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Henry Alken (1785-1851)
Henry T. Alken is one of the most renowned and popular of British sporting and genre artists and engravers. He was the son of another engraver, Samuel Alken--known for his topographical as well as sporting scenes--, and father of Samuel Henry Alken, who followed in the steps of his forbearers as an engraver and artist. Alken is famous for his sporting prints (indeed on some of his early plates he used the name 'Ben Tally-Ho') as well the many humorous series he produced in the 1820s.
Illustrations of popular songs of the day, Alken's imaginative vignettes illustrate the songs line by line. Their fine execution and hand-color make them wonderful examples of Alken's work. $125 each
A series of caricatures of people in different situations. Each plate has a number of delightful vignettes, showing Alken's wit and skill. $125 each
Another series exhibiting Alken's humorous, yet sensitive view of his fellow man. $65 each
In this series, Alken combines his expertise in sporting prints and caricature. $175 each
Henry William Bunbury (1756-1811)
Henry William Bunbury, known as the "gentleman draughtsman," was a graduate of Cambridge and equerry to the Duke of York. As one of the most popular caricaturists of his time, Bunbury produced gently satirical illustrations of social life that were used by many of the leading engravers of the day, including Bartolozzi, Rowlandson, Dickinson and Gillray. Because his caricatures were not as caustic as some, he was able to appeal to the most fastidious of connoisseurs, such as Horace Walpole. His illustrations, however, show wit and insight.
Prints by H.W. Bunbury. London, ca. 1780. Stipple and etching by William Dickinson. Printed in brown. Full margins. Very good condition.
The precise stipple work, softly printed in brown, adds to the elegance and appeal of these delightful prints. $165 each
George Cruikshank (1792-1878)
As a child, George Cruikshank learned to etch and draw from his father Isaac, a caricaturist who was credited as the first to lampoon Napoleon Bonaparte. At 19, George replaced his father, who was completing James Gillray's final, unfinished work. With this auspicious project, the younger Cruikshank began a working career that would span over 70 years and earn him the title "Gillray's heir." Among his noted works are caricatures of Napoleon's exploits as well as the exaggerated fads and fancies of the English gentry. In addition to his humorous topics, Cruikshank used his art to address concerns about alcohol and its effects on society and the family. Today, art historians view him as the last great master of the etched caricature.
In these wonderful prints, Jerry Hawthorn and Corinthian Tom are shown in various scenes of Regency London. Not only are these charming examples of the Cruikshanks' work, they also provide an insightful glimpse of 'Life in London.' $65 each.
Go to our page of rare British books to see a set of volumes: The Genius of George Cruikshank.
Issac Robert Cruikshank (1789-1856)
Like his brother George, Isaac Robert Cruikshank learned his trade from his father, Isaac. Originally setting himself up as a portrait and miniature painter, he later returned to printmaking, often collaborating with George. In 1830, he left caricature work to focus on book illustration.
"Jumping in Sacks." Etched by Robert Cruikshank, drawn by W.H. Pyne, engraved by G. Hunt. London: Pyall & Hunt. 8 1/4 x 12 1/4. Hand colored. Paper has browned somewhat; some spotting, smudging in margins. George, 15009.
A merry image populated with nearly every sort of British citizen, from farmer to soldier to gentleman. Seven men race, potato-sack style, as the diverse crowd alternately cheers and jeers. As with Rowlandson's "Dr. Syntax" prints, this scene includes a fine, fully realized background with well-rendered landscape and architecture - perhaps a clue to the exact subject that Cruikshank lampoons. $250
HB [John Doyle] (1797-1867)
By writing his initials twice-over, John Doyle manipulated the letters to create the pseudonym signature "HB". Born in Catholic Dublin, HB arrived in London in 1821, after the death of James Gillray. Thomas Rowlandson had aged, as well, and with him the era of biting, pointed caricature in London. As HB began his career, he introduced a gentler sort of satire, making soft jokes calculated to avoid strong offence. Rather than exaggerating physical features and pushing the bawdy laugh, Doyle employed reasonable likenesses with circumstantial humor. Even the subtle, sketchy appearance of his lithography marked a change from the loose, brash lines of colored etchings, a medium that had dominated caricature printing for the previous half-century.
HB [John Doyle]. "John Bull trying on his 'bra' new' Grey Breeks." London: Thomas McLean, 26 March 1831. 9 1/2 x 14 1/2. Lithograph. Hand color. George 16609.
Remembered by historians for his staunch support of the Reform Act of 1832, English Whig Lord John Russell appears here as a tailor, proffering a new style of breeches for the stout (and presumably slow-to-change) John Bull. $240
James Gillray (1756-1815)
One of the best-known British caricaturists, James Gillray made a name for himself through his witty compositions, capable draftsmanship, and exquisite detail. Through his copious political satires, he set a new standard for the genre, becoming a measure by which his successors were judged. The prints he published through Hannah Humphrey's shop in London have become archetypes for caricaturists and include such famous images as world rulers carving up the globe at dinner.
James Gillray. "Georgey a' Cock-horse." Original printing, London: Hannah Humphrey, 23 November 1796; this from a later strike. 13 3/8 x 10 3/8. Etching. Hand color. Trimmed to title and mounted on period paper; overall, good condition.
Equerry to the Prince of Wales (the future George IV) and all-around dandy, George Hanger was one of Gillray's favorite subjects. $450.
James Gillray. "Judge Thumb." London: W. Humphrey, No. 227 Strand; [27 November 1782]-1818. 6 3/4 x 5 1/16. Etching. Hand color. On wove paper watermarked 1818. Excellent condition. George, 6123.
In 1782, Judge Francis Buller ruled that a man was allowed to beat his wife, provided that the instrument of violence was no larger around than his thumb. Even in the eighteenth century, this ruling was controversial, provoking Gillray to produce this satirical cartoon. According to one contemporary source, the artist's rendering of Buller's face was "a very striking likeness." Indeed, it is remarkably well-rendered and is clearly the object of Gillray's joke. As the working-class man in the background beats his wife with a regulation-sized stick, they serve as foils for the judge's folly. $325
James Gillray."Posting in Ireland" and "Posting in Scotland." Etchings. Each ca. 12 x 15. Original printing, London: Hannah Humphrey, 5 April 1805 and 25 May 1805; these from a later strike. Hand color. On "Scotland," Printer's wrinkle in upper corners. George 10487-10479. Both trimmed to title and laid down on period paper. Overall, very good condition.
Showcasing Gillray's great humour and visual wit, this pair of prints plays of English sterotypes of Irish and Scottish peasants.
In the midst of the Regency Crisis, Parliament was racked by debate. Advocating for the Prince of Wales' regency, Charles James Fox led supporters like Edmund Burke and Richard Brinsely Sheridan against William Pitt, the King's favorite, who defended His Majesty's overall sanity. Here, Pitt chases Fox from the House of Commons, leaving his supporters (Burke and Sheridan, who appear in the front row) in a dither. Cornwall, speaker of the House of Commons exclaims at the lack of decorum, while Weltje, comptroller to the Prince of Wales voices concern that without the regency, the Prince could lose access to the decadent lifestyle for which he was known. Primarily mocking Fox and the Prince of Wales, Gillray produced this cartoon in response to the debate of 10 December 1788, when Pitt threatened Fox, "I'll unwhig the gentleman." Typical of Gillray's output, which cut to the heart of political issues with both precision and wit. $250
James Gillray. "The Death of Admiral Lord-Nelson, in the moment of Victory!" 13 1/2 x 10 1/2. Etching. Original issue, London: Hannah Humphrey, 23 December 1805. This strike, London: Henry G. Bohn, [1849]. Hand-colored. Conserved: backed with rice paper. Overall, very good condition. George 10442.
In a departure from his usual wit and satire, British caricaturist James Gillray drew this memorial image, commemorating the death of Admiral Lord Nelson on the HMS Victory at the Battle of Trafalgar. As a talented and popular satirist, Gillray built his reputation on his keen interpretations of current events - a skill he employed here to help England mourn a national hero. Details are plentiful: in the distance, the French ship Redoubtable is yet visible after firing the fatal shot. British marksmen take aim from the left rear ground of the print, continuing the battle even as allegorical figure of Immortality sounds his trumpet over Nelson. Behind the fallen admiral, Britannia weeps as sailors arrive with the banner of the enemy: victory has been secured.
During his lifetime, London publisher Hannah Humphrey printed most of Gillray's caricatures. The business and the plates remained in the Humphrey family until 1835, when London publisher Henry G. Bohn saved the plates from the scrap heap. Bohn subsequently reprinted Gillray's images and issued them in a single volume of 582 plates, including this print. $600
Henry and William Heath (active 1825-1850)
Henry Heath was a draughtsman, etcher and lithographer who produced mainly caricatures based on his own drawings. He was the brother of William Heath, whose style he closely followed. His plates are often signed "HH."
W. Heath. "A Sketch of the Row in Parliment Street." London: Thomas McLean, ca. April 1829. Etching. Hand color. Some repaired cracks along lateral fold line; else, fine condition. George 15721.
A beautiful example of biting, bawdy British satire from the end of the genre's golden age. Appearing as common market-women, Eldon and Wellington set up for battle, backed by John Bull and an Irish beggar, respectively. Exceedingly witty, this print hides numerous jabs and jokes, from Sir Robert Peel, who stands in the background wearing a marketwoman's garb, to John Bull's hand on Eldon's ample marketwoman's posterior. A fine example of the sort of work that makes this genre appealing to collectors today. $650
H. Heath. "John Bull and the Locusts!!!" London: S. Gans, 1830. Etching. 10 x 14. Hand color. Mounted on colored paper near time of issue. George 16267. Very good condition.
In Heath's dynamic image, John Bull calls upon King William IV to help rid his fields of all manner of pests, seen here as politicians like Wellington, Lyndhurst, Scarlett, and Prime Minister Robert Peel himself. As always, John Bull personifies the sentiments of the English public, who were increasingly concerned with excessive government spending. Most recently (and perhaps most germaine to this image), Peel had established the Metropolitan Police Force (who would eventually be nicknamed "Bobbies" after Peel), Britain's first professional police organization. $750
H. Heath. "The Revolution of 1831 . as Prophecyed by that learned Astrologer General, Ikey Wether-bridge...." London: S.W. Fores, 1831. Etching. 9 5/8 x 13 1/4. Hand color. Mounted on colored paper close to time of issue. Some time-toning; else, good condition.
Known to historians as the architect of the 1832 Reform Bill, Charles, Earl Grey appears here as a crusader against the so-called "rotten boroughs." Carefully arranged to allow corrupt politicians to stay in office, Grey's government attempted to re-organize these boroughs to allow for fairer representation of public interests. Here, Grey uses his giant "Reform" broom to sweep out "rats," as John Bull (characterized here by a bull terrier) strains at the end of his leash. From the edge of the image, King William IV offers verbal support. A wonderfully graphic image of an important poiltical season in Parliamentary history. $750
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