Richard Humphreys, the Celebrated Boxer Who Never Was Conquered

Richard Humphreys, the Celebrated Boxer Who Never Was Conquered

John Young

An item at Metropolitan Museum of Art

This colored mezzotint is based on Hoppner's portrait (MMA 53.113) of a celebrated eighteenth-century British pugilist Richard Humphreys, known as the "Gentleman Boxer." The print was issued shortly after a celebrated victory over Daniel Mendoza on January 9, 1788. Boxing historian Henry Miles records that Humphreys was "5 feet 8 inches, well-limbed, and had practised boxing to great advantage. He was apt and ready; his blows were effective; and his aims at the "mark," or wind, and under the ear, are talked of by contemporaries. Contrary to our modern notions [he] puzzled his antagonists by hitting with his right at leading off, and stopping with his left...His game was...justly esteemed a model of pugilistic excellence." For the January 9 match, held at Odiham, in Hampshire, Humphreys wore "fine flannel drawers, white silk stockings with gold-coloured clocks, pumps, and black shoe-ribbands," the costume shown in the print. When rain made the platform slippery, he removed his shoes and changed into worsted stockings. After a hard-fought 29 minutes, Mendoza fell, sprained a foot and conceded. It would take two more encounters (on May 6, 1788 and September 29, 1790) before Mendoza decisively gained the upper hand (see 66.683.9 for Gillray's 1788 portrait of Mendoza).


Drawings and Prints

An exhibit at Metropolitan Museum of Art

Richard Humphreys, the Celebrated Boxer Who Never Was ConqueredRichard Humphreys, the Celebrated Boxer Who Never Was ConqueredRichard Humphreys, the Celebrated Boxer Who Never Was ConqueredRichard Humphreys, the Celebrated Boxer Who Never Was ConqueredRichard Humphreys, the Celebrated Boxer Who Never Was Conquered

The Department’s vast collection of works on paper comprises approximately 21,000 drawings, 1.2 million prints, and 12,000 illustrated books created in Europe and the Americas from about 1400 to the present day. Since its foundation in 1916, the Department has been committed to collecting a wide range of works on paper, which includes both pieces that are incredibly rare and lauded for their aesthetic appeal, as well as material that is more popular, functional, and ephemeral. The broad scope of the department’s collecting encourages questions of connoisseurship as well as those pertaining to function and context, and demonstrates the vital role that prints, drawings, and illustrated books have played throughout history.