Theatrical Characters in Ten Plates
Print
5/11/1829 (published)
5/11/1829 (published)
| Artist/Maker | |
| Place of origin |
Central to Heath’s caricature is British lawyer and politician John Copley, 1st Baron Lyndhurst. In line with Heath’s series ‘Theatrical Characters’, Lyndhurst is situated within an interior that resembles a backstage setting of a theatre. Whilst Lyndhurst is illustrated in his Chancellor’s wig and gown, his professional attire is juxtaposed against the white apron looped around his waist, and the small, green nightcap that sits upon his head. Lyndhurst, full-length and directed at the viewer, is depicted with his right hand raised, baring his Chancellor’s Mace, which, here, acts as an elaborate brush-holder. Resting on his left hand is the Purse of the Great Seal in the form of a painter’s palette. Also held in his left hand are three, long, thin paintbrushes, and dangling from the little finger is a key.
To the right of Lyndhurst is an overturned stool. Resembling the Woolsack, it could be suggested that the upturned stool is symbolic of the Parliamentary issues present at the time. Heath’s caricature, published in November 1829, falls in the period of Lyndhurst’s first chancellorship, which he held from 1827 until 1830. In the April of 1829, the Roman Catholic Relief Act was passed, to which Lyndhurst had opposed. Daniel O’Connell’s vigorous campaign, combined with public pressure, had eventually encouraged the Prime Minister, the Duke of Wellington, to process the Act.
The background of the caricature reinforces the notion of a theatrical setting. A large, pink curtain is fixed to the right, which not only fills the majority of the composition in the upper right, but also frames the figure of Lyndhurst, whilst revealing the theatrical costumes hanging on the wall to the left. Inscribed on the wall above the costumes: ‘Costly Suits, Costly Suits’.
Set to the left of Lyndhurst is a carpenters bench, upon which a tightly screwed vice sits, which most likely makes reference to the post of Vice-Chancellor. On October 31st, 1827, a few months after Lyndhurst was appointed Chancellor for the first time, Lancelot Shadwell replaced Anthony Hart as Vice-Chancellor of England. From 1827 until 1830, Hart was Lord Chancellor of Ireland. Following the victory for Catholics in the Roman Catholic Relief Act of 1829, the hopes of the Jewish community in Britain rose. There was push for Jewish emancipation, of which Shadwell was a supporter.
To the right of Lyndhurst is an overturned stool. Resembling the Woolsack, it could be suggested that the upturned stool is symbolic of the Parliamentary issues present at the time. Heath’s caricature, published in November 1829, falls in the period of Lyndhurst’s first chancellorship, which he held from 1827 until 1830. In the April of 1829, the Roman Catholic Relief Act was passed, to which Lyndhurst had opposed. Daniel O’Connell’s vigorous campaign, combined with public pressure, had eventually encouraged the Prime Minister, the Duke of Wellington, to process the Act.
The background of the caricature reinforces the notion of a theatrical setting. A large, pink curtain is fixed to the right, which not only fills the majority of the composition in the upper right, but also frames the figure of Lyndhurst, whilst revealing the theatrical costumes hanging on the wall to the left. Inscribed on the wall above the costumes: ‘Costly Suits, Costly Suits’.
Set to the left of Lyndhurst is a carpenters bench, upon which a tightly screwed vice sits, which most likely makes reference to the post of Vice-Chancellor. On October 31st, 1827, a few months after Lyndhurst was appointed Chancellor for the first time, Lancelot Shadwell replaced Anthony Hart as Vice-Chancellor of England. From 1827 until 1830, Hart was Lord Chancellor of Ireland. Following the victory for Catholics in the Roman Catholic Relief Act of 1829, the hopes of the Jewish community in Britain rose. There was push for Jewish emancipation, of which Shadwell was a supporter.
Object details
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| Object type | |
| Titles |
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| Materials and techniques | printer's ink, paper, etching |
| Brief description | Etched caricature, with hand colouring, of John Copley, 1st Baron Lyndhurst, shown standing within an interior that much resembles a backstage setting of a theatre. |
| Physical description | Etched caraicture with hand colouring, depcting John Copley, 1st Baron Lyndhurst, at the centre, facing directly forwards. A large curtain fills the upper right corner of the composition, in front of which is an overturned stool. Prop-like objects are set to the left, and in the background, clothing hangs on the wall. The image is surrounded by a yellow and grey border. |
| Dimensions |
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| Content description | Central to the composition is a full-length depiction of John Copley, 1st Baron Lyndhurst, shown facing the viewer. Dressed in wig and gown, he also wears a white apron around his waist over his neat, black breehes. Upon his head, he wears a small, green night-cap. His right hand is raised, in which he lifts a mace acting as a brush-holder to a large 'Devouring Brush'. In his left hand, he holds the Purse of the Great Seal, transformed here into a painter's palette, alongisde three thin paintbrushes, whilst a key hangs from the little finger. A large curtain is fixed to the right, filling the majority of the upper right of the composition, but also revealing costumes hanging on the wall in the background. Before the curtain, an overturned woolsack is depicted. To the left, a tightly wound vice sits upon a carpenters table. In the lower left corner of the composition, a wooden crate, which is padlocked, sits upon the floor. Three pairs of holes are featured on the front of the box, from which emerge three pairs of tiny feet. |
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| Marks and inscriptions |
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| Credit line | Bequeathed by John Jones |
| Subject depicted | |
| Summary | Central to Heath’s caricature is British lawyer and politician John Copley, 1st Baron Lyndhurst. In line with Heath’s series ‘Theatrical Characters’, Lyndhurst is situated within an interior that resembles a backstage setting of a theatre. Whilst Lyndhurst is illustrated in his Chancellor’s wig and gown, his professional attire is juxtaposed against the white apron looped around his waist, and the small, green nightcap that sits upon his head. Lyndhurst, full-length and directed at the viewer, is depicted with his right hand raised, baring his Chancellor’s Mace, which, here, acts as an elaborate brush-holder. Resting on his left hand is the Purse of the Great Seal in the form of a painter’s palette. Also held in his left hand are three, long, thin paintbrushes, and dangling from the little finger is a key. To the right of Lyndhurst is an overturned stool. Resembling the Woolsack, it could be suggested that the upturned stool is symbolic of the Parliamentary issues present at the time. Heath’s caricature, published in November 1829, falls in the period of Lyndhurst’s first chancellorship, which he held from 1827 until 1830. In the April of 1829, the Roman Catholic Relief Act was passed, to which Lyndhurst had opposed. Daniel O’Connell’s vigorous campaign, combined with public pressure, had eventually encouraged the Prime Minister, the Duke of Wellington, to process the Act. The background of the caricature reinforces the notion of a theatrical setting. A large, pink curtain is fixed to the right, which not only fills the majority of the composition in the upper right, but also frames the figure of Lyndhurst, whilst revealing the theatrical costumes hanging on the wall to the left. Inscribed on the wall above the costumes: ‘Costly Suits, Costly Suits’. Set to the left of Lyndhurst is a carpenters bench, upon which a tightly screwed vice sits, which most likely makes reference to the post of Vice-Chancellor. On October 31st, 1827, a few months after Lyndhurst was appointed Chancellor for the first time, Lancelot Shadwell replaced Anthony Hart as Vice-Chancellor of England. From 1827 until 1830, Hart was Lord Chancellor of Ireland. Following the victory for Catholics in the Roman Catholic Relief Act of 1829, the hopes of the Jewish community in Britain rose. There was push for Jewish emancipation, of which Shadwell was a supporter. |
| Bibliographic reference | BM Satires 15902 |
| Collection | |
| Accession number | 1233:22-1882 |
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| Record created | June 8, 2009 |
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