Artwork
H Beard Print Collection
H Beard Print Collection is a print by the Romanticist artist Isaac Cruikshank. It dates from 1809 and is held in the collection of the Victoria and Albert Museum. The print titled “The New Chevy Chace, or Covent Garden in an Uproar” is a satirical engraving produced in London by the publisher T.
About this work
This print shows John Philip Kemble holding a cat and waving a paper over John Bull's head.
The scene is chaotic, with people and objects scattered around. It's commenting on the Old Price riots of 1809, which were protests about high ticket prices at Covent Garden Theatre.
The print's details and satire are similar to those found in works by artist: Cruikshank, Isaac.
Overview
The print titled “The New Chevy Chace, or Covent Garden in an Uproar” is a satirical engraving produced in London by the publisher T. Tegg. It depicts a chaotic scene that references the Old Price riots of 1809, a public protest against rising ticket costs at Covent Garden Theatre.
Subject & Meaning
In the composition, actor John Philip Kemble is shown grasping a cat—identified as the famed singer Angelica Catalani—by its tail, while brandishing a sheet of paper that bears the caption “The House that Jack Built.” The paper hovers over the head of a seated figure representing John Bull, the personification of England, underscoring the national dimension of the unrest.
Technique & Style
The work employs the line‑heavy, densely populated style typical of early‑19th‑century British caricature, reminiscent of the prints of Isaac Cruikshank. Fine cross‑hatching and exaggerated gestures convey the disorder of the crowd and the theatricality of the protest.
History & Provenance
Issued in the aftermath of the 1809 riots, the print circulated as a topical commentary on the public’s reaction to the theatre’s price increase. It was printed by T. Tegg, a London publisher known for producing affordable popular prints for a wide audience.
Context
The Old Price riots erupted when management of Covent Garden raised admission fees, prompting a series of demonstrations that blended theatrical spectacle with political agitation. The print captures this blend, using recognizable cultural figures to critique both the commercial practices of the theatre and the broader social tensions of the period.
Artist & collection
