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."
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.
None currently available.
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.
None currently available.
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.
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.
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
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
Thomas Rowlandson. "Love Laughs at Locksmiths." London: Rowlandson, August 20, 1811. 12 x 9. Etching. Original hand color. Not in George.
An old lecher has locked a young woman in his house and brings drink and food for her. A young soldier is spiriting her out a window in the background. $675
Thomas Rowlandson. "The Successful Fortune Hunter. Or Captain Shelalee leading Miss Marrowfat to the Temple of Hymen." 1812. 12 x 9. Etching. Original hand color. George 11970.
A chair-carrier is amazed to see an Irish fortune hunter leading Miss Marrowfat to the Temple of Hymen. He holds a shillelagh as they promenade past the Crescent at Bath. $600
Thomas Rowlandson. "Deadly Lively." Undated. 11 3/4 x 8 3/4. Etching. Original hand color. Not in George.
Rowlandson presents extreme evils of drink. $600
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
Go to page with full list of Dr. Syntax prints
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
Charles Williams (d. 1830)
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
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.
George Woodward. "The Deaf Judge, or Mutual Misunderstanding." London: Allen & West, Sept. 10, 1796. Etching by J.C. Hand color. 7 3/8" diameter circle. "Plate 18." Very good condition.
A wonderful courtroom scene with the barrister explaining something to the deaf judge, who is shocked, a similar expression on the face of the accussed, indicating that there is a "mutual misunderstanding." $325
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
Attributed to George Woodward. "Country Characters/Attorney." London: Ackerman, 1798. 8 x 7. Etching by Rowlandson. George 1986. Very good condition.
John Bull greets an attorney. $450
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
"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
"Good Advice." London: M. Darly, February 1778. 12 1/4 x 9. Etching with some stipple work. Hand colored. Light mat burn at edges; very light spotting in bottom margin; otherwise, fine condition.
Published by Matthew Darly, whose shop was a center for amateur prints, especially caricatures. In this image, female fashion is taken to an extreme. Four women chat on a large, patterned carpet. The shapes of their skirts and their massive hairstyles are clearly the object of the artist's joke. $325
"The Soldier's Adieu." London: Robert Sayer, 1793. 11 3/8 x 9 3/4. Mezzotint. Original hand color. Not in George.
Features a poem about a soldier's danger in battle. $425
Ansell. "Political Quadrille - the Game Up. Plate 2d." London: Walker, August 1808. Etching. Original hand color. 12 1/8 x 14 5/8. Minor wear at edges; expertly repaired tear through upper right corner. Else, very good condition. George 11015.
In this skillful caricature, the artist arranges eight European nations in a farcical card game (Quadrille, a four-handed version of the popular Ombre). As George III looks on from the edge, Alexander (marked by the bear on his seat-back) re-evaluates the alliance he formed with Napoleon at Tilsit (July 1807). His ally is thrashed by an angry Spanish patriot, who demands the return of his king, Ferdinand VII, who had been ousted when Napoleon installed his brother Joseph on the Spanish throne (June 1808). Meanwhile, Prussian King Frederick William III (in blue coat), still smarting from defeats suffered from France in 1806, determines to take advantage of the fray, as does Austrian Emperor Francis II (in white coat), who had recently been dethroned as Holy Roman Emperor by Napoleon's formation of the Confederation of the Rhine (July 1806). At the right edge of the scene, Pope Pius VII remains soundly dominated by Napoleon, whose boot rests on the upturned symbol of the Catholic church. Indeed, a few years after this caricature, Napoleon would arrest the Holy Father for excommunicating the "despoilers of the church" (May-July 1809). The final member of Napoleon's table, a squat Dutchman with a pipe moves to leave the game, removing himself from the struggle. Though Napoleon imposed his brother Louis as ruler of Holland, the little nation was not entirely ungrateful - the alternative was complete annexation by France, and their new French king actually managed some beneficial public works projects during his reign. This savvy Dutchman decides it in his best interest, then, to avoid the fracas altogether. All in all, masterful satirical interpretation of Europe's tangled political situation. *Note: Broadley credits this to an artist named only as "Ansell." George identifies no artist. $1,450
"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
"A Lecture on Heads, as Delivered by Marshalls Wellington &Blucher." London: S. Knight Sweeings Alley Cornhill, 1815. 7 x 11 3/8. Etching. Bright hand color. Fine impression. George, 12557.
The allies' victory at Waterloo was on 18 June 1815, and news reached London on 20 June. Reading the bloody scene from right to left, the viewer sees Napoleon Bonaparte running up a hill with the devil flying above him. French troops are slaughtered as they flee through the field, where Wellington brandishes a French eagle as he runs his sword through a French soldier. Behind Wellington, Prussian Field Marshall Blucher holds a severed head on his sword and charges past the Russian czar, who stands frozen in fear crying "Stop, I am coming." This hasty caricature expresses the exhilaration that must have swept through England at news of the great military victory. $600
"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
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