Social Satire Collection (page 4)

"The Pic-Nic Orchestra", pub. by Hannah Humphrey, 1802 (engraving)
NCO89960 " The Pic-Nic Orchestra", pub. by Hannah Humphrey, 1802 (engraving) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College, Oxford; English

A Rakes Progress V: The Rake marrying an Old Woman, 1733 (oil on canvas)
SJS44935 A Rakes Progress V: The Rake marrying an Old Woman, 1733 (oil on canvas) by Hogarth, William (1697-1764); 62.2x75 cm; Courtesy of the Trustees of Sir John Soanes Museum

The Marriage of Cupid & Psyche, 1797 (hand-coloured engraving)
BAL42772 The Marriage of Cupid & Psyche, 1797 (hand-coloured engraving) by Gillray, James (1757-1815); O Shea Gallery, London, UK; (add.info.: Parody of the famous Marlborough Gem cameo)

The Reflection (pen & ink with w / c on paper)
XYC281141 The Reflection (pen & ink with w/c on paper) by Rowlandson, Thomas (1756-1827); 11.4x15.9 cm; Yale Center for British Art, Paul Mellon Collection

The Grand-Signior Retiring, published by Hannah Humphrey in 1796 (hand-coloured etching)
NCO193152 The Grand-Signior Retiring, published by Hannah Humphrey in 1796 (hand-coloured etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College

A Lady putting on her Cap, published in 1795 (hand-coloured etching)
NCO191283 A Lady putting on her Cap, published in 1795 (hand-coloured etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College, Oxford; English, out of copyright

Waltzer au Mouchoir, published by Hannah Humphrey in 1800 (hand-coloured etching)
NCO191241 Waltzer au Mouchoir, published by Hannah Humphrey in 1800 (hand-coloured etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College

The Theatrical Bubble: being a new specimen of astonishing Powers in the great
NCO190473 The Theatrical Bubble: being a new specimen of astonishing Powers in the great Politico-Punchinello, in the Art of Dramatic-Puffing

Plate 1 from The Rakes Progress at the University
NCO193196 Plate 1 from The Rakes Progress at the University, published by Hannah Humphrey in 1806 (hand-coloured etching) by Gillray

The Gordon-Knot, or The Bonny Duchess hunting the Bedford Bull
NCO193177 The Gordon-Knot, or The Bonny Duchess hunting the Bedford Bull, published by Hannah Humphrey in 1797 (hand-coloured etching) by Gillray

Monstrosities of 1799, or Scene in Kensington Gardens, published by Hannah Humphrey in
NCO190137 Monstrosities of 1799, or Scene in Kensington Gardens, published by Hannah Humphrey in 1799 (etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College

Maecenas in pursuit of the Fine Arts, or Scene, Pall Mall; A Frosty Morning
NCO190116 Maecenas in pursuit of the Fine Arts, or Scene, Pall Mall; A Frosty Morning, published by Hannah Humphrey in 1808 (hand-coloured etching) by Gillray

Wide Awake, published by Hannah Humphrey in 1806 (hand-coloured etching) (see also 189788
NCO189789 Wide Awake, published by Hannah Humphrey in 1806 (hand-coloured etching) (see also 189788) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College

A Broad Hint of Not Meaning to Dance, published by Hannah Humphrey in 1804
NCO189762 A Broad Hint of Not Meaning to Dance, published by Hannah Humphrey in 1804 (hand-coloured etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College

Exaltation of Faros Daughters, published by Hannah Humphrey in 1796
NCO191727 Exaltation of Faros Daughters, published by Hannah Humphrey in 1796 (hand-coloured etching) by Gillray, James (1757-1815); Courtesy of the Warden and Scholars of New College

Playing in Parts, pub. 1801 (hand coloured engraving)
3051744 Playing in Parts, pub. 1801 (hand coloured engraving) by Gillray, James (1757-1815); Private Collection; The Stapleton Collection; English, out of copyright

The Duchess Blush or York Flame, pub. 1791 (hand coloured engraving)
3025377 The Duchess Blush or York Flame, pub. 1791 (hand coloured engraving) by Cruikshank, Isaac (1756-1811); Private Collection; (add.info.: Frederica Charlotte Ulrica Catherina)

Enchantments lately seen upon the Mountains of Wales or Shon-ap Morgan
3035673 Enchantments lately seen upon the Mountains of Wales or Shon-ap Morgans Reconcilement to the Fairy Princess, pub. 1796 (hand coloured engraving) by Gillray

Sandwich Carrots: dainty Sandwich Carrots, 1796
Sandwich Carrots: dainty Sandwich Carrots pub Hannah Humphrey 3rd December 1796. Lord Sandwich (1743-1814) fondling a barrow girl

Orchestra Seat, c. 1856 (pen & ink with w / c on paper)
BAL385509 Orchestra Seat, c.1856 (pen & ink with w/c on paper) by Daumier, Honore (1808-79); State Hermitage Museum, St. Petersburg, Russia; French, out of copyright

A Bookmaker and his client outside the Ram Inn, Newmarket (w / c with pen & ink on paper)
XYC322080 A Bookmaker and his client outside the Ram Inn, Newmarket (w/c with pen & ink on paper) by Rowlandson, Thomas (1756-1827); 24.1x19.4 cm; Yale Center for British Art, Paul Mellon Collection

William Hogarth, from Old Englands Worthies by Lord Brougham and others
KW306205 William Hogarth, from Old Englands Worthies by Lord Brougham and others, published London, c.1880s (litho) by English School

Register Office for the Hiring of Servants, c. 1805 (pen & ink with watercolour on paper)
XYC281135 Register Office for the Hiring of Servants, c.1805 (pen & ink with watercolour on paper) by Rowlandson, Thomas (1756-1827); 30.5x42.5 cm; Yale Center for British Art

Some of the other guests seemed to get the feeling that Claude was flaunting his philosophy
KW272909 Some of the other guests seemed to get the feeling that Claude was flaunting his philosophy. illustration from But Gentlemen Marry Brunettes by Anita Loos

So he ended up by taking her to an artistic tea room
KW272906 So he ended up by taking her to an artistic tea room. illustration from But Gentlemen Marry Brunettes by Anita Loos, published in 1928 (litho) by Barton

Lorelei and Dorothy, illustration from But Gentlemen Marry Brunettes by Anita Loos
KW272904 Lorelei and Dorothy, illustration from But Gentlemen Marry Brunettes by Anita Loos, published in 1928 (litho) by Barton, Ralph (1891-1931); Private Collection; Ken Welsh; American

All Dorothy did was to say, Hello Charlie, you look awful
KW272902 All Dorothy did was to say, " Hello Charlie, you look awful."... illustration from But Gentlemen Marry Brunettes by Anita Loos, published in 1928 (litho) by Barton

The French policemen were very polite
KW272901 The French policemen were very polite... illustration from But Gentlemen Marry Brunettes by Anita Loos, published in 1928 (litho) by Barton

Frontispiece illustration from But Gentlemen Marry Brunettes by Anita Loos
KW272900 Frontispiece illustration from But Gentlemen Marry Brunettes by Anita Loos, published in 1928 (litho) by Barton, Ralph (1891-1931); Private Collection; Ken Welsh; American, out of copyright

An Audience at Drury Lane Theatre (pen & ink and w / c on card)
XYC234034 An Audience at Drury Lane Theatre (pen & ink and w/c on card) by Rowlandson, Thomas (1756-1827); 21.3x43.5 cm; Yale Center for British Art, Paul Mellon Collection, USA; English

Scene from Le Misanthrope by Moliere (1622-73), engraved by Jean Sauve (fl
XIR230719 Scene from Le Misanthrope by Moliere (1622-73), engraved by Jean Sauve (fl.1660-91) (engraving) (b/w photo) by Brissart, Pierre (17th century) (after); Bibliotheque Nationale, Paris

Illustration from La Paysanne Pervertie, by Nicolas Restif de la Bretonne
XIR183340 Illustration from La Paysanne Pervertie, by Nicolas Restif de la Bretonne (1734-1806) (engraving) (b/w photo) by French School, (18th century); Bibliotheque des Arts Decoratifs, Paris

Mascarille Presenting Jodelet to Cathos and Madelon, 1865 (oil on canvas)
XIR182910 Mascarille Presenting Jodelet to Cathos and Madelon, 1865 (oil on canvas) by Vetter, Jean Hegesippe (1820-1900); 39x56 cm; Musee des Beaux-Arts, Orleans

The Bakers Art, plate number 27 from the Les Femmes de Paris series
XIR176019 The Bakers Art, plate number 27 from the Les Femmes de Paris series, 1841-42 (colour litho) by Geniole, Alfred Andre (1813-61); Musee de la Ville de Paris, Musee Carnavalet, Paris

Le Malade Imaginaire, from the series Monomanes, 1830 (litho) (b / w photo)
XIR164892 Le Malade Imaginaire, from the series Monomanes, 1830 (litho) (b/w photo) by Daumier, Honore (1808-79); Private Collection; French, out of copyright

Argan and Monsieur Purgon, from Le Malade Imaginaire (1673) by Moliere
XIR164891 Argan and Monsieur Purgon, from Le Malade Imaginaire (1673) by Moliere (1622-73) (pen & ink on paper) (b/w photo) by Grandville (Jean Ignace Isidore Gerard) (1803-47)

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"Unveiling the Absurd: A Journey through Social Satire" Step into the world of social satire, where art becomes a mirror reflecting society's follies and absurdities. From the witty engravings of Hannah Humphrey to the iconic zinc etching "La Calavera de la Catrina, " this collection captures humanity's quirks with sharp humor. In "A Cognocenti Contemplating Ye Beauties of Ye Antique, " Humphrey transports us to a scene where self-proclaimed connoisseurs ponder over ancient artifacts, revealing their pretentiousness and shallow understanding. Similarly, in "Dilettanti Theatricals, or A Peep at the Green Room, " we witness backstage chaos as amateur actors stumble through their performances, exposing the vanity and incompetence that often lurk behind grandiose facades. The power of satire transcends time; even in 1913, when "La Calavera de la Catrina" emerged as a biting commentary on societal hierarchies during Mexico's revolution. This black-and-white photo etching presents an elegant skeleton adorned with fashionable attire—a symbol of how death ultimately levels all distinctions. "Fashionable Contrasts" takes aim at aristocratic excesses by juxtaposing a dainty shoe belonging to a Duchess against its comically oversized counterpart. James Gillray's "Playing in Parts" delves into political theater, highlighting politicians' propensity for deceitful acting rather than genuine leadership. Satire also tackles serious issues like famine in Germany during World War I. In "No, there is no meat today. . but read the communique, it’s excellent, " we confront our collective failure to address human suffering while governments prioritize propaganda over action. Hannah Humphrey's hand-colored engravings further expose societal absurdities—whether it be pigs sold under false pretenses in "A Pig in a Poke" or exaggerated financial speculation depicted in "Jonathans Coffee House, or an analysis of Change Alley.