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The Philadelphia Print Shop

British Caricature

Page 2

[ Henry Alken | Henry Bunbury | George Cruikshank | Isaac Cruikshank | Isaac Robert Cruikshank | HB (John Doyle) | James Gillray ]
[ Henry & William Heath | Theodore Lane | Lewis Marks | Peter Pasquin | P. Roberts | Thomas Rowlandson | James Sayer | Charles Williams | George Woodward | Unattributed ]


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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."

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Theodore Lane (1800-1828)

Joining the London caricature scene at its height, Lane worked with such notables as Pierce Egan, furnishing him with the illustrations for Life of an Actor, Peregrine Proteus. Prolific caricature publisher George Humphrey published more than forty of his caricatures of Princess Caroline and other public figures before his career tragically ended when he fell through a skylight to his death.

Long and Short
"The Long & the Short of the Tale. - or - the whole of the Concern. Sure such a pair were never formed to meet by Nature." London: George Humphrey, January 1, 1821. Etching. Original hand color. 11 1/2 x 8 3/4. Very good condition. George: 14103.

Largely self-taught as an artist, but a student of watercolors and miniatures, Theodore Lane (1800-1828), produced some splendidly scurrilous cartoons aimed at the Royal Family – and in particular at Queen Caroline, consort of George IV. George Humphrey (c. 1773-c. 1831) succeeded his aunt, Hannah Humphrey, as a print publisher and seller.

Caroline of Brunswick (1768-1821) was short and homely, and after the birth of a daughter, Princess Charlotte of Wales, her husband – who had had affairs with several London beauties – separated from her. Caroline, still Princess of Wales because her uncle and father-in-law George III still lived, began travelling through Europe, where she became involved with tall and handsome Bartolomeo Bergami. When her husband became King she returned to London, attempting to have a position at Court as Queen. Parliament tried to force her out on grounds of adultery with Bergami, but Lord Broughm's defense carried the day. The Queen died very shortly thereafter. $600


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Lewis Marks (from 1814)

(J.) Lewis Marks was a caricaturist and publisher of military and theater prints and occasional pamphlets. Marks began by imitating Cruikshank, but he soon developed his own, more vulgar style.

None currently available.

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Peter Pasquin

None currently available.
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P. Roberts (fl. ca. 1801-1804)

P. Roberts was a printseller from Middle Row, Holborn. He published his own etchings, specializing in caricatures after George Woodward. His images were sometimes reissued by Thomas Tegg in 1807.

None currently available.

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Thomas Rowlandson (1756-1827)

Trained at the Royal Academy Schools and in Paris, Thomas Rowlandson quickly earned a reputation as a caricature expert. His sharp eye, comic renderings, and delicate use of color soon established him as one of the important English artists of his period. In order to fund his expensive, convivial lifestyle, he produced numerous prints and series of prints, poking cleverly at British society and popular culture.



Rowlandson: Jews at Luncheon
"Jews at a Luncheon. Or, a peep into Duke's Place." London, 1794. Etching. Original hand color. 7 5/8 x 9 3/4 (sheet). Margins trimmed, else very good condition. George: 8536.

This caricature shows three Jews eagerly preparing to feast on pork, forbidden under Jewish dietary laws. The title refers back to a 1777 Robert Sayer caricature titled, primarily, "Jews Receiving Stolen Goods," and, alternatively, "A Scene in Duke's Place," in which Jews are depicted purchasing stolen goods from a Jewish highwayman. Duke's Place, a street in London's East End named for the Duke of Norfolk in the 16th century, was the site of the Great Synagogue from 1690 until its destruction in 1942 during the Blitz. $550



Rowlandson: Symptoms of Sanctity
Thomas Rowlandson. "Symptoms of Sanctity." London: S.W. Fores, January 26, 1801. 10 7/8 x 8 5/8. Etching. Original hand color. George 9781.

The oft told tale of a lecherous monk and an innocent young maiden. $650



Rowlandson: Mrs. Smouch Longing for Piggy
Thomas Rowlandson. "Mrs. Smouch Longing for Piggy." Ca. 1810. 10 5/8 x 8. Etching. Original hand color. Not in George.

A very ribald depiction of loose women and pigs in England. $600



Rowlandson: Humours of Houndsditch
"Humours of Houndsditch, or, Mrs. Shevi in a Longing Condition." London: Thomas Tegg, 1813. Etching. Original hand color. 13 5/8 x 9 3/4. Very good condition. George: 12146.

In this satire Rowlandson uses the heavily Jewish district of Houndsditch to set his scene, in which an old clothes peddler (with bag) entices two Jewish women with a piglet. An elderly Jewish neighbor's expression depicts horror at this violation of Jewish law, while the sow looks on. On the wall is a handbill advertising a reward for a sow and seven pigs "lost supposed to have been stolen." $650



Dr. Syntax

Syntax Tumbling into Water
"Doctor Syntax Tumbling into the Water." From one of the Tours of Dr. Syntax. London, engraved between about 1812 and 1821. Ca. 4 1/2 x 7 1/2. Aquatint by Thomas Rowlandson. Original hand color. Some typical light stains, else very good condition.

A delightful print from one of the famous 'tours of Dr. Syntax.' These tours chronicle the various escapades of the fictional 19th-century English clergyman, Dr. Syntax. The animated drawing and wonderful facial expressions make them excellent examples of Rowlandson's parodic work from the great age of English caricature. $65
GoGo to page with full list of Dr. Syntax prints




Dance of Death

Dance of Death
From The English Dance of Death. London: R. Ackermann, 1816. Aquatints. Fine, original hand color. Very good condition.

This darkly delightful series of aquatints after drawings by Rowlandson are among his rarest and most wonderful images. Death, represented as a skeleton, appears as part of the lives of every sort of person: high society and low, old and young, educated and ignorant. Though each image is quite humorous, there is a sober, underlying reminder of death's inevitability. $125 each



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James Sayer (or Sayers) (1748-1823)

Sayer: Rise of Stocks
James Sayer. "The Rise of the Stocks." London: Thomas Cornell, 29 May 1786. Etching and aquatint. 9 7/8 x 7 1/2 (neat lines). Laid down; else, very good condition.

In 1786 former Prime Minister Frederick North, 2nd Earl of Guilford, and Charles James Fox were in opposition to the Parliamentary majority of Prime Minister William Pitt, the Younger.

In this caricature, a bearded Jew is showing the horrified Fox and North that the value of stocks is rising, which was helpful to the incumbent Pitt administration.

James Sayer (or Sayers) (1748-1823), having become wealthy by inheritance, relocated from Norfolk to London and applied himself to political caricature. As a devoted supporter of the younger Pitt, Sayer took particular glee in attacking Fox, who admitted that his public image was damaged thereby. $650



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Charles Williams (d. 1830)

A Political Tutor or New School of Reform
Attributed to Charles Williams. "The Political Tutor or New School Reform." London: Tegg, 1808. 8 7/8 x 13 1/8. Etching. Wove paper with hand color. Repaired tear at left, scatters smudges. Else, very good condition. George 10987.

Baron Edward Ellenborough holds a Magna Charter as scowling lawyers and angry bishops look on. Charles 3rd Earl Stanhope, who holds a birch rod, addresses him. Stanhope had been accused of attacking Ellenborough. $700



Jew Depreciating Bank Notes
"Jew - Depreciating Bank Notes." London: S. W. Fores, 1811. Hand colored etching, possibly by Charles Williams. 9 1/2 x 13 1/4. George, 11731. Very good condition.

In 1811, Peter King, 7th Baron King of Ockham (1776-1833) notified his tenants that he would now demand rental payments in hard coin (guineas) and, if paid in bank notes, such notes would be depreciated at less than face value. Parliament was spurred by this action to make paper money legal tender.

In this caricature, King is portrayed with Jewish features and a beard, which associates him with a similarly named disgraced Jewish financier named John King. As King confronts honest and prosperous tenant John Bull with his demands, John Bull protests, while Lords Perceval and Stanhope, witnessing the confrontation, resolve to put an end to it, which Parliament did by Acts in 1811 and 1812. King points to coins on his table, which also has books Laws of Landlord & Tenant and Table of Interest. Lords Journals lie on the floor, while the cabinet behind the landlord is filled with sacks of "Guineas," plus piles of "Leases," "Annuities" and "Mortgages." $800



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George Moulard Woodward (1760-1809)

An amateur caricaturist produced political cartoons in London between 1794 and 1800, including some in a strip format that was of his own devising. He lived a rather dissolute life and died in a tavern.

The Reason Why Lawyers Wear Black in Term Time
George Woodward. "The Reason Why Lawyers wear Black in Term Time." London: W. Fores, November 14, 1796. 12 x 8 3/4. Etching. Wove paper. Not in George. Time toned. Else very good condition.

The client thinks black is a sign of respect, but the lawyer assures him that lawyers are mourning for their clients. $450



Making a Sailor an Odd Fellow
George Woodward. "Making a Sailor an Odd Fellow!!" London: T. Tegg, December 1st 1812. Etching by George Cruikshank. 9 1/4 x 13 1/4. Hand color. "109" in upper right corner. Trimmed to just beyond neatline, touching neatline bottom right corner. Else, very good condition.

A cartoon that seems to involve a British sailor skeptical about joining the Odd Fellows. A man in the center petitions the "Chairman" behind the table to admit "Mr. Benjamin Block of Wapping Old Stairs" to "the Ancient and honourable Society." Block himself, in sailor clothes, says, "Avast my Hearties, - before I've proceeded any further on the voyage let me know what course you are steering - if you mean to frighten a British sailor with your goggle eyes, and queer faces, you are d----dly mistaken - besides it appears to me that you have got masks on which is like fighting under false colours, and that wont do for an English Jack Tar!" $350



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Unattributed

Country Attorney
"A Country Attorney and his Clients." London: Bowles & Carver, early nineteenth century. Etching and aquatint. 12 5/8 x 9 3/4. Strong hand color. Trimmed to platemark, with small chip at right. "553" in lower left corner. Very good condition.

A delightful image of a country lawyer shown in his office receiving clients. Though some coins lie on the desk, the clients all are bringing in goods--a rabbit and a basket of game--to trade for his services. Papers related to cases lie on the floor and hang from the walls, and the attorney's brief-bag lies at his feet. Two large volumes appear on a book shelf, Strange Reports and Burn's Justice, and a map (perhaps of England) hangs below. Beautifully produced and a charming scene. $475



Imperial Botany
"Imperial Botany _ or a Peep at Josephine's collection of English Exoticks. Vide the Champion Jany 30, 1814." London: W.N.Jones, 1 March 1814. 7 5/8 x 20 3/8. With borders, but trimmed within platemarks. Etching. Vivid and attractive hand color. Folds as issued, scarcely visible on image. Otherwise very good condition.

After her divorce from Napoleon Bonaparte, Josephine retained her garden at Malmaison. In this caricature she is depicted as a stout woman showing her plants to the Marchioness of Hertford, who had been separated from the Prince Regent. She points to the Prince's image within a sunflower as the two women discuss gardening in terms alluding to their former lovers. The conceit of the caricature is apt: in reality, these two women had exchanged plants, seeds, and gardening advice during the Napoleonic was, and Josephine had even received acorns from the great English oaks so that timbers could be acquired for the future French navy. Throughout this very complex composition are people, plants, and images that allude to current events. A complete description from Dorothy George's Catalogue of Political and Personal Satires will be provided upon request. $1,200



Dandy's Toilette: Shaving
"Dandy's Toilette. Shaving." Published by J. Le Petit, 20 Capel St., Dublin. N.d. 9 3/4 x 7 1/2. Engraving. Hand color. Very good condition.

The "Dandy" in life, literature and illustration emerged late in the eighteenth century in the person of George Bryan "Beau" Brummel (1778-1840). At Eton and at Oriel College, Oxford, he cultivated a persona of dress and wit, then became a crony of the Prince of Wales (later King George IV). Receiving wealth through inheritance, he capitalized on money, the Prince's friendship and his own good taste in dress to become the recognized arbiter of fashion among the high society of the day.

As Fabienne Fong Yan states in her 2009-2010 Sorbonne paper: The Figure of the Dandy in his relationship to Fashion and Distinction in 19th century literature, "Sociologists who are interested in fashion agree on the fact that Beau Brummell was the first one to grant clothes a personal and individualistic meaning. Whereas clothes used to indicate a professional or social category until the end of the 18th century, the Dandy made them representative of himself and the mirror of his personality."

As the Prince became tired of his biting "wit" and Brummell's extravagance and gambling debts reduced his circumstances and caused him to flee to France to avoid his creditors, the "Dandy" became a subject of satire and caricature.

Little is known of J. Le Petit of Dublin's Canal Street or M. Le Petit on Anglesea Street. J. Le Petit appears to have arrived in Dublin from London sometime around 1801 and established a successful publishing and print selling business in the city. He mainly dealt in conventional forms of art, such as landscapes, pastoral scenes and decorative ephemera but was responsible for a handful of caricatures, among which were a Dandy's Toilette series which included this print. The books on the Dandy's shelf include tomes about the arts of love ("Ovid," "Cupid" and "'Fany' Hill") plus the Gothic novel "The Monk." All in all, fine social satire. $650



Merry Thoughts
"I say Jack why don't you wear your hat? 'Cause I can't, blest if I can! & yet it fitted me well enough at the Jew's Shop, but now its all no use, I've rigged it on my head both fore & aft & athwart ships but the Devil of an Inch can I drive it down." London: Thomas Dawson, 1830s. Hand colored lithograph printed by L. M. Lefevre. 11 x 7. Some staining in left and upper right margins. Else, very good condition.

In this caricature poking fun at Jewish merchants, two "Jack Tars" are caught in the rain, which has shrunk the hat one of them has just purchased from a clothing shop shown in the left background. $350



Loyal Banker
"The Loyal Banker or Old Georgy Taking Ransom. Shewing the consequences of opposing the King's Statutes." Lithograph by Alfred Ducôte. 13 5/8 x 9 5/8. Published in London by Thomas McLean, 1 September 1836. Hand color.

The bronze equestrian statue by Matthew Cotes Wyatt (1777-1862) was erected in 1836. George III was "the first of England's monarchs to be commemorated in this way by public subscription, rather than by private gift" (John Blackwood, London's Immortals: Complete Outdoor Commemorative Statues, 1980, p. 48). The monument was originally intended to be much more splendid, depicting the king in a triumphal chariot drawn by four horses, but subscriptions proved inadequate. It was also intended for a different location - Waterloo Place, where it would have been much easier to appreciate in modern times, away from the traffic and the traffic lights that compete with it on this busy junction. But as the Duke of York (George III's second son, who died in 1827) was already commemorated at the front on a column there, this would have meant his back was turned on his father. So an alternative position was therefore found on nearby Cockspur Street, at the east end of Pall Mall. Wyatt was known for his equestrian sculpture, and the king's Arabian horse, Adonis, looks suitably spirited, while the king's features, below his neat riding-wig, are certainly familiar from portraits. (See "Statue of King George III." The Gentleman's Magazine and Historical Chronicle, Vol. 6 [July-Dec., 1836].)

In this satire, George III grasps Mr. Williams of the firm of Ransom and Company, bankers, by the scruff of the neck. Ransoms had opposed the erection of Matthew Cotes Wyatt's statue of the king. The title of the satire and the words being attributed to the subject both pun on the words "statute" and "statue." $90


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