Book contents
- Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century
- Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century
- Copyright page
- Dedication
- Contents
- Figures
- Contributors
- Acknowledgements
- Frontispiece
- Introduction: Hidden Legacies
- Part I Self-Presentation and Self-Promotion
- Part II Spaces of Production
- Part III Competing in the Market: Acumen in Business and Law
- Chapter 10 Mary Darly, Fun Merchant and Caricaturist
- Chapter 11 A Changing Industry
- Chapter 12 Jane Hogarth: A Printseller’s Imprint on Copyright Law
- Chapter 13 Shells to Satire: The Career of Hannah Humphrey (1750–1818)
- Chapter 14 Encouraging Rowlandson: The Women Who Mattered
- Chapter 15 Female Printmakers and Printsellers in the Early American Republic
- Index
Chapter 14 - Encouraging Rowlandson: The Women Who Mattered
from Part III - Competing in the Market: Acumen in Business and Law
Published online by Cambridge University Press: 14 March 2024
- Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century
- Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century
- Copyright page
- Dedication
- Contents
- Figures
- Contributors
- Acknowledgements
- Frontispiece
- Introduction: Hidden Legacies
- Part I Self-Presentation and Self-Promotion
- Part II Spaces of Production
- Part III Competing in the Market: Acumen in Business and Law
- Chapter 10 Mary Darly, Fun Merchant and Caricaturist
- Chapter 11 A Changing Industry
- Chapter 12 Jane Hogarth: A Printseller’s Imprint on Copyright Law
- Chapter 13 Shells to Satire: The Career of Hannah Humphrey (1750–1818)
- Chapter 14 Encouraging Rowlandson: The Women Who Mattered
- Chapter 15 Female Printmakers and Printsellers in the Early American Republic
- Index
Summary
In the early stages of Thomas Rowlandson’s printmaking career, at least ninety of his prints are known to have been issued by women publishers, including Elizabeth Jackson, Hannah Humphrey, Elizabeth d’Achery, and Eleanor Lay. Of these, Jackson in particular had an important role in establishing his printmaking. The full extent of her production, for a long time obscured by the later sale of her plates to Samuel Fores, is only just emerging; several recent new discoveries suggest an even wider involvement by her in Rowlandson’s early non-satirical prints. While there is relatively little to be found in the historical record about these enterprising women, evidence from the prints shows the women were successful entrepreneurs, commissioning their own caricature output and collaborating commercially with other printsellers. Another figure of particular interest is Rowlandson’s younger sister Elizabeth, who, after her separation from her husband, the artist Samuel Howitt, also operated as a printseller for over twenty years. She was also an artist and even made a few caricature prints herself after her brother’s drawings, some of which are identified here for the first time.
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- Information
- Female Printmakers, Printsellers, and Print Publishers in the Eighteenth CenturyThe Imprint of Women, c. 1700–1830, pp. 222 - 241Publisher: Cambridge University PressPrint publication year: 2024