Item #05699 A London Nuisance. Richard DIGHTON.
A London Nuisance
A London Nuisance
A London Nuisance
A London Nuisance
A London Nuisance
A London Nuisance

A London Nuisance

London: Thos. McLean, 1821. Item #05699

The Satirical Art of Richard Dighton - A London Nuisance

DIGHTON, Richard. A London Nuisance. London: Thos. McLean, [1821].

First edition. Folio (16 5/8 x 11 1/8 inches; 422 x 282 mm.). Six fine hand colored etched plates published October 1821. Each plate with the series title and number "A London Nuisance" in the upper margin. The lower margin with the artist's name, "Richard Dighton Invt. et Sculp." and the publisher's name and address "Pub'd by Tho's McLean, 26 Haymarket, London."

Bound by Root & Son ca. 1900 in three quarter red morocco over red cloth boards ruled in gilt. Front cover lettered in gilt, smooth spine horizontally lettered in gilt, marbled endpapers, top edge gilt. Expertly rebacked with the original spine laid down. Old booksellers description on front paste-down erroneously giving the date as 1835.

A prime, original example of the early nineteenth century satirical art of Richard Dighton.

This actual copy has appeared at auction several times over the past one hundred and thirteen years:
1910; 1957; 1990 (purchased by E. Joseph of London); 2013 (purchased by Bobins).

OCLC & KVK locate just three copies in libraries and institutions worldwide: Harvard University - dated 1830s (MA, US); Yale University Library - dated 1830 (CT/US) & Kunstbiblio Staatliche Museen zu Berlin (dated 1816). The Harvard and Yale copies would appear to have the margins cut very close as they measure just 10 5/8 inches; 270 cm.

The Plates:

1) "Passing a Mud Cart"
2) "A Heavy Fall of Snow"
3) "One of the Advantages of Oil Over Gas"
4) "A Pleasant Way to Lose an Eye"
5) "One of the Advantages of Gas Over Oil"
6) "An Unlucky Hit"

The Golden Age of English satirical art began in the late eighteenth century with the etchings of Thomas Rowlandson and James Gillray and ended in the mid 1830's with the etchings of William Heath and George Cruikshank. After that time the emerging morals of Victorian society put an end to such forms of always exuberant and often outrageous compositions. During its height many artists supplied the London print sellers with their satirical etchings and caricatures. A father and sons, the Dightons, were major contributors.

"Richard Dighton trained in London under his father, Robert Dighton (1752-1814). Both father and son were popular etchers in the English satirical tradition. Unlike their contemporaries, however, their compositions are distinguishable by a more gentle and less critical brand of caricature. With the emphasis applied more to character the Dightons have often been seen as precursors of the Vanity Fair style of the late nineteenth century.

Richard Dighton published his first etching in 1815. By 1828 he had created over one hundred works of art in this medium. At that date he ceased etching and moved to the provinces, settling in both Cheltenham and Worcester. Over the next twenty years Richard Dighton worked mainly as a watercolor portraitist. After 1835 he again produced original prints, this time in the medium of lithography." (M. Dorothy George. Catalogue of Political and Personal Satire. The British Museum, London, 1952).

Price: $7,500.00

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