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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

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


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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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