{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O127377"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O127377/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2007BM3209/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2007BM3209/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2007BM3209","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O127377/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O127377","accessionNumber":"9711:2","objectType":"Print","titles":[{"title":"Probable Effects of Over Female Emigration or importing the fair sex from the Savage Islands in Consequence of Exporting all our own to Australia","type":"assigned by artist"}],"summaryDescription":"George Cruikshank was the son of Isaac Cruikshank, a maker of satirical prints, in whose workshop George was producing signed work by the age of seven. He went on to become a prolific producer of caricatures, political and social satires and literary illustrations.\r\n\r\nThe ‘golden age’ of satirical printmaking, dominated by James Gillray (1756-1815), Thomas Rowlandson (1756-1827) and Cruikshank (1792-1878), was between 1780 and 1830. This period coincided with the founding and development of the mass movements for the abolition of the slave trade and subsequent abolition of slavery within Britain’s colonies around the world. Unsurprisingly, then, slavery and abolitionism were themes addressed by many print satirists whose work featured black people in a number of social and political contexts.\r\n\r\nIn Cruikshank’s early images black people are portrayed with some naturalism and sensitivity but increasingly, as the 19th century progressed, he turned to stereotype and caricature. This print responds to contemporary concerns about changing demographics in showing a group of perplexed-looking white men confronted by a group of women arriving in the UK with over-emphasised ‘black’ physical features. Their strangeness and ‘African-ness’ is further emphasised through their accessories which include ear and lip plugs. Furthermore, as apparently Africanised caricatures of Pacific Islanders, Aboriginal, or Māori women, the print is evidence of the way that Pacific Islanders have been racialized as “black” in the past and not recognised as distinct groups.","physicalDescription":"Etching depicting a caricature with a group of white men, largely dressed in dandy and fop fashions, arriving at a British port to welcome female emigres from the Pacific Islands who are crudely depicted as racist caricatures. The print is a commentary on the perception that the number of British men emigrating to Australia and New Zealand in the early 19th century had resulted in a shortage of women in Britain following the creation of assisted passages for white British women to settle in Australia and New Zealand. Caricatures such as this mock the notion of emigration in the other direction as a solution to Britain's perceived population decline.","artistMakerPerson":[{"name":{"text":"Cruikshank, George","id":"A8303"},"association":{"text":"artist","id":"AAT25103"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"paper","id":"AAT14109"}],"techniques":[{"text":"etching","id":"AAT53241"}],"materialsAndTechniques":"Etching","categories":[{"text":"Racism","id":"THES282155"},{"text":"Prints","id":"THES48903"},{"text":"Satire","id":"THES250449"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2007BM3209"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLF (VA)","id":"THES49656"},"free":"","case":"TOPIC","shelf":"4","box":""}],"partTypes":[[{"text":"print","id":""}],[{"text":"drawing","id":""}]],"contentWarnings":[{"apprise":"Yes-racial-stereotyping","note":"Depiction of 'blackface'"}],"placesOfOrigin":[{"place":{"text":"Britain","id":"x32019"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1844","earliest":"1844-01-01","latest":"1844-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"22.8","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"46.7","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Historically, ‘savage’ is a colonialist term that has been used for centuries to cast indigenous peoples as less than human in order to make it easier to justify abuses against them.\r\n\r\nThis print is part of Cruikshank's Gift, received (as part of series 9622-9784) 3 Sept. 1884.","historicalContext":"","briefDescription":"Print, 'Probable Effects of Over Female Emigration...', etching by George Cruikshank. Britain, 1844.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Wood, Marcus. Blind Memory: Visual representations of slavery in England and America, 1780-1865. Manchester: Manchester University Press, 2000. p.164, ill"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["9711:2"],"accessionNumberNum":"9711","accessionNumberPrefix":"","accessionYear":null,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-10-16","recordCreationDate":"2006-08-24","availableToBook":false}}