Isaac Fawkes
Encyclopedia
Isaac Fawkes (also spelt Fawks, Fawxs, and Faux) was an English conjurer and showman. The first record of Fawkes was an appearance by his son at Southwark Fair in 1722, but an advertisement of April of the same year boasted that he had performed for George II
, so it is likely that he was well known in London before this time. He was one of the earliest magicians to present conjuring as an entertainment outside of the traditional fairground setting and by skilful promotion and management of his act he was able to amass both fame and a considerable fortune . His simple entertainment was satirised alongside other popularist amusements by William Hogarth in 1723, but he continued to be patronised by fashionable society until his death in 1732. He formed a close professional relationship with the clock and automata maker Christopher Pinchbeck
and from the mid-1720s began to demonstrate Pinchbeck's designs in shows both in their own right and for magical effects in his conjuring act.
The 12-year-old boy was Fawkes' own son who had been the tumbler at Southwark earlier in the year and became a regular fixture of Fawkes' show as a "Posture Master" or contortionist. In later announcements Fawkes' bragged that his son was the finest Posture Master in Europe. Because of the popularity of the contortionist act he took on another younger boy to perform a similar act but "all different from what his own boy performs".
Fawkes was not the first fair conjurer and neither was he particularly innovative in his routines (though he did make copious use of the recently invented Egg Bag), but by consciously rejecting the association of conjuring with black magic and mysterious forces and making it clear that his show was not designed to defraud his audience, he was among the first to successfully market his act to fashionable society outside the fairs. Fawkes eschewed the stereotypical voluminous cloak and hat of the traditional fair conjurer and instead presented himself in gentrified dress with a powdered wig and smart suit. His act was squarely presented as entertainment; he emphasised his skills of dexterity and if he did mention the dark forces it was only to mock those of his contemporaries that claimed a connection with the supernatural. The anonymous author of Round About Our Coal Fire or, Christmas Entertainments identified the key to Fawkes' success:
Not everybody was convinced of his honesty though; in his Portraits, memoirs, and characters, of remarkable persons of 1819 the author and publisher James Caulfield sketched Fawkes as a fraudster:
Fawkes was a regular at the Southwark and Bartholomew fairs where he gave up to six shows a day, but his rising popularity allowed him to establish himself in London outside the fair season. Early in 1723 he was working from the Long Room at the French Theatre next to the Opera House in Haymarket where on 7 March he gave a performance to the Prince and his retinue and was "handsomely rewarded". By April 1723 he had moved to premises in Upper Moorfields where he held performances from a large booth three times a day (at three, five and seven o'clock). After the fair season he had a booth at Tower Hill and by December he had moved back to the Haymarket under the same roof as John James Heidegger
's masquerades and Handel
's operas. He allowed the operas to take precedence and did not perform on Tuesdays and Saturdays, but by setting up alongside the masquerades he had established himself at the hub of the fashionable London entertainments.
He was not embarrassed by his success; late in 1723 a newspaper advertisement appeared boasting of his fame and wealth:
He challenged any of his competitors to prove that they could deposit a similar amount. Fawkes made extravagant use of this sort of self-promotion through newspapers, journals, broadsheets and playbills; he kept the public informed not only of his forthcoming shows but also of his performances for the rich and famous, his successes, and his developing career. He also developed a flexible pricing structure for his entertainments: the entrance fees for his shows varied between sixpence and two shillings depending on the audience and the location.
regarded the trend away from high art in favour of low theatrical entertainments such as those of Fawkes and Heidegger with disdain. Allusions to Fawkes' show feature prominently in his first issued print Masquerades and Operas (or the Bad Taste of the Town) of 1723 in which he mocks the public for their taste for an "English Stage, Debauch'd by fool'ries". Hogarth regarded Fawkes' popularity as indicative of the mentality of the public; as part of his act Fawkes produced money from thin air by an act of sleight of hand, which Hogarth may have seen as analogous to the exceptions of the investors in the South Sea Bubble (whom Hogarth had mocked earlier in his Emblematical Print on the South Sea Scheme
). Fawkes' show appears again in Hogarth's Southwark Fair a print of which was issued together with A Rake's Progress
in 1735. Fawkes himself was dead by this time, and though it is generally considered that Hogarth used a little artistic license in depicting Fawkes' booth as it had appeared in earlier times, it is impossible to say whether it is Fawkes or his son that appears in the scene, though Hogarth scholar Ronald Paulson
thinks it more likely to be the father. Fawkes' daughter-in-law, Belle Fawkes, who briefly flourished as an actress in the early 1740s has been suggested as a possible model for the girl with the drum in the centre of this scene.
Hogarth's satire seems to have little effect on Fawkes' trade. By the time it appeared he had made enough money to no longer need to rely on the income from performing and in February 1724 had announced in the London Evening Post
that he would retire at the end of that year's fair season. This proposed retirement may have been to connected to a problem he was suffering with one of his legs. Nothing further came of his threat to quit the business and in July he was proposing visiting Bristol with his show.
Fawkes was not complacent though. One of his pupils, William Phillips, was considered a better magician, and Fawkes sought to expand his repertoire beyond sleight of hand and contortionism. He formed a close professional partnership with the Fleet Street clock and automata maker, Christopher Pinchbeck
. Pinchbeck was responsible for much of the apparatus that Fawkes employed from the late 1720s onwards. The earliest record of Pinchbecks' work appearing in Fawkes show is from a 1727 advertisement for the "Temple of Arts":
Fawkes famous trick of producing an apple tree from seed which "bore ripe apples in less than a Minute's Time" relied on Pinchbeck's work and Fawkes slowly began to introduce demonstrations of some Pinchbeck's automata into his show alongside his sleight-of-hand conjuring and his son's contortionist display. Among Pinchbeck's works were the "Venetian Machine" or "Venetian Lady's Machine" which appears to have been a forerunner of the scrolling dioramas that would become popular in London in the 19th century.
Pinchbeck usually received little or no billing in Fawkes' act and if he attended any of the performances or shows he did not do so on a regular basis, but the relationship between the two men seems to have been close as Fawkes' slowly shifted the focus of his show towards demonstrations of Pinchbeck's designs. He continued to appear at the London fairs and continued to perform his conjuring act, but rather than stressing his feats of dexterity he concentrated on tricks based around Pinchbeck's designs and on displays of Pinchbeck's automata and clocks in shows with various flowery titles such as the "Grand Theatre of the Muses" or "Multum in Parvo".
Fawkes adoption of Pinchbeck's creations as part of the show allowed him to further distance himself from black magic and witchcraft. In the public's eye he was more closely aligned to the travelling natural philosophers - early scientists who often demonstrated recent discoveries in the sciences in touring shows that were part education and part entertainment. Fawkes was still not above invoking spirits for promotional effect though; a 1726 advertisement for an appearance at Bristol Fair jokingly referred to his "whole Equipage" which included "auxiliary Spirits and Demons, shut up in a Bottle for Conveniency of Carriage".
His relation with Pinchbeck did not stop him exploiting opportunities in the market when he got the chance; Mist's Weekly Journal reported on 1 June 1728 that:
Fawkes also added an occasional Punch and Judy
show (which at the time was billed as Punch and his wife Joan) to his act and in this he worked with the son of the famous puppeteer Martin Powell, though he and Powell were sometime rivals for the audiences at the fairs.
By 1726 an announcement for Fawkes' show included his Posture Master, the automata of Pinchbeck, Powell's puppet show, and giant waxwork figures:
He also added a "Horned Woman", Elizabeth French:
French, who had a ten-inch horn-like growth on the back of her head remained in Fawkes' employ for several years but she eventually knocked the growth from her head when she fell down some stairs.
Pinchbeck's younger son, Edward, took over the business alongside Fawkes' son. On 17 November, Edward married Fawkes' widow, Alice, at most a few days before his father died (reports vary between 18 November and 22 November). Fawkes' show appears to have initially continued to flourish under the management of his son and Pinchbeck - in 1733 they exhibited clocks and automata again as the "Grand Theatre of the Muses’ at Bartholomew Fair - but they slowly moved towards producing shows of puppetry and working as puppeteers and, although they were still advertising their booth at Southwark Fair in 1741, they seem to have ceased performing after 1746.
Aside from his possible appearance in Southwark Fair there are few images of Fawkes; there is a broadsheet by Sutton Nichols which includes a panel featuring Fawkes and this basic line sketch is used again in one of his extant advertisements, but the best known image is taken from a Bartholomew Fair souvenir fan possibly painted by Thomas Loggon in around 1740, which illustrates Fawkes' show cloth with Fawkes performing the egg bag trick.
George II of Great Britain
George II was King of Great Britain and Ireland, Duke of Brunswick-Lüneburg and Archtreasurer and Prince-elector of the Holy Roman Empire from 11 June 1727 until his death.George was the last British monarch born outside Great Britain. He was born and brought up in Northern Germany...
, so it is likely that he was well known in London before this time. He was one of the earliest magicians to present conjuring as an entertainment outside of the traditional fairground setting and by skilful promotion and management of his act he was able to amass both fame and a considerable fortune . His simple entertainment was satirised alongside other popularist amusements by William Hogarth in 1723, but he continued to be patronised by fashionable society until his death in 1732. He formed a close professional relationship with the clock and automata maker Christopher Pinchbeck
Christopher Pinchbeck
Christopher Pinchbeck was a London clockmaker and maker of musical Automata. He was born in Clerkenwell but worked in Fleet Street. Probably his name was derived from Pinchbeck, Lincolnshire. In the 18th century he invented the alloy Pinchbeck a cheap substitute for gold...
and from the mid-1720s began to demonstrate Pinchbeck's designs in shows both in their own right and for magical effects in his conjuring act.
Popularity
Nothing is known of Fawkes before early 1722 when an advertisement appeared announcing that his son would give a performance of tumbling at Southwark Fair, but it is safe to suppose that he was well-established as a performer in London by this time, as in March 1722 he took out an advertisement in which he mentioned his previous performances for George II, in which he demonstrated:The 12-year-old boy was Fawkes' own son who had been the tumbler at Southwark earlier in the year and became a regular fixture of Fawkes' show as a "Posture Master" or contortionist. In later announcements Fawkes' bragged that his son was the finest Posture Master in Europe. Because of the popularity of the contortionist act he took on another younger boy to perform a similar act but "all different from what his own boy performs".
Fawkes was not the first fair conjurer and neither was he particularly innovative in his routines (though he did make copious use of the recently invented Egg Bag), but by consciously rejecting the association of conjuring with black magic and mysterious forces and making it clear that his show was not designed to defraud his audience, he was among the first to successfully market his act to fashionable society outside the fairs. Fawkes eschewed the stereotypical voluminous cloak and hat of the traditional fair conjurer and instead presented himself in gentrified dress with a powdered wig and smart suit. His act was squarely presented as entertainment; he emphasised his skills of dexterity and if he did mention the dark forces it was only to mock those of his contemporaries that claimed a connection with the supernatural. The anonymous author of Round About Our Coal Fire or, Christmas Entertainments identified the key to Fawkes' success:
Not everybody was convinced of his honesty though; in his Portraits, memoirs, and characters, of remarkable persons of 1819 the author and publisher James Caulfield sketched Fawkes as a fraudster:
Fawkes was a regular at the Southwark and Bartholomew fairs where he gave up to six shows a day, but his rising popularity allowed him to establish himself in London outside the fair season. Early in 1723 he was working from the Long Room at the French Theatre next to the Opera House in Haymarket where on 7 March he gave a performance to the Prince and his retinue and was "handsomely rewarded". By April 1723 he had moved to premises in Upper Moorfields where he held performances from a large booth three times a day (at three, five and seven o'clock). After the fair season he had a booth at Tower Hill and by December he had moved back to the Haymarket under the same roof as John James Heidegger
John James Heidegger
John James Heidegger was a Swiss count and leading impresario of masquerades in the early part of the 18th century....
's masquerades and Handel
George Frideric Handel
George Frideric Handel was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music...
's operas. He allowed the operas to take precedence and did not perform on Tuesdays and Saturdays, but by setting up alongside the masquerades he had established himself at the hub of the fashionable London entertainments.
He was not embarrassed by his success; late in 1723 a newspaper advertisement appeared boasting of his fame and wealth:
He challenged any of his competitors to prove that they could deposit a similar amount. Fawkes made extravagant use of this sort of self-promotion through newspapers, journals, broadsheets and playbills; he kept the public informed not only of his forthcoming shows but also of his performances for the rich and famous, his successes, and his developing career. He also developed a flexible pricing structure for his entertainments: the entrance fees for his shows varied between sixpence and two shillings depending on the audience and the location.
Hogarth's satires
William HogarthWilliam Hogarth
William Hogarth was an English painter, printmaker, pictorial satirist, social critic and editorial cartoonist who has been credited with pioneering western sequential art. His work ranged from realistic portraiture to comic strip-like series of pictures called "modern moral subjects"...
regarded the trend away from high art in favour of low theatrical entertainments such as those of Fawkes and Heidegger with disdain. Allusions to Fawkes' show feature prominently in his first issued print Masquerades and Operas (or the Bad Taste of the Town) of 1723 in which he mocks the public for their taste for an "English Stage, Debauch'd by fool'ries". Hogarth regarded Fawkes' popularity as indicative of the mentality of the public; as part of his act Fawkes produced money from thin air by an act of sleight of hand, which Hogarth may have seen as analogous to the exceptions of the investors in the South Sea Bubble (whom Hogarth had mocked earlier in his Emblematical Print on the South Sea Scheme
Emblematical Print on the South Sea Scheme
Emblematical Print on the South Sea Scheme is an early print by William Hogarth, created in 1721 and widely published from 1724. It caricatures the financial speculation, corruption and credulity that caused the South Sea Bubble in England in 1720–1.-Background:The South Sea Company was a British...
). Fawkes' show appears again in Hogarth's Southwark Fair a print of which was issued together with A Rake's Progress
A Rake's Progress
A Rake's Progress is a series of eight paintings by 18th century English artist William Hogarth. The canvases were produced in 1732–33 then engraved and published in print form in 1735...
in 1735. Fawkes himself was dead by this time, and though it is generally considered that Hogarth used a little artistic license in depicting Fawkes' booth as it had appeared in earlier times, it is impossible to say whether it is Fawkes or his son that appears in the scene, though Hogarth scholar Ronald Paulson
Ronald Paulson
Ronald Paulson , is an American professor of English, a specialist in English 18th-century art and culture, and English artist William Hogarth.-Education:...
thinks it more likely to be the father. Fawkes' daughter-in-law, Belle Fawkes, who briefly flourished as an actress in the early 1740s has been suggested as a possible model for the girl with the drum in the centre of this scene.
Hogarth's satire seems to have little effect on Fawkes' trade. By the time it appeared he had made enough money to no longer need to rely on the income from performing and in February 1724 had announced in the London Evening Post
London Evening Post
The London Evening Post was a pro-Jacobite Tory English newspaper published in Great Britain from 1727 until 1797....
that he would retire at the end of that year's fair season. This proposed retirement may have been to connected to a problem he was suffering with one of his legs. Nothing further came of his threat to quit the business and in July he was proposing visiting Bristol with his show.
Expanding his show
One of Fawkes' advertisements described his routine in some detail:Fawkes was not complacent though. One of his pupils, William Phillips, was considered a better magician, and Fawkes sought to expand his repertoire beyond sleight of hand and contortionism. He formed a close professional partnership with the Fleet Street clock and automata maker, Christopher Pinchbeck
Christopher Pinchbeck
Christopher Pinchbeck was a London clockmaker and maker of musical Automata. He was born in Clerkenwell but worked in Fleet Street. Probably his name was derived from Pinchbeck, Lincolnshire. In the 18th century he invented the alloy Pinchbeck a cheap substitute for gold...
. Pinchbeck was responsible for much of the apparatus that Fawkes employed from the late 1720s onwards. The earliest record of Pinchbecks' work appearing in Fawkes show is from a 1727 advertisement for the "Temple of Arts":
Fawkes famous trick of producing an apple tree from seed which "bore ripe apples in less than a Minute's Time" relied on Pinchbeck's work and Fawkes slowly began to introduce demonstrations of some Pinchbeck's automata into his show alongside his sleight-of-hand conjuring and his son's contortionist display. Among Pinchbeck's works were the "Venetian Machine" or "Venetian Lady's Machine" which appears to have been a forerunner of the scrolling dioramas that would become popular in London in the 19th century.
Pinchbeck usually received little or no billing in Fawkes' act and if he attended any of the performances or shows he did not do so on a regular basis, but the relationship between the two men seems to have been close as Fawkes' slowly shifted the focus of his show towards demonstrations of Pinchbeck's designs. He continued to appear at the London fairs and continued to perform his conjuring act, but rather than stressing his feats of dexterity he concentrated on tricks based around Pinchbeck's designs and on displays of Pinchbeck's automata and clocks in shows with various flowery titles such as the "Grand Theatre of the Muses" or "Multum in Parvo".
Fawkes adoption of Pinchbeck's creations as part of the show allowed him to further distance himself from black magic and witchcraft. In the public's eye he was more closely aligned to the travelling natural philosophers - early scientists who often demonstrated recent discoveries in the sciences in touring shows that were part education and part entertainment. Fawkes was still not above invoking spirits for promotional effect though; a 1726 advertisement for an appearance at Bristol Fair jokingly referred to his "whole Equipage" which included "auxiliary Spirits and Demons, shut up in a Bottle for Conveniency of Carriage".
His relation with Pinchbeck did not stop him exploiting opportunities in the market when he got the chance; Mist's Weekly Journal reported on 1 June 1728 that:
Fawkes also added an occasional Punch and Judy
Punch and Judy
Punch and Judy is a traditional, popular puppet show featuring the characters of Mr. Punch and his wife, Judy. The performance consists of a sequence of short scenes, each depicting an interaction between two characters, most typically the anarchic Punch and one other character...
show (which at the time was billed as Punch and his wife Joan) to his act and in this he worked with the son of the famous puppeteer Martin Powell, though he and Powell were sometime rivals for the audiences at the fairs.
By 1726 an announcement for Fawkes' show included his Posture Master, the automata of Pinchbeck, Powell's puppet show, and giant waxwork figures:
He also added a "Horned Woman", Elizabeth French:
French, who had a ten-inch horn-like growth on the back of her head remained in Fawkes' employ for several years but she eventually knocked the growth from her head when she fell down some stairs.
Death and legacy
While Fawkes was performing at one of the fairs early in 1732 a fire broke out in a neighbouring booth and frightened his wife, Alice, so severely that she had to go into an "early confinement". Whether this fire was connected to Fawkes' death later that year is not known. Fawkes died on 25 May 1732 and was buried at St Martin-in-the-Fields, Westminster three days later. He had amassed a considerable fortune to leave to Alice; reports at the time suggested he "had honestly acquired a fortune of above ten thousand pounds, being no more than he really deserved for his great ingenuity, by which he surpassed all that ever pretended to be art."Pinchbeck's younger son, Edward, took over the business alongside Fawkes' son. On 17 November, Edward married Fawkes' widow, Alice, at most a few days before his father died (reports vary between 18 November and 22 November). Fawkes' show appears to have initially continued to flourish under the management of his son and Pinchbeck - in 1733 they exhibited clocks and automata again as the "Grand Theatre of the Muses’ at Bartholomew Fair - but they slowly moved towards producing shows of puppetry and working as puppeteers and, although they were still advertising their booth at Southwark Fair in 1741, they seem to have ceased performing after 1746.
Aside from his possible appearance in Southwark Fair there are few images of Fawkes; there is a broadsheet by Sutton Nichols which includes a panel featuring Fawkes and this basic line sketch is used again in one of his extant advertisements, but the best known image is taken from a Bartholomew Fair souvenir fan possibly painted by Thomas Loggon in around 1740, which illustrates Fawkes' show cloth with Fawkes performing the egg bag trick.