A sailor in oval within square frame, half-length turning to look at the viewer over his left shoulder
Alternative Title:
Heart of oak! and One of the brave tars who fought for, and protected this happy isle
Description:
Title etched below image., I.M. initials of Isaac Mills., Two lines of verse in two columns below title: God and a seaman all do adore in time of war and oft before. Now war is o'er and all things righted remember Jack's worth don't see him slighted., Attributed to Rowlandson by Grego., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
Pub. 15 Novr., 1801 by R. Ackermann, Repository of Arts, 101 Strand
Full length portrait of philanthropist Thomas Coram who began his career in shipping and trading, both in America and England, gaining a wide knowledge of colonial affairs. Later became projector of the Foundling Hospital, shown sitting, directed, facing and looking to the left, wearing open coat over vest and cravat, holding gloves in his left hand and a medal in his right hand, hat on the floor by his right foot; surrounded by emblems representing his mercatilist and philanthropic activities, including a scroll lettered "The Royal Charter" and a globe on the right; column and view of the sea and boats behind
Description:
Title etched below image., Sheet trimmed within plate mark., Ms. note in pencil in Steevens's hand above print: Copy., and On page 107 in volume 2.
Copy of Hogarth print: The interior of a chapel with an impassioned preacher inspiring his listeners; considerably altered from the earlier state known as "Enthusiasm Delineated", for instance, by the substitution of representations of the Cock Lane Ghost (a topical reference to a fraud of 1762) for the figures of Christ, the removal of the barking dog, and the introduction of rabbits emerging from the skirts of the woman swooning on the floor in allusion to Mary Toft, the Rabbit Woman of Godlaming
Description:
Title etched below image., Text above image: Present state of the plate in the possession of Messrs. Boydell., "Page 233"--Upper right corner., Plate prepared for: Ireland, J. Supplement to Hogarth Illustrated, 1798, p. 232., Quotation below title: Believe not every spirit but try the spirits whether they are of God because many false prophets are gone out into the world. 1 John Ch. 4. V.1., Sheet trimmed to plate mark., Reduced copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 2, no. 1787, Reduced copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210, and On page 191 in volume 2.
Copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar labelled "Whitfield" echoes the preacher. In the lower right corner, an image of a cross-section of brain, labeled below frame "A Methodist's brain"
Description:
Title etched below image., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. March 15th 1796. [Image of hand with pointing finger]. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery and ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, and on the same piece of copper engraved the plate now in the possession of Messrs. Boydell, entitled Credulity, superstition & fanaticism, a medley., Dedication etched either side of title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., Legend to the left of the title: A. After Raphael Urbino. B. After Rubens. C. After Rembrant. D.E.F.G.H. Are imitations of several other painters., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum, v. 3, no. 2425., and Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210.
Publisher:
Published Novr. 12th, 1795 by John Ireland, No. 3 Poets Corner, Palace Yard, Wesminster
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar labelled "Whitfield" echoes the preacher
Description:
Title etched below image., State from British Museum catalogue., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. March 15th 1796. [Image of hand with pointing finger]. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery and ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, and on the same piece of copper engraved the plate now in the possession of Messrs. Boydell, entitled Credulity, superstition & fanaticism, a medley., Dedication etched below title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., Legend following advertisement: A. After Raphael Urbino. B. After Rubens. C. After Rembrant. D.E.F.G.H. Are imitations of several other painters., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and 1 print : etching ; plate mark 481 x 380 mm.
Publisher:
Published Novr. 12th, 1795 by John Ireland (Author of Hogarth illustrated) No. 3 Poets Corner, Palace Yard, & for Messrs. Boydell, Cheapside & Shakespeare Gallery Pallmall
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Reduced copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar without "Whitfield" etched on it echoes the preacher
Description:
Title etched below image., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery & ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, & on the same piece of copper engraved the plate which is copied on the opposite page., Dedication etched below title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., "Page 233"--Above image, right., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and On page 190 in volume 2.
Publisher:
Published March 1798 for John Ireland, Poets Corner, Palace Yard
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar labelled "Whitfield" echoes the preacher
Description:
Title etched below image., State from British Museum catalogue., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. March 15th 1796. [Image of hand with pointing finger]. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery and ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, and on the same piece of copper engraved the plate now in the possession of Messrs. Boydell, entitled Credulity, superstition & fanaticism, a medley., Dedication etched below title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., Legend following advertisement: A. After Raphael Urbino. B. After Rubens. C. After Rembrant. D.E.F.G.H. Are imitations of several other painters., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., Ms. note in pencil in Steevens's hand above print: See J. Ireland's Hogarth illustrated, p. 365., and On page 190 in volume 2.
Publisher:
Published Novr. 12th, 1795 by John Ireland (Author of Hogarth illustrated) No. 3 Poets Corner, Palace Yard, & for Messrs. Boydell, Cheapside & Shakespeare Gallery Pallmall
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
A copy of Willliam Hogarth's design and Charles Grignion's print: Frontispiece to the catalogue of the pictures exhibited by the Society of Artists, at their first exhibition in Spring Gardens. Britannia standing in a rocky landscape, filling a watering can from a fountain with lion's head spout and a bust statue of George III in a niche surmounted by a crown, lettered 'Georgius III Rex. MDCCLXI.'; the watering can pours onto three short trees growing in a clump at right, favouring the one with the trunk labelled 'Architecture' and, to a lesser extent, the tree labelled 'Painting'; the tree 'Sculpture', on slightly lower ground, is not in the line of the spray".
Description:
Title etched below image., "Page 97"--Above image, right., Sheet trimmed within plate mark., Copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 3808a., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 236., and On page 188 in volume 2.
Title etched above image., "Plate 323."--Upper right above image., This print is based on a drawing that was formerly attributed to Hogarth, hence its inclusion in Ireland's 'Hogarth Illustrated'. For the drawing by Goupy see Britism Museum catalogue number 1858,0417.618., Sheet trimmed to plate mark., Ms. note in pencil in Steevens's hand beneath image: Spurious. The head of Heidegger was impitched from Hist. in vol. 1, p. 43; in ink in Steevens's hand beneath print: Heidegger in a rage. See Mr. John Ireland's Hogarth illustrateed, p. 323., and On page 231 in volume 3.
Title etched below image., Sheet trimmed to plate mark., Ms. note in ink in Steevens's hand beneath print: See Mr. John Ireland's Hogarth illustrated, p. 158., and On page 230 in volume 3.
