred, The Australian Worker, 17 August 1916, page 1; The "Argument" for Conscription, 19 October 1916, page 1.
  87. ^ The Blood Vote, The Australian Worker, 5 October 1916, page 19.
  88. ^ The Blood Vote, The Australian Worker, 12 October 1916, page 9.
  89. ^ Item HT 29164: Leaflet – 'The Blood Vote', Museums Victoria Collections website, museums Victoria; accessed 2 June 2024.
  90. ^ "The Blood Vote", The Australian Worker (Sydney), 30 October 1919, page 15.
  91. ^ The Death Ballot, The Australian Worker (Sydney), 15 November 1917, page 10.
  92. ^ Examples: Three Cheers for the Basket, Labor Call (Melbourne), 18 November 1915, page 3; The Case for Labor, Labor Call (Melbourne), 19 October 1916, page 3; Of course, we'll all be in the same boat, Labor Call, 22 November 1917, page 1; Aware of His Strength – But Apparently Blind, Labor Call, 1 August 1918, page 1; The Vision Terrible, Labor Call, 22 August 1918, page 1.
  93. ^ John McLaren & Vane Lindesay (1996), page 98.
  94. ^ At the Eternal Dead End: Or Getting Nowhere, Labor News (Sydney), 22 February 1919, page 1; Look on This Picture... And on This, Labor News (Sydney), 1 March 1919, page 1; Duet... Holman and McIntosh, Labor News (Sydney), 30 August 1919, page 1; The "Dear" Girlies, Labor News (Sydney), 6 September 1919, page 1.
  95. ^ Death of Claude Marquet, The Australian Worker (Sydney), 22 April 1920, page 7.
  96. ^ Ulysses and the Sirens, The Australian Worker, 22 April 1920, page 1.
  97. ^ Claude Marquet's Book of Cartoons, Westralian Worker (Perth), 4 June 1920, page 4.
  98. ^ a b Claude Marquet (1920), Cartoons by Claude Marquet (digital copy), Trove website.
  99. ^ Claude Marquet's Cartoons: Purchased for the Mitchell Library, Daily Standard (Brisbane), 20 August 1920, page 4.
  100. ^ The quoted references are from biographies of Claude Marquet in the Australian Dictionary of Biography (written by Vane Lindesay) and the Design & Art Australia Online website (by Joan Kerr).
  101. ^ Marian Quartly (2005), page 168.
  102. ^ The Blood Vote, AustLit website, University of Queensland; accessed 2 June 2024.
  103. ^ Verity Burgmann (1990), William Robert Winspear (1859–1944), Australian Dictionary of Biography website, National Centre of Biography, Australian National University; accessed 2 June 2024.
Sources
  • John McLaren and Vane Lindesay (1996), 'The War Cartoons of Claude Marquet', Kunapipi: Journal of Postcolonial Writing and Culture, Vol. 18 (Issue 2), 1996, pages 90-100.
  • Marian Quartly (2005), 'Working-Class Heroes: Labor Cartoonists and the Australian Worker, 1903-16', Labour History, November 2005 (No. 89), pages 159-178.

Other reading edit

  • Marquet, Charles; Boote, Henry E. (1920). Cartoons by Claude Marquet: A commemorative volume. The Worker Trustees.


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