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Framed Print : The Matrimonial Tattersalls, 1847. Satirical print of a market for brides and grooms in the style of Tattersalls horse market. Handcoloured etching by John Leech from Follies of the Year, from Punchos Pocket Books, Bradbury, London, 1864

The Matrimonial Tattersalls, 1847. Satirical print of a market for brides and grooms in the style of Tattersalls horse market. Handcoloured etching by John Leech from Follies of the Year, from Punchos Pocket Books, Bradbury, London, 1864



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The Matrimonial Tattersalls, 1847. Satirical print of a market for brides and grooms in the style of Tattersalls horse market. Handcoloured etching by John Leech from Follies of the Year, from Punchos Pocket Books, Bradbury, London, 1864

FLO4995405 The Matrimonial Tattersalls, 1847. Satirical print of a market for brides and grooms in the style of Tattersalls horse market. Handcoloured etching by John Leech from Follies of the Year, from Punchos Pocket Books, Bradbury, London, 1864.; (add.info.: The Matrimonial Tattersalls, 1847. Satirical print of a market for brides and grooms in the style of Tattersalls horse market. Handcoloured etching by John Leech from Follies of the Year, from Punchos Pocket Books, Bradbury, London, 1864.); © Florilegius

Media ID 38349672

© © Florilegius / Bridgeman Images

Bride Comedy Dessin Satirique Follies Of The Year Groom Handcoloured Etching Horse Market John Leech Mariage Meat Market Pocket Books Punchos Pocket Books Satirical Print Spouse Tattersalls Wedding Ceremony Flange Mariee


22"x18" (58x48cm) Modern Frame

Add a touch of whimsy to your home decor with this charming framed print from Media Storehouse. Featuring a satirical market for brides and grooms in the style of Tattersalls horse market, this handcoloured etching by John Leech is sure to spark conversation and bring a smile to your face. Perfect for adding character to any room, this piece is a unique addition to your art collection.

Wood effect frame, card mounted, 16x12 archival quality photo print. Overall outside dimensions 22x18 inches (58x48cm). Environmentally and ozone friendly, 40mm wide x 15mm Polycore® moulding has the look of real wood, is durable and light and easy to hang. Biodegradable and made with non-chlorinated gases (no toxic fumes) it is efficient; producing 100 tons of polystyrene can save 300 tons of trees! Prints are glazed with lightweight, shatterproof, optical clarity acrylic (providing the same general protection from the environment as glass). The back is stapled hardboard with a sawtooth hanger attached. Note: To minimise original artwork cropping, for optimum layout, and to ensure print is secure, the visible print may be marginally smaller

Contemporary Framed and Mounted Prints - Professionally Made and Ready to Hang

Estimated Image Size (if not cropped) is 39.6cm x 25.9cm (15.6" x 10.2")

Estimated Product Size is 57.9cm x 47.8cm (22.8" x 18.8")

These are individually made so all sizes are approximate

Artwork printed orientated as per the preview above, with landscape (horizontal) orientation to match the source image.


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> Fine Art Finder > Artists > Frank Reynolds

> Arts > Artists > L > John Leech

> Arts > Pop art > Satire > Satirical artwork

> Europe > United Kingdom > England > London > Art > Comedy


EDITORS COMMENTS
This satirical print, titled "The Matrimonial Tattersalls, 1847," takes a humorous look at the concept of marriage as a market for brides and grooms. Created by John Leech in 1864, this handcoloured etching from Follies of the Year captures the absurdity of treating relationships like transactions. In the style of Tattersalls horse market, this caricature showcases a bustling scene where individuals are displayed like commodities up for sale. The exaggerated figures and playful details highlight the ridiculousness of reducing love and partnership to a mere business exchange. Through sharp wit and clever commentary, Leech pokes fun at societal norms surrounding marriage during the Victorian era. The whimsical nature of this piece invites viewers to reflect on the absurdity of treating human connections as something to be bought and sold. As we gaze upon this comical portrayal of matrimonial madness, we are reminded that true love cannot be commodified or traded like livestock. This print serves as a reminder to cherish genuine connections based on mutual respect and affection rather than viewing relationships through a transactional lens.

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