The Apostate Jack R. - The Political Rat Catcher - Thomas Rowlandson
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Description
A biting 1784 political satire by Thomas Rowlandson, depicting John Robinson as a rat catcher luring political figures with pensions.
Thomas Rowlandson, a master of late eighteenth-century British caricature, produced this biting political satire in 1784. The print depicts John Robinson, a prominent political figure of the era, portrayed as a rat catcher. Robinson, who served as Secretary to the Treasury under Lord North, is shown crawling on the floor, attempting to lure rats with small pieces of paper labelled 'pension'. The rats, which represent various political figures or interests, surround him in a room adjacent to the Treasury. Rowlandson employs his characteristic fluid line work to capture the grotesque expressions and postures of his subjects. The composition is structured to emphasise the absurdity of the scene, with the rat catcher carrying a cage on his back, ready to trap his prey. A list on the wall, titled 'Jack R. Rat Catcher to the British Vermin Present Rats of Note', serves as a satirical index of the political figures involved in the scandal. The etching reflects the volatile political climate of the 1780s, a period marked by intense party rivalry and public scrutiny of government patronage. This work is a fine example of the satirical print culture that flourished in London during the Georgian period. Rowlandson often collaborated with publishers like William Humphrey, whose address appears at the bottom of the plate. The print functions as a visual commentary on the corruption and political manoeuvring that defined the era. Through his sharp wit and technical skill, Rowlandson transformed complex political grievances into accessible, albeit harsh, visual narratives. The print remains a valuable historical document, offering insight into the public perception of government officials and the mechanisms of political influence in late eighteenth-century Britain.
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The Apostate Jack R. - The Political Rat Catcher - Thomas Rowlandson
Artist Biography
Thomas Rowlandson
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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Artist Biography
Thomas Rowlandson
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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