C1815

None but the Brave Deserve the Fair.

Rare Irish satirical print of a unformed cavalryman lifting a young woman over a wall onto his horse. Pirated from Thomas Rowlandson’s original version published, March 2nd, 1812 by Thomas Tegg, No. 111 Cheapside, London but printed in reverse, with … Read Full Description

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Details

Full Title:

None but the Brave Deserve the Fair.

Date:

C1815

Condition:

Minor smudging, small repair to plate mark on right hand side, otherwise in good condition, with unfaded original hand colouring.

Technique:

Copper engraving with original hand colouring.

Image Size: 

220mm 
x 300mm

Paper Size: 

262mm 
x 365mm

Platemark Size: 

235mm 
x 342mm
AUTHENTICITY
None but the Brave Deserve the Fair. - Antique Print from 1815

Genuine antique
dated:

1815

Description:

Rare Irish satirical print of a unformed cavalryman lifting a young woman over a wall onto his horse. Pirated from Thomas Rowlandson’s original version published, March 2nd, 1812 by Thomas Tegg, No. 111 Cheapside, London but printed in reverse, with McCleary’s 32 Nassau Street, Dublin address.

References:
Bills, M. The Art of Satire. London 2006:.
McPhee, C. Infinite Jest : Caricature and Satire from Leonardo to Levine. New York 2011 ::.
Robinson, R. Caricature and the Regency Crisis: An Irish Perspective ::.


Collections:
V & A, Victoria & Albert Museum: Accession no; E.530-1955

Thomas Rowlandson (1757 - 1827)

Thomas Rowlandson (1757 - 1827) was a draughtsman and printmaker whose distinctive social satire has become integral to the popular vision of late Georgian Britain. He was born in London in 1757 and educated at Dr Barwis’ school on Soho Square before attending the Royal Academy Schools from the age of fifteen. Rowlandson lived in the centre of London throughout his life, although he made several trips to continental Europe. Unusually for a Royal Academy student, Rowlandson seems never to have worked in oils, gravitating instead towards producing sketches and etchings for the print trade. Rowlandson began by making scabrous satires in the vein of his close friend and contemporary James Gillray, often on subjects such as the politicians William Pitt and Charles James Fox, the misdemeanours of the young prince of Wales (and future George IV), and events in post-revolutionary France. Unlike Gillray, however, he was equally adept making lyrical drawings and watercolours on a range of subjects, from imitations of Old Master paintings to picturesque landscapes. Rowlandson worked for many print publishers but his most important employer was Rudolph Ackermann, who kept Rowlandson in almost continual employment from 1798 onwards, making drawings for a wide range of books that exploited Rowlandson’s range for lyrical topography and gentle caricature. Rowlandson’s drawings and watercolours were also collected by many wealthy patrons. Rowlandson was healthy and industrious up until the last two years of his life. He died in 1827 and was buried in the church of St Paul’s, Covent Garden. Rowlandson’s work was neglected during the conservative Victorian period but since the 20th century he has been reappraised as one of the greatest of British graphic artists.

View other items by Thomas Rowlandson

William McCleary (1799 - 1820)

McCleary was one of the major Irish publishers of mainly pirated copies of London satirical prints. He began trading from premises located at 31 Lower Ormond Quay in 1791 and by 1798 his business had become sufficiently successful to allow him to move to a larger shop located on Nassau Street. McCleary’s decision in copying the caricatures of his rival and fellow Dubliner J. Sidebotham and undercutting the prices of the pirated versions of Sidebotham's caricatures. resulted into a long lasting feud between the two publishers. His trading addresses: 31 & later 18 Lower Ormond Quay (1791-1798) 21 Nassau Street, Dublin (1799, 1820) 32 Nassau Street, Dublin (1808) 39 Nassau Street, Dublin (1820)

View other items by William McCleary

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