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William Heath's original etching, "A Dalme-tian Booking the Colonel" depicts Peter Delme-Radcliff, a gentleman jockey, sportsman, conpanion to the King and in charge of the King's stud. deals with the events that happened at the Gold Cup Race at Ascot. Heath has dedicated the etching 'to the Greeks' -- meaning card sharks and gamblers. Delme-Radcliffe is depicted in full riding dress holding a betting-book. 'The Colonel' was the King's horse, managed by Delme-Radcliffe. 'Zinganee', purchased by Lord Chesterfield two hours before the Gold Cup, won the race. 'The Colonel' finished fourth. This original etching is printed on wove paper and hand-coloured as published by Thomas McLean in Haymarket June 26, 1829. It is signed by William Heath with the 'Paul Pry' monogramme in the lower left corner. "A Dalme-tian Booking The Colonel" is fine, original example of the British satirical art of William Heath. |
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Title: | A Dalme-tian Booking The Colonel (This Sketch is Dedicated to The Greeks) |
Artist: | Heath, William (1795 - 1840) |
Date: | June 26, 1829 |
Medium: | Original Hand - Coloured Etching |
Publisher: | Thomas McLean, 26 Haymarket, Sole Publishers of P. Prys Caricatures |
Note: | It is generally acknowledged that the heyday of English satirical art began with William Hogarth in the mid eighteenth century and ended in the mid 1830's when Victoria took the throne and the somewhat stifling forms of morality that wre now associated with her name terminated the raucous and barbed humour of earlier generations. By the beginning of the nineteenth century William Hogarth's mantle had been passed to Thomas Rowlandson and Games Gillray. In turn, the 1820's decade witnessed the rise of the last two great satirical artists; George Cruikshank and William Heath. |
Little is known of William Heath's early life. It is believed that part of his childhood was spent in Spain, on the evidence of an 1820 print of the Spanish Revolution executed by him. Heath also claimed to be an ex captain of the dragoons but his name is not recorded on any army list. William Heath's earliest satirical etchings sometimes showed the influence of James Gillray. His first published prints dealt mainly with military subjects but by 1820 he had turned almost exclusively to satirical art and he had emerged as a distinctive and influential artist in his own right. Many of his prints were signed with the tiny figure of Paul Pry in the lower left corner. Paul Pry was a popular stage character of the day, but as William Heath's influence grew his distinctive monogramme was constantly plagiarized by other artists and thus he reverted to his own name by 1830. Most of Heath's great art (including this original example) was published by Thomas McLean of Haymarket. | |
As Gillray's art is forever associated with satirical images of Bonaparte, William Heath's art will always be most colosely allied with that of the Duke of Wellington (Sir Arthur Wellesley) . A keen observer of both political and military culture, Heath's compositions drew the ire of both King George 1V and the Duke of Wellington for a number of years. His caricatures of Wellington, in particular, achieved a national reputation. Yet William Heath's etched art was at its sharpest when he delineated the life and habits of the middle and upper classes. Some of the most humorous images of morals, manners and dress in the history of art were etched by his hand. | |
"A Dalme-tian Booking the Colonel" depicts Peter Delme-Radcliff (1804-1873) , a gentleman jockey, sportsman, conpanion to the King and in charge of the King's stud. The etching deals with the events that happened eight days earlier at the Gold Cup Race at Ascot. Along the lower margin, William Heath has dedicated the etching 'to the Greeks' -- meaning card sharks and gamblers. Delme-Radcliffe is depicted in full riding dress holding a betting-book. 'The Colonel' was the King's horse, managed by Delme-Radcliffe. 'Zinganee', purchased by Lord Chesterfield two hours before the Gold Cup, won the race. 'The Colonel' finished fourth. The King, it is reported, was not amused. Shortly after the race rumours circulated that the Colonel had been tampered with. All eyes then fell upon Peter Delme-Radcliffe. Which horse was actually in his betting-book? | |
Raisonne: | M. Dorothy George, "Catalogue of Political and Personal Satire", The British Museum, London, 1954, Vol. XI. Catalogue # 15932. |
Note: | Pseudonym (Paul Pry) Esquire |
Size: | 13 3/4 X 9 1/4 (Sizes in inches are approximate, height preceding width of plate-mark or image.) |
Framed and Matted with 100% Archival Materials | |
View larger Framed Image | |
Buy Now | Price: $495.00 US |
Condition: | Printed on wove paper and hand-coloured on the above date as published by Thomas McLean in Haymarket. With full margins and signed by William Heath with the 'Paul Pry' monogramme in the lower left corner. This is a strong, early impression with fine, original hand colouring. "A Dalme-tian Booking The Colonel" is in excellent condition throughout and a fine example of the British satirical art by William Heath. |
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Original Hand-Coloured Etching by The British Satirical artist, William Heath.
A Dalme-tian Booking The Colonel |
View other original etchings by William Heath.
William Heath (London, 1795 - 1840) | ||||||
# | Image | Title & Artist | Medium | Date | Publisher | - |
01- | A Dalme-tian Booking The Colonel by William Heath | Original Hand-Coloured Etching | June 26, 1829 | Thomas McLean, London | ||
02.- | Opera Reminiscences: Hat Boxes by William Heath | Original Hand-Coloured Etching | July 14, 1829 | Thomas McLean, London | Sold | |
03.- | The Horticultural Fate by William Heath | Original Hand-Coloured Etching | June 30, 1829 | Thomas McLean, London | Sold |
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