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C1814
The R-t Kicking up a Row, or Warwick House in an Uproar!
Artist:
Caricature satirising the events after Princess Charlotte had broken her engagement without informing the Regent and became a pawn in the intrigues of Brougham and others to exploit the grievances of the Princess of Wales, and had openly declared for … Read Full Description
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Full Title:
The R-t Kicking up a Row, or Warwick House in an Uproar!
Date:
C1814
Artist:
Condition:
Small tears to sheet edge, otherwise in good condition.
Technique:
Etching with original hand colouring
Image Size:
350mm
x 250mm
Paper Size:
405mm
x 280mm
AUTHENTICITY
Genuine antique
dated:
1814
Description:
Caricature satirising the events after Princess Charlotte had broken her engagement without informing the Regent and became a pawn in the intrigues of Brougham and others to exploit the grievances of the Princess of Wales, and had openly declared for her mother in the vendetta between her parents.
The Regent, flourishing a birch-rod and clenching his left fist, threatens three ladies who flee before him; he kicks them, one falls on her back. All three scream, the Regent shouts: “Get out! get out! you faggots! get out of the House I say—Zounds I’ve burst my Stays!— what! what! you’ll let Her see her Mother will you?!! O! you Jades!—but I’ll soon put a stop to that, I’ll lock the young baggage up, thats what I will & I’ll kick you to the Devil & thats what I will so turn out! turn out! Out! Out! Out! & be d—d to you all?!”
Through a wide-open door (right) Princess Charlotte, wearing a small coronet, is seen fleeing with raised arms, looking over her shoulder. She screams: “Oh! Mamme! Mamme—Pappe’s going to whip me Oh dear oh—.”
Behind the Regent (left) stands the Bishop of Salisbury, burlesqued, holding a crosier in his right hand, with a mitre perched on his grotesque wig. He registers alarmed astonishment, saying, “Dash my Wig, here’s a pretty Kick up!!!”
Through an open window (left) a puzzled and uneasy John Bull stares in; he says: “What the Devil is he about now?!!”
In the foreground (left) the Prince’s hat and gloves lie on the floor beside an open book: ‘Turnout A Farce’.
The Regent had summoned her to Carlton House on 11 July; she was unable to walk and entreated her father to visit her. On 12 July at 6 p.m. the Regent arrived with the Bishop of Salisbury (Dr. Fisher, the Princess’s Preceptor) and told her that her household was to be dismissed, that she was to stay for a few days at Carlton House, till Cranborne House in Windsor Park could be made ready. Miss Knight, the sub-governess, was informed, with apologies, that her room would be wanted that evening for the new ladies. Princess Charlotte meanwhile slipped from the house and hailed a hackney coach to drive to the house of her mother, with whom she intended to live, see No. 12293. A great sensation was caused in London, see ‘Examiner’, 17 July 1814, where the ‘Morning Herald’, ‘The Times’, and ‘Morning Chronicle’ are quoted; ‘Greville Memoirs’, 1938, ii. 319 f. Till the publication of the ‘Corr. of George IV’, in 1938, an important factor in the relations between the Regent, his wife, and daughter remained obscure; for the attempt of the Princess to compromise Princess Charlotte
Collections:
British Museum: 1868,0808.12794
George Cruikshank (1792 - 1878)
Cruikshank was one of the most prolific illustrators and satirical artists working in England and often referred to as the 'modern Hogarth'. Born in London, a member of the Cruikshank family of caricaturists and artists. His father Isaac was a well-known engraver and caricaturist who taught him etching, watercolor, and drawing. In 1811 while George was still in his teens, he gained popular success with his series of political caricatures that he created for the periodical,The Scourge, a Monthly Expositor of Imposture and Folly. This publication lasted until 1816, during which time Cruikshank came to rival James Gillray, the leading English caricaturist of the preceding era. In fact, because their style was so similar as to be indistinguishable, Cruikshank was employed by Hannah Humphrey, James Gillray's publisher and landlady, to finish plates Gillray was too ill to complete. In the 1820's, Cruikshank began his book illustration period of his career with his most famous being for Charles Dickens's Sketches by Boz (1836) and Oliver Twist (1838). In the 1830's he began campaigning against the abuses of alcohol, especially gin. In 1847 he renounced all alcohol and became an enthusiastic supporter of the Temperance Society in Great Britain. Cruikshank produced a long series of pictures and illustrations, pictorial pamphlets and tracts for the Society. Cruikshank's crusade against the evils of alcohol culminated in The Worship of Bacchus,published by subscription and based on the artist's vast oil painting of the same name, now in the Tate Gallery in London. George conceived the idea for the painting during an 1859 weekly meeting of the Committee of the National Temperance League. He planned a "monumental painting depicting all phases of drunkenness, from beggar to lord and cradle to grave."He began the huge painting in 1860 and completed it in 1862.
