Thomas Rowlandson “Broad Bottoms in Holland” Framed Napoleonic Satirical Print, 1806 Composition

Details

Description

A crowned monkey, an audience of extravagantly bowing courtiers, and three pipe-smoking frogs bring biting Georgian wit to this richly … Read more A crowned monkey, an audience of extravagantly bowing courtiers, and three pipe-smoking frogs bring biting Georgian wit to this richly detailed framed print of Thomas Rowlandson’s Broad Bottoms in Holland Worshiping Their New King; or, Nic Frog’s Adulation of Louis Baboon.

Originally published on July 23, 1806, the composition responds to Napoleon’s installation of his younger brother, Louis Bonaparte, as King of Holland. Rowlandson depicts Louis as a richly dressed ape enthroned beneath drapery, holding an orb and a scepter inscribed “A ROD OF IRON.” Before him, the exaggerated figures offer their tobacco smoke as flattering “incense,” while their declarations of independence sit in pointed contrast to their submissive poses.

The scene rewards close looking. Elaborate crown details, fringed epaulettes, curling smoke, striped stockings, expressive faces, and densely worked shadows fill the image. Labels reading “Batavia Starved,” “Cape Lost,” “Surinam Lost,” “Ceylon Lost,” “Trinidad Lost,” and “Tobago Lost” introduce the themes of commercial hardship and territorial loss. The subtitle invokes Nic Frog, a traditional satirical personification of the Dutch, while the monarch’s speech makes his continued allegiance to France explicit.

Soft blue, coral, ochre, yellow, and brown coloring lends warmth to the intricate black linework. A broad muted gray-green mat, narrow salmon, white, and black inner borders, and a molded gold-toned frame give the composition a substantial decorative presence.

An engaging choice for an English country library, study, or collected gallery wall, this work pairs naturally with dark wood furniture, leather upholstery, antique books, and other British prints. Its appeal lies equally in its visual humor and the historical story contained within its inscriptions.

Historical Reference and Attribution

The composition is documented as a work by Thomas Rowlandson in the Metropolitan Museum of Art, British Museum, Royal Collection, and Princeton University collections.

The visible publication inscription reads, in normalized form: “Pubd July 23, 1806 by T. Rowlandson, No. 1 James St., Adelphi.”

Acquired through an estate, where it was cataloged as an 1806 hand-colored etching by James Gillray. Subsequent comparison with institutional records identifies the composition as Rowlandson’s. The medium is reported according to the estate catalog; this particular impression’s printing date and edition have not been independently verified. See less