Scheming New Mischief as always
Landseer, Thomas (1795 London 1880). Cupid. This time in the shape of a little monkey. The bow in the right, a full quiver and a single arrow at the ground, roses in the hair and a swan’s wings at the shoulder: scheming new mischief. Etching. (1827/28.) Inscribed: T Landseer, otherwise as below. 8 × 6⅜ in (20.4 × 16.3 cm).
Rümann, Das Illustrierte Buch des 19. Jahrhunderts, Leipsic 1930, pp. 99 ff.; Nagler 1; Thieme-Becker XXII, 305. – On especially wide-margined strong paper. – In the white margin really weak foxing. – Inscribed:
“ What wanton tricks sly Cupid plays, When’eer the rogue’s let loose!
A God he’s turn’d into a swan And man into a goose! ”
Fine impression on large paper from the famous set of the “Monkeyana” , one of Landseer’s but few early and thus typical works :
“ That Thomas Landseer may be judged only by these illustrations a little book with woodcuts proves which show next to nothing of his intellect ” .
Worked since 1827 the 25 etchings incl. title were published in numbers and with classical captions till 1828 in three editions: standard edition in quarto, edition on larger paper in large quarto, edition with proofs in large quarto, too. Besides copies on mounted China.
Otherwise qualified by Rümann i. a.:
“ Much more important was Edwin’s brother Thomas Landseer …
… in the ’20s he distinguished himself by a series of 25 plates that were published 1828 under the title of ‘Monkeyana’ (ills. 57).
Technically his etchings are masterly ,
no less admirable the intellectual grasp of the subject. With much humor and sharp observation he transfers the plain life of his time to the monkey’s life. His sarcasm is biting, almost vicious. ”
In regard of the latter judgement Landseer’s contemporary Nagler, Monogramists V, 686, might be more to the point :
“ … the habits, costumes, and follies of his time
(Landseer has) caricatured delectably ” .
And Stechow sovereignly sums up :
“ Monkeys always fascinated artists ”
(Pieter Bruegel, Cologne 1977, page 76).
“ The monkey as the animal most similar to man plays an important rôle in art history since antiquity.
As figura diaboli ,
as symbol of sin and the fall of man ,
as fool , as figure of vanity
he appears in most varied context … (A)lso the usual religious reference in the interpretation of the monkey as
man mixed up in his passion for profane things … ”
(Hella Robels, Frans Snyders, Munich 1989, page 43).
Later Thomas Landseer devoted himself largely to the reproduction of the animal depictions by his brother Sir Edwin.
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