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Modern Oddities by P. Pry Esq. Plate 1st: The Sleeves Curiously Cut, Ay There s

Modern Oddities by P. Pry Esq. Plate 1st: The Sleeves Curiously Cut, Ay There s


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Modern Oddities by P. Pry Esq. Plate 1st: The Sleeves Curiously Cut, Ay There s

Modern Oddities by P. Pry Esq. Plate 1st: The Sleeves Curiously Cut, Ay Theres the Villainy - vide Shakespeare, June 30, 1829

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Absurd Absurdity Corset Exaggerated Feather Feathered Feathers Funny Hand Coloured Etching Heath Heath William Mclean Mclean T Mclean Thomas Mclean Thos Paul Pry Puffed Sleeves Shakespeare Shakespeare William Shakspeare Silly Sleeve Sleeves T Mclean Taming Of The Shrew The Taming Of The Shrew Thomas Mclean Thos Thos Mclean Wide Brimmed William Heath William Shakespeare Hand Coloured Hand Tinted Oddity


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Modern Oddities by P. Pry Esq. Plate 1st - The Sleeves Curiously Cut, Ay There's the Villainy - vide Shakespeare, June 30,1829

EDITORS COMMENTS
. In this comical hand-colored etching from the 19th century, British artist William Heath takes a satirical jab at the absurdity of fashion trends during that era. Titled "The Sleeves Curiously Cut" the print showcases an exaggerated portrayal of a woman dressed in full-length attire that is both humorous and peculiar. The woman's outfit features puffed sleeves so outrageously large that they seem to defy gravity. With feathers adorning her wide-brimmed salad plate hat and corseted waistline cinched tightly, she embodies the epitome of fashionable oddity. Heath's caricature highlights not only the excessive nature of women's clothing but also its impracticality. The whimsical scene draws inspiration from Shakespeare's play "The Taming of the Shrew" as indicated by his reference to villainy in the caption. This artwork offers a glimpse into society's fascination with extravagant garments and serves as a reminder that fashion can sometimes be more about spectacle than functionality. Through his clever use of color and exaggeration, Heath invites viewers to laugh at these eccentricities while reflecting on their own relationship with style. Now housed in The Metropolitan Museum of Art, this piece stands as a testament to how satire can capture cultural idiosyncrasies across centuries and continue to entertain

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