James Gillray, "The Plumb-pudding in danger, _ or _ State Epicures taking un Petit Souper" (1805), Pitt and Napoleon, both in full uniform, seated either side of the globe, a large plum pudding, Pitt using a knife to carve a large slice through the Atlantic, to include the West Indies, while Napoleon uses a large sword to carve Europe away, leaving only the British Isles, Scandinavia and Russia, original hand-colored etching on wove paper, 260 x 360 mm (click to enlarge)

James Gillray, "The Plumb-pudding in danger, _ or _ State Epicures taking un Petit Souper" (1805), original hand-colored etching on wove paper, 260 10 360 mm. Pitt and Napoleon, both in full compatible, seated either side of the globe, a large plum pudding, Pitt using a pocketknife to carve a large piece through the Atlantic, to include the W Indies, while Napoleon uses a large sword to carve Europe away, leaving only the British Isles, Scandinavia and Russia. (click to enlarge) (all images courtesy Bloomsbury Auctions)

The late 18th century was a golden historic period of satire in Uk. Etched cartoons and caricatures abounded, poking fun at kings, noblemen, society ladies, French revolutionaries, the establishment of marriage, and endless other people and things. "The absence of absolutism in United kingdom of great britain and northern ireland carried with it a relative liberty of the press," writes Stephen J. Buryin Oxford Fine art Online, by fashion of explaining the cartoon combustion of the time. "Technological developments encouraged a switch from verbal to visual satire, and the era witnessed the evolution of a social context for debate, whether in the coffee-house, club, or on the street." Other factors cited past Bury include relatively easy means of production and distribution, new publishers, and "the advent of a number of great artists on the scene."

Iii of those great artists were James Gillray (1756/7–1815), Thomas Rowlandson (1756–1827), and George Cruikshank (1792–1878), all of whom are represented in an upcoming sale at Bloomsbury Auctions of Napoleonic and Georgian social and political satire. The sale features over 200 works, split betwixt the collections of 1 Lord Baker of Dorking and an unnamed "admirer." Lord Baker's drove features images of Napoleon, including the earliest known representations of the general in English language caricature, by Isaac Cruikshank (George'south male parent) in 1797 and 1798. As the press release for the sale notes, Cruikshank "had clearly never actually seen his subject"; his Napoleon is a tall, skinny, curly-lipped human with a vengeful look in the optics equally he kicks the papal tiara off the Pope'due south head.

Thomas Rowlandson, "The Dunghill Cock and Game Pullet or Boney Beat out of the Pitt" (1810), satirising two aspects of Napoleon's new marriage to Marie Louise of Austria, following his divorce from Josephine for failing to produce an heir, full of sexual innuendo in military terms, original hand-colored etching, 240 x 345 mm

Thomas Rowlandson, "The Dunghill Erect and Game Pullet or Boney Beat out of the Pitt" (1810), original hand-colored etching, 240 x 345 mm. Satirizes aspects of Napoleon's new marriage to Marie Louise of Republic of austria, following his divorce from Josephine for failing to produce an heir, full of sexual innuendo in war machine terms. (click to enlarge)

Afterwards Napoleon cartoons include an amazingly acute one by James Gillray from 1805, which shows then Prime number Minister William Pitt and Napoleon greedily carving up the earth with forks and knives (championship: "The Plumb-pudding in danger, _ or _ State Epicures taking un Petit Souper"). Two past Rowlandson, in 1810, satirize Napoleon'south marriage to Marie Louise of Austria, who alternately screams her hatred for him and taunts him with hope of a "flag of truce" while calling him "Boney." That cartoon pretty well drips with sexual innuendo (its title is "The Dunghill Cock and Game Pullet or Boney Beat out of the Pitt") — gossip that arose considering Napoleon had failed to produce an heir with his get-go wife, Josephine. Another cartoon from the same auction fix, past an anonymous creator (too 1810), shows Napoleon and Marie Louise at the breakfast table, both red-faced and arguing over the fact that Boney has "done Nada" to her.

The sale's second collection focuses on broader social satire from the Georgian period, including George Cruikshank'south hilariousMonstrosities of Fashion series (1816–26), which simultaneously captures and lampoons the styles of the day by grossly exaggerating shapes and proportions. A boxing broadside illustrated past Gillray in 1790 features ane of the earliest examples of sports journalism, whose headline begins, "A SCIENTIFIC ACCOUNT of the concluding battle between those Champions of the Fist…" And one of my personal favorites is a c. 1823 manus-colored lithograph by Edme-Jean Pigal — from a collection studying "Parisian Manners" — which shows an anguished immature artist kick his stool, clutching a sharp tool in ane hand (peradventure a palette pocketknife) and a painting in the other (if y'all await closely, you tin can see gashes), and yelling, "Chien de métier!" (literally "dog business").

Nothing'south changed! Painting is still a dog business, suspenders are however in, and as yesterday proved, we still need political cartoons as much as ever.

Godissart de Cari, 'Musée Grotesque' (c. 1820), 50 hand-colored etched plates only (of 65), Paris, Martinet

Edme-Jean Pigal, 'Moeurs Parisiennes,' plate 13 (c. 1823), hand-colored lithograph by Langlumé later on Pigal

George Cruikshank, 'Monstrosities of Fashion' (1816–26), 1 from set of 8 hand-colored etchings (click to enlarge)

George Cruikshank, 'Monstrosities of Fashion' (1816–26), 1 from set of viii paw-colored etchings (click to enlarge)

George Cruikshank, 'Monstrosities of Fashion' (1816–26), 1 from set of 8 hand-colored etchings

George Cruikshank, 'Monstrosities of Mode' (1816–26), i from set of eight paw-colored etchings

James Gillray, "A French Gentleman of the Court of Louis XVIth, A French Gentleman of the Court of Egalité, 1799" (1799), an elegantly dressed courtier of the ancien regime bows low to his successor, saying 'Je suis votre tres humble serviteur', to which the course-featured revolutionary, in a heavy coat with a cudgel protruding from the pocket, replies "Baisez mon cul," original hand-colored etching, 260 x 360 mm

James Gillray, "A French Gentleman of the Courtroom of Louis XVIth, A French Admirer of the Court of Egalité, 1799" (1799), original hand-colored etching, 260 10 360 mm. An elegantly dressed courtier of the aboriginal regime bows low to his successor, saying "Je suis votre tres humble serviteur," to which the course-featured revolutionary, in a heavy coat with a cudgel protruding from the pocket, replies "Baisez mon cul." (click to enlarge)

Isaac Cruikshank, "Buonaparte at Rome, giving Audience in State" (1797), the first appearance of Napoleon in English caricature, a response to the rumors he had entered Rome and humiliated the Pope, engraving, 270 x 370 mm (click to enlarge)

Isaac Cruikshank, "Buonaparte at Rome, giving Audition in State" (1797), engraving, 270 x 370 mm. The get-go appearance of Napoleon in English language caricature, a response to the rumors he had entered Rome and humiliated the Pope. (click to enlarge)

Anonymous satire on Napoleon's marriage to Marie Louise of Austria, "Boney and his New Wife, or a Quarrell about _ Nothing!!" (1810) (click to enlarge)

Bearding satire on Napoleon's union to Marie Louise of Austria, "Boney and his New Wife, or a Quarrell about _ Nothing!!" (1810) (click to overstate)

Godissart de Cari, plate from 'Musée Grotesque' (c.1820), hand-colored etching (click to enlarge)

Godissart de Cari, plate from 'Musée Grotesque' (c.1820), hand-colored etching (click to enlarge)

James Gillray, "the Manner in which Mendoza Caught Humphries twice, & Generously laid him down without taking the advantage of his Situation" (1790), famous Jewish boxer Daniel Mendoza stops his opponent Richard Humphreys from falling, hand-colored etching attached to letterpress account

James Gillray, "The Manner in which Mendoza Caught Humphries twice, & Generously laid him down without taking the advantage of his State of affairs" (1790), famous Jewish boxer Daniel Mendoza stops his opponent Richard Humphreys from falling, hand-colored etching attached to letterpress account "A Scientific Account of the last Boxing…," 260 x 375 mm, sheet 430 x 390 mm (click to overstate)

Bloomsbury Auctions' Caricatures: Napoleonic and Georgian Social & Political Satire auction will take place on June 25.

Jillian Steinhauer is a former senior editor of Hyperallergic. She writes largely well-nigh the intersection of fine art... More by Jillian Steinhauer