prints

Caroline Naudet (1775-1839), one of the very few female caricaturists of her era, she was the daughter of the caricaturist Thomas-Charles Naudet. She is known as the artist of some 25 separate satirical prints c. 1817-1823. The plate depicts an older well-dressed lady sitting for an urbane looking artist. The caption reads:

‘Une dame de qualite faisant faire son portrait s'efforcait de se retrecir la bouche l'artiste s'en appercut et lui dit pour peu que madame le veuille je n'en ferait pas du tout’ (A lady of quality having her portrait done was trying to narrow her mouth. The artist noticed this and said to her, if Madam would like it, I won’t paint it at all). Benezit III, 347.

Wisdom as a woman. The print is a good example of the relatively short-lived fashion for the ‘back painted’ or reverse glass coloured mezzotint. The print is moistened and laid face down on a varnished sheet of glass and allowed to dry; once the paper is firmly fused with the varnish and glass, most of it is scraped away from the verso leaving a minutely thin layer of printed paper within the varnish. This is then varnished again on the verso to give a rich and distinctive translucency. Colours, usually in oil, are then added, again to verso. Over time the varnishes invariably darken, resulting in the rather subdued but still translucent hues found here.

‘Wisdom’ was probably part of a sequence of the Virtues published by Hinton, shortly after 1800. The British museum catalogue lists only this print and another representing ‘Innocence’ (but neither example is reverse glass treated).

A satirical anthropomorphic lithograph, issued in the aftermath of the Paris siege, unfavourably comparing Napoleon III with his uncle Napoleon, who had been the subject of a similar satire at the beginning of the century. The original Napoleon print had depicted the victims of his successful ambitions in Europe and the territories he had conquered — in contrast, this one shows his nephew, dubbed ‘Invasion III’, formed from the corpses of those who died for his failed ambitions. He wears a cloak made from a map of his principal defeats (Strasbourg, Sedan, Boulogne, Mexico) and a sash bearing the names Cayenne, Lambessa and La Rocamarie (the first two being French penal colonies the last being the site of a miner’s revolt immortalised in Zola’s Germinal). His hat is the Napoleonic eagle with a beak full of lard.

Kane O’Hara, Irish playwright (1711/12–1782), born at Templehouse in Connaught. ‘O’Hara’s first professional play was Midas, an English Burletta, which had its première production at the Crow Street Theatre, Dublin, on 22 January 1762. Midas was a clever, chauvinistic response to the success of a touring Italian troupe, the D'Amici family, which had brought a lively production of an Italian burletta to the Smock Alley Theatre on 19 December 1761. The Italian burletta, a slight comic opera already modish on the continent, captivated Dubliners with its simple domestic plot and brisk galante music’ (Oxford DNB). It transferred to London, became a hit and was performed there over 200 times by 1800. O’Hara was seriously shortsighted (he is seen here in spectacles) and lost his sight in 1778.

The etching by Edmund Dorrell (1778-1857) is comparatively rare, the plate apparently having been destroyed soon after it was first printed. This is a splendid example on a full sheet. O’Donoghue 25-II, 1802.