Fred Pegram RI (1870-1937)
Pegram, a cousin of fellow Punch cartoonists Charles and Henry Brock, studied at the Westminster School of Art. He began submitting sketches to the Pall Mall Gazette, and thereafter had his black and white work published widely in a variety magazines and journals. In addition to his published work, Pegram was a noted portraitist, watercolour artist (he was elected a member of the Royal Institute of Painters in Watercolour in 1925) and etcher.
In discussing Pegram’s work for Punch, Price (1957) wrote: ‘Fred Pegram was his [F H Townsend, his brother in law and Punch’s first Art Editor] equal as a naturalistic draughtsman. Where, at least in rural backgrounds, Townsend derived from [Charles] Keene, Pegram’s tighter technique was nearest to early [Bernard] Partridge… Pegram was slightly affected by the oddly common Punch difficulty over making characters stand naturally… his draughtsmanship as late as the early Thirties was still capable of giving a thrill of pleasure.’
Collections
British Museum
Victoria and Albert Museum
Sources and further reading
Bryant M and Heneage S (1994), Dictionary of British Cartoonists and Caricaturists 1730-1980, Scolar Press
Johnson J and Greutzner A (1999), British Artists 1880-1940, Antique Collectors’ Club
Mackenzie I, (1988), British Prints, Antique Collectors’ Club
Price R G G (1957), A History of Punch, Collins
Waters G M (1975), Dictionary of British Artists 1900-1950, Eastbourne Fine Art
Pegram, a cousin of fellow Punch cartoonists Charles and Henry Brock, studied at the Westminster School of Art. He began submitting sketches to the Pall Mall Gazette, and thereafter had his black and white work published widely in a variety magazines and journals. In addition to his published work, Pegram was a noted portraitist, watercolour artist (he was elected a member of the Royal Institute of Painters in Watercolour in 1925) and etcher.
In discussing Pegram’s work for Punch, Price (1957) wrote: ‘Fred Pegram was his [F H Townsend, his brother in law and Punch’s first Art Editor] equal as a naturalistic draughtsman. Where, at least in rural backgrounds, Townsend derived from [Charles] Keene, Pegram’s tighter technique was nearest to early [Bernard] Partridge… Pegram was slightly affected by the oddly common Punch difficulty over making characters stand naturally… his draughtsmanship as late as the early Thirties was still capable of giving a thrill of pleasure.’
Collections
British Museum
Victoria and Albert Museum
Sources and further reading
Bryant M and Heneage S (1994), Dictionary of British Cartoonists and Caricaturists 1730-1980, Scolar Press
Johnson J and Greutzner A (1999), British Artists 1880-1940, Antique Collectors’ Club
Mackenzie I, (1988), British Prints, Antique Collectors’ Club
Price R G G (1957), A History of Punch, Collins
Waters G M (1975), Dictionary of British Artists 1900-1950, Eastbourne Fine Art