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When John Gay’s, ‘The Beggar’s Opera’ was first staged as a ballad opera in 1728, at the Theatre Royal, Lincoln’s Inn Fields, it was without precedence – an undeniable innovation. As an instant success with perennial appeal for audience of all kinds, it paved the way for a form of drama known today as the musical. Two hundred years later, ‘The Beggar’s Opera’ became the inspiration for Bertolt Brecht’s and Kurt Weill’s ‘The Threepenny Opera’ (1928) where Macheath developed into Mack the Knife and Jenny Diver became Low Dive Jenny.

In the 17th & 18th century a ‘Jenny’ was a diminutive for a small and lively, birdlike woman. As archaic slang, in the 16th, 17th & 18th century, a ‘Diver’ was a criminal’s female accomplice and pickpocket. So, Jenny Diver was a pretty, birdlike pickpocket and heroine who was the favourite ‘Moll’ of the charismatic hero and criminal, Macheath. In this production, Jenny Diver was played by Lynda Bellingham, who subsequently bought the the first print of the edition while playing Maggie in 'Sugar Mummies' at the Royal Court.
PRINT: £64 287x546mm
MOUNT: £80 380x645mm
FRAME: £140 Light-gold antiqued frame: 380x645mm

Peachum’s name suggests a derivation from the slang for the verb ‘to peach’ (16th-18th century). In other words: to inform against associates and accomplices, to betray or tell upon an opponent to the equivalent of the police, or to grass. The latter stems from the Latin word ‘grassant’, meaning roaming about, or lurking with evil intent. In the design we see Peachum who was a ‘fence’ and dealt in stolen goods from his establishment moving stealthily about his business, like a mixture of Groucho Marx with Fagin intentions.
PRINT: £83 372x558mm
MOUNT: £98 460x650mm
FRAME: £175 Light-gold antiqued frame: 460x650mm

Originating from dialect in the early 18th century, a ‘Molly’ (later shortened to ‘Moll’) was slang for prostitute. This glaring, ‘strumpet’ yellow costume, cheaply printed with a ‘Tree of Life’ design, is structured by its 18th century corset and an underskirt / petticoat supported with a swaying farthingale of hoops (probably whalebone or cane originally). It was designed to emphasise the character of Molly Brazen and all that her name suggests. She is a brazen hussy, shameless, hardened in effrontery, impudent and strident.
PRINT: £62 349x435mm
MOUNT: £77 472x645mm
FRAME: £138 Light-gold antiqued frame: 472x645mm

Most of the female characters in ‘The Beggar’s Opera’ have names that label them as ‘women of the town’. Originating from dialect in the early 18th century, a ‘Molly’ (later shortened to ‘Moll’) was slang for prostitute. The world’s oldest professionals have been given many other names such as: courtesan, harlot, strumpet, trollop, baggage, drab, jade, minx, slut, bawd, trull and wench.
Molly Brazen’s skin was whitened by lead, and although her beauty spots and buxomly cleavage hearts were placed to allure they probably also disguised strategically the ravaging scars of smallpox.
PRINT: £56 282x484mm
MOUNT: £71 380x645mm
FRAME: £125 Light-gold antiqued frame: 380x645mm

The term ‘Betty’ materialised in the early 17th century as slang for a crowbar used by burglars. Arising from slang of mid 16th century dialect, ‘Doxy’ was an expression for a mistress, prostitute, or promiscuous woman. It was also an idiom for a beggar’s wench. From slang surfacing between 1600-1629, it became a phrase indicating a girlfriend of a gangster or criminal. Like many women in the 18th century who led a streetwalker existence and experienced its duress, Betty Doxy masked her troubles by singing, dancing and drinking gin. Hogarth’s prints of ‘Gin Lane” documented and broadcast how this cheap drink of the poverty stricken masses effected their circumstances further.
PRINT: £88 444x497mm
MOUNT: £105 540x590mm
FRAME: £180 Light-gold antiqued frame: 540x590mm

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