James Gillray - Modern Grace or the Operatical Finale to the Ballet of Alonzo e Caro

Modern Grace - or - The Operatical Finale to the Ballet of Alonzo e Caro

James Gillray's original etching, "Modern Grace,-or-the Operatical Finale to the Ballet of Alonzo e caro" not only depicts a popular ballet of the day but three actual dancers. In the centre is the French ballet dancer, Charles Louis Didelot. To his sides are his wife, Rose Didelot, and the ballerina, Madame Parisot. This hand colored etching is printed on early nineteenth century wove paper as published by Hannah Humphrey in 1796. It is a delightful example of the famous satirical art created by the British artist, James Gillray.

Original Hand-Coloured Etching by the British Satirical artist, James Gillray.

Operatical Finale to the Ballet of Alonzo e Caro Original Etching by the British Satirical artist James Gillray

Modern Grace - or - The Operatical Finale to the Ballet of Alonzo e Caro

View other original works of art by James Gillray.

James Gillray (Chelsea, 1757 - London, 1815)
#	Image	Title & Artist	Medium	Date	Publisher	-
01-		Equestrian Elegance! - or - A Noble Scot Metamorphosed by James Gillray	Original Hand-Coloured Etching	May 7, 1803	Hannah Humphrey, London	Sold
02.-		Modern Grace - or - The Operatical Finale to the Ballet of Alonzo e Caro by James Gillray	Original Hand-Coloured Etching	1796	Hannah Humphrey, London	Sold
03.-		Posting in Scotland by James Gillray after Charles Lorraine Smith	Original Etching and Aquatint	May 25, 1805	Hannah Humphrey, London	Available
04.-		So Skiffy Skipt On, With His Wonted Grace by James Gillray	Original Hand-Coloured Etching	February 1, 1800	Hannah Humphrey, London	Sold

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Title:	Modern Grace - or - The Operatical Finale to the Ballet of Alonzo e Caro
Artist:	Gillray, James (Chelsea, 1757 - London, 1815)
Date:	1796
Medium:	Original Hand-Coloured Etching
Publisher:	Hannah Humphrey, London
Note:	James Gillray: Viewed by many as the greatest of all English satirical artists, James Gillray spent his youth in the rigid religious environment of the Moravian sect. In his teens he apprenticed to a city engraver and etched maps and bank notes. Finding it dull labour, James Gillray ran off and joined a troupe of traveling actors. In 1778 he entered the Royal Academy Schools and studied stipple engraving under Francesco Bartolozzi. Gillray's first etchings were illustrations for popular literary works of the day such as Fielding's, Tom Jones , and Goldsmith's, The Deserted Village.
	At about the same time James Gillray began etching political satires for various London publishers. His brilliant use of distortion to portray liknesses of leading figures quickly made James Gillray both famous and infamous. In 1792 Gillray came to work exclusively for Mrs. Hannah Humphrey and even lived and worked in her publishing shop for the rest of his life. Gillray's now famous portrayals of George III, Napoleon and a host of many others were created for this publisher. It was, in fact, Gillray's delightful invention of Napoleon as a 'manic midget' that was crucial in forming public opinion against his aggressive military activities.
	From 1811, James Gillray suffered from ill health, failing eyesight and fits of madness. By then, however, his brilliant methods had permanently reshaped the art of satire and caricature and remain a major influence to this day.
	Because of the importance of Gillray's art many of his etched plates were reprinted later in the nineteenth century. These later printings, however, are usually easy to detect because of the paper used and the fact that most of the etchings were printed on both sides of the sheet. This original example is a first edition impression issued on the stated date.
	Modern Grace,-or-the Operatical Finale to the Ballet of Alonzo e caro not only depicts a popular ballet of the day but three actual dancers. In the centre is the French ballet dancer, Charles Louis Didelot. To his sides are his wife, Rose Didelot, and the ballerina, Madame Parisot. Madame Parisot is diverting the attentions of Charles with her amply displayed breast. Mrs. Didelot is not amused. To complete the composition James Gillray has added a pair of wonderfully chubby ballerinas in the background.
Reference:	The National Portrait Gallery, James Gillray Etchings, 1795-1797
	http://www.npg.org.uk
	The National Portrait Gallery in London is in the midst of compiling and illustrating its complete collection of James Gillray etchings. This original etching and many others are illustrated on its web site and it is highly recommended.
Reference:	William Feaver, Masters of Caricature, London, Weidenfeld & Nicolson, 1981, pp. 53 - 57.
Size:	10 X 14 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	Framed and Matted with 100% Archival Materials
	View larger Framed Image

Condition:	Printed on early nineteenth century wove paper and with margins trimmed close to the image. Glue stains from a previous backing appear on the corners, verso. As well, there is one tear to the centre between Madame Parisot and Charles Louis Didelot which has been repaired by a former owner. Else a finely printed, early impression with unfaded, original hand-colouring and in good condition throughout. This original hand-coloured etching represents both a delightful and valuable example of the famous satirical art of James Gillray.
Price:	Sold - The price is no longer available.
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