Contemporary Visual Culture

, Isaac Cruikshank

, Thomas Rowlandson

, Richard Newton

gambling — Thomas Rowlandson, The Gaming Table at Devonshire House (1791); Courtesy of the Metropolitan Museum of Art.

gambling — James Gillray, Modern Hospitality; -or- A Friendly Party in High Life (31 March 1792); Courtesy of the British Museum.

a woman with exposed breasts gambles while a man looks over her shoulder — Lady Godina's Rout:-or-Peeping-Tom Spying out Pope-Joan (12 March 1796); Courtesy of the Library of Congress.

two gentlewomen in the stocks have eggs thrown at them — James Gillray, Exaltation of Faro’s Daughters (12 May 1796); Courtesy of the British Museum.

two upper-class women in the stocks — Richard Newton, Female Gamblers in the Pillory (13 May 1796); Courtesy of the British Museum.

Two upper class women in the stocks with a judge below — James Gillray, Cocking the Greeks (16 May 1796); Courtesy of the British Museum

Three wealthy women in the stocks with a fire lit just below them — Isaac Cruikshank, Faro’s Daughters, or the Kenyonian blowup to Gamblers (May 1796); Courtesy of the British Museum.

Four women dividing their winnings at a table — Isaac Cruikshank, Dividing the Spoil! (20 May 1796); Courtesy of the British Museum.

Man walks in on a group of gamblers — James Gillray, The Loss of the Faro Bank; or, the Rook’s Pigeon’d (February 1797); Courtesy of the British Museum.

Woman with her back exposed being publicly whipped — James Gillray, Discipline à la Kenyon (March 1797); Courtesy of the British Museum.

Large woman's horse are unable to pull her carraige — Richard Newton, Over Weight - or the Sinking Fund - or the Downfall of Faro (March 1797); Courtesy of the British Museum.

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Terry F. Robinson

Contemporary Visual Culture © 2013 by Terry F. Robinson and Romantic Circles is licensed under CC BY-NC-ND 4.0