Fine Art Poster
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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.
Comforts of Bath, Plate 1 - Thomas Rowlandson
Regular price
£28.00 GBP
Sale price
£28.00 GBP
Regular price
Archival giclée
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Made to order
Description
A satirical etching by Thomas Rowlandson from 1798, depicting a gout-ridden patient undergoing a comical medical examination in the town of Bath.
Thomas Rowlandson, a master of the Georgian satirical print, produced this etching as part of his series titled Comforts of Bath. Published in 1798, the work captures the social and medical atmosphere of the famous spa town. The scene depicts a gout-ridden patient seated in a chair, surrounded by a group of physicians who examine him with exaggerated curiosity. One doctor peers through a magnifying glass, while the patient displays a pained expression, his tongue lolling out in discomfort. The surrounding figures, dressed in the fashion of the late eighteenth century, engage in various activities, including drinking and socialising, which provides a sharp contrast to the medical examination occurring in the foreground.
Rowlandson employs a fluid, calligraphic line to define the figures, a hallmark of his approach to caricature. The hand-applied watercolour washes are muted, typical of the period, and serve to organise the composition without overwhelming the etched lines. The interior setting is rendered with minimal detail, allowing the focus to remain on the physical comedy and the social dynamics of the group. This print reflects the era's fascination with the medical profession and the perceived excesses of the wealthy who frequented Bath for their health. The work is a characteristic example of Rowlandson's ability to blend social observation with humorous distortion, providing a window into the cultural life of late Georgian England. The print was published by S.W. Fores, a prominent dealer in caricatures located at 50 Piccadilly, London, who was instrumental in distributing such works to a wide public audience.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
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To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
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- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Complete The Look
Comforts of Bath, Plate 1 - Thomas Rowlandson
Regular price
From £28.00 GBP
Sale price
From £28.00 GBP
Regular price
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
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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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