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Satire on a picture auction, 1730. Artist: William Henry Toms
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Satire on a picture auction, 1730. Artist: William Henry Toms
Satire on a picture auction, 1730. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)
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Media ID 14917200
© The Print Collector / Heritage-Images
Auction Auction Room Auctioneer Burning Chaotic Devil Emily Morse Emily Morse Symonds Flame Flames Fork Gavel George Paston Monkey Palette Paston Pictures Pitchfork Ridicule Ridiculous Symonds Toms Trident William Henry William Henry Toms
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Satire on a Picture Auction, 1730 - A Chaotic Scene of Ridiculousness and Devilish Delights
EDITORS COMMENTS
. In this print by William Henry Toms, we are transported back to the bustling auction room of 18th century Britain. The scene is filled with an array of eccentric characters, each embodying the absurdity and satire that defined social caricature during this era. Amidst the chaos, our attention is immediately drawn to a mischievous monkey perched upon a man's shoulder, symbolizing the unpredictable nature of art auctions. The auctioneer stands at the forefront, wielding his gavel as if it were a pitchfork while flames dance around him. This devilish imagery hints at both the fiery passion ignited by artistic trade and perhaps even mocks its sometimes questionable practices. The artist masterfully captures the essence of ridicule through clever details scattered throughout the composition. A man holds up a palette adorned with tridents instead of paintbrushes, mocking traditional artistic tools. Another figure brandishes a fork in place of a more conventional instrument for bidding. As we delve deeper into this chaotic world, it becomes apparent that Toms aims to satirize not only art auctions but also society itself. Through exaggerated gestures and expressions on people's faces, he invites us to question societal norms and conventions. This remarkable print serves as an insightful window into 18th-century Britain's art scene while simultaneously reminding us that satire has always been an effective tool for challenging
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