Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Procession of the Cod Company from St. Giles's to Billings Gate - Thomas Rowlandson
Prezzo originale
£28.00 GBP
Prezzo scontato
£28.00 GBP
Prezzo originale
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A satirical etching by Thomas Rowlandson depicting a group of fishwives navigating the bustling environment of Billingsgate Market in Georgian London.
Thomas Rowlandson, a master of late eighteenth and early nineteenth-century British caricature, captures the boisterous energy of London street life in this etching. The scene depicts a group of fishwives, known as the Cod Company, making their way towards Billingsgate Market. Rowlandson employs his characteristic fluid line work, combined with delicate watercolour washes, to define the figures and the bustling maritime environment.
The composition focuses on the physical presence of the women, who carry heavy baskets of fish upon their heads. Their postures are exaggerated, a common device in Rowlandson's work to convey character and social status through physical form. The artist balances the foreground figures against the architectural backdrop of the wharf, where ships are docked and workers continue their daily tasks. The inclusion of a seated figure in the lower left, smoking a pipe beside a display of fish, provides a grounding element to the scene.
Rowlandson's approach to social commentary is observational rather than moralising. He documents the specific dress, mannerisms, and social interactions of the working classes in London with a keen eye for detail. The etching reflects the popular print culture of the era, where such works were produced for a wide audience interested in the humour and grit of urban existence. The colour palette remains restrained, allowing the etched lines to provide the primary structure for the narrative. This piece offers a glimpse into the daily rhythms of the capital, capturing a moment of transit and trade that was typical of the period. The work remains a primary source for understanding the visual culture and social dynamics of Georgian London, presented with the wit and technical precision that defined Rowlandson's career.
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Produzione
Ogni stampa è realizzata su ordinazione mediante stampa giclée a 12 colori su carta d'archivio certificata FSC. Ideata in Gran Bretagna e stampata presso il centro di produzione più vicino a te per ridurre gli sprechi e velocizzare la consegna.
Cura e materiali
Caratteristiche specifiche
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Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Completa il Look
Procession of the Cod Company from St. Giles's to Billings Gate - Thomas Rowlandson
Prezzo originale
Da £28.00 GBP
Prezzo scontato
Da £28.00 GBP
Prezzo originale
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Thomas Rowlandson
Rowlandson inherited seven thousand pounds from his aunt and gambled it away. He was known to sit at gaming tables for thirty-six hours at a stretch. The loss is the reason he produced over ten thousand drawings and prints in his lifetime: the volume had more to do with debts than with artistic ambition.
He trained at the Royal Academy Schools in London and may have spent time in Paris, though the often-quoted two years at a Parisian academy has been narrowed by recent scholarship to a few weeks at most. His technique was fast, fluent, and populated by figures who bulge, lurch, stumble and grope their way through Georgian England. The line is always in motion. Fat men eat. Thin women flirt. Horses rear. Coaches overturn. The world in a Rowlandson drawing is always on the verge of falling over.
He drew for the satirical press, illustrated books (including the Dr Syntax series, which sold well enough to keep him solvent for several years), and produced erotica for a private clientele that was never published in his lifetime. Unlike James Gillray, whose satire was ferocious and politically targeted, Rowlandson's humour was broader and warmer. He drew human beings as comic animals: vain, greedy, amorous and fundamentally absurd.
His subjects included Vauxhall Gardens, the races at Brighton, country fairs, and the particular chaos of London streets. He drew the city as a place where everyone is either trying to sell something, steal something, or seduce someone, often simultaneously. He died in 1827, aged seventy, having drawn everything he saw and gambled most of what he earned.
He trained at the Royal Academy Schools in London and may have spent time in Paris, though the often-quoted two years at a Parisian academy has been narrowed by recent scholarship to a few weeks at most. His technique was fast, fluent, and populated by figures who bulge, lurch, stumble and grope their way through Georgian England. The line is always in motion. Fat men eat. Thin women flirt. Horses rear. Coaches overturn. The world in a Rowlandson drawing is always on the verge of falling over.
He drew for the satirical press, illustrated books (including the Dr Syntax series, which sold well enough to keep him solvent for several years), and produced erotica for a private clientele that was never published in his lifetime. Unlike James Gillray, whose satire was ferocious and politically targeted, Rowlandson's humour was broader and warmer. He drew human beings as comic animals: vain, greedy, amorous and fundamentally absurd.
His subjects included Vauxhall Gardens, the races at Brighton, country fairs, and the particular chaos of London streets. He drew the city as a place where everyone is either trying to sell something, steal something, or seduce someone, often simultaneously. He died in 1827, aged seventy, having drawn everything he saw and gambled most of what he earned.
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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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