"Portrait of Horace Walpole, 4th Earl of Orford, after Reynolds; standing three-quarter length to left and leaning his right elbow on table with books, quill and print, his right hand to his cheek, eyes to front, wearing plain coat and waistcoat, lace collar and cuffs; in an oval, with Walpole's villa at Strawberry Hill below."--British Museum online catalogue, description of a later state
Description:
Title etched below image., State with new imprint and with alterations to the portrait and to the image of the estate. For a proof state before these alterations and with a 1796 publication line, see Lewis Walpole Library: Portraits W218 no. 6., and "Strawberry Hill" in all capitals is etched above title and below image of the estate.
Publisher:
Published as the act directs Feby. 14th, 1797, by W. Clarke, No. 38 New Bond Street
"A stage-coachman (left) holds open the door of his coach, showing that it is overcrowded with five fat passengers. He speaks to a fat woman who stands in profile to the right, holding a fan, a dog tucked under her left arm. A flagged pavement and cobbled roadway show that they are in a London street. Beneath the title is engraved: '"Just room for one Madam," - "Vell I wow I have run all the way like a Lamp-lighter, till I am all over in such a Heat you can't think."'"--British Museum online catalogue
Description:
Title engraved below image., Printmaker identified from original drawing in the Huntington Library., Plate numbered '198' in lower right corner., From the Laurie & Whittle series of Drolls., and One line of text below title: Just room for one Madam, -- vel [sic] I vow I have run all theway like a lamp-lighter ...
Publisher:
Published 1st September 1797 by Laurie & Whittle, 53 Fleet Street, London
Subject (Topic):
Dogs, Carriages & coaches, Coach drivers, Obesity, Streets, Travelers, and Women
Two female allegorical figures are seated in a landscape. Mercy at the left with head bowed holds a branch; at right, a ray of sunlight shines above the head of Truth who holds a large book in her left hand. In the right foreground are two dramatic masks lying beside a broken yoke
Description:
Title etched in open letters below image., Sheet trimmed within plate mark., Biblical quote etched below title: "Misericordia et veritas obviaverunt sibi. Psalm LXXV, ver. 10.", and Watermark.
Title from item., From the Laurie & Whittle series of Drolls., Plate numbered '199' in lower right corner., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., Temporary local subject terms: Young women -- Cuckolds -- Furnishings: mirrors -- Wall panelling -- Female dress, 1797., and Watermark, partially trimmed.
Publisher:
Published 12th September 1797 by Laurie & Whittle, 53 Fleet Street, London
An old woman, the prude, is standing near a crowd of people huddled around a bonfire in Covent Garden. She is crossing Covent Garden Piazza, disapproving of the amorous scenes outside the notorious Tom King's Coffee House. The print shows the morning and is part of a series representing the progress of the day
Description:
Title engraved below image., Signed bottom left hand corner: Designed by Wm. Hogarth. Signed bottom right hand corner: Engraved by T. Cook., After Hogarth. Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 146., Plate also issued in a collection entitled Hogarth restored, first published by G.G. & J. Robinson in 1802., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2357., and Watermark: 1794 J. Whatman.
Publisher:
Published August the 1st, 1797, by G.G. & J. Robinson, Pater-noster Row, London
Subject (Geographic):
Covent Garden (London, England)
Subject (Topic):
Beggars, Children, City & town life, Couples, Crowds, Fighting, Food vendors, Kissing, Prostitutes, Quacks, Servants, Signs (Notices), Taverns (Inns), and Women
A copy of the fourth print in William Hogarth's series "Four Times of the Day", set at the intersection of Rummer Court and Charing Cross. Le Sueur's equestrian statue of Charles I can be seen in the background. It is the anniversary of the Restoration of Charles II (29 May, known as "Oak Apple Day"). In the foreground a drunken freemason (probably the corrupt magistrate Sir Thomas De Veil) is supported by a serving man. Behind them a man pours gin into a keg. To the left a barber is seen at work through a window; each pane of the shop window contains a lit candle. From a window above the barber shop, a chamber pot is being emptied onto the top of a wooden shelter under which a man and woman sleep. Beside them, a link boy crouches as he blows on the flame of his torch. Behind and to the right of the freemason, the Salisbury Flying Coach has crashed and overturned while trying to avoid a bonfire in the middle of the street; the passengers reach out the window of the coach, alarmed looks on their faces.Two men look on, one of whom appears to be a butcher. Shop and tavern signs include the barber's which is decorated with oak leaves and advertises "Shaving Bleeding & Teeth Drawn wth. a Touch Ecce Signum"; the Rummer Tavern; the Earl of Cardigan; and, the Bagnio and the New Bagnio
Description:
Title engraved below image., Signed bottom left hand corner: Designed by Wm. Hogarth. Signed bottom right hand corner: Engraved by T. Cook., After Hogarth. Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 149., Plate also issued in a collection entitled Hogarth restored, first published by G.G. & J. Robinson in 1802., and Watermark: 1794 J. Whatman.
Publisher:
Published February the 1.st 1798 by G.G. & J. Robinson Pater-noster Row London
Subject (Geographic):
Great Britain. and England.
Subject (Name):
De Veil, Thomas, Sir, 1684-1746
Subject (Topic):
Liquor laws, Freemasons, Jacobites, Accidents, Barbering, Butchers, Carriages & coaches, City & town life, Children, Fires, Intoxication, Liquor, Prostitution, Sleeping, Signs (Notices), and Taverns (Inns)
A copy of the second print in William Hogarth's series "Four Times of the Day": Set outside St Giles's-in-the-Fields. On the right an elegant crowd leaves the French Huguenot church; they are dressed in the height of French fashion. Two women kiss on the far right in the customary French way. They are contrasted with Londoners on the left. The two groups are separated by a gutter down the middle of the road; a dead cat lies in the gutter foreground. The Londoners stand outside a tavern with the sign of the Good Woman (one without a head); a woman and man in the second-storey window look surprised as the contents of her bowl are tossed out the window. In the foreground, left, under a sign with John the Baptist's head on a platter and reading "Good Eating", a black man embraces a servant girl and a small boy (evidently intended by his curly red hair to be identified as one of the Irish inhabitants of the area) cries because he has broken a pie-dish. A little girl squats as she eats the fallen pie off the ground. The clock in the steeple in the background reads 12:30.
Description:
Title engraved below image., After Hogarth. Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 147., Signed bottom left hand corner: Designed by Wm. Hogarth. Signed bottom right hand corner: Engraved by T. Cook., Plate also issued in a collection entitled Hogarth restored, first published by G.G. & J. Robinson in 1802., and Watermark: 1794 J. Whatman.
Publisher:
Published October the 1st, 1797, by G.G. & J. Robinson, Pater-noster Row, London
Subject (Geographic):
England, London., and England.
Subject (Topic):
Huguenots, Irish, Blacks, Children, City & town life, Churches, Couples, Crowds, Crying, Kissing, Servants, Signs (Notices), Taverns (Inns), and Women
Title from item., Printmaker identified from original drawing in the Huntington Library., No. 201 in the Laurie & Whittle series of Drolls., Three lines of text below title: "Why Pat, I find here in the letter, a brace of live wild ducks your master has sent me" ..., Plate numbered '201' in lower right corner., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Temporary local subject terms: Domestic service: footmen -- Irishmen -- Baskets -- Aglets -- Wallpaper -- Window curtains -- Furniture: folding tables -- Slipcovered armchairs -- Male dress: dressing gown -- Female dress, 1797.
Publisher:
Published 25th September 1797 by Laurie & Whittle, 53 Fleet Street, London
"Three people sit at a round table playing push-pin. The Duke of Queensberry (right) leans on the table, pushing the pin. In his right hand is a double lorgnette over which he leers at his vis-à-vis, a very corpulent woman in a flowered dress who stares through spectacles at the pins. A younger woman, spinsterish and demure, watches the game with down-dropped eyes. Both wear hats. The chairs are decorated with ormolu, and on the back of Queensberry's is his crest (without the coronet): a heart between wings. The floor is carpeted."--British Museum online catalogue
Description:
Title etched below image., Also with the figure of Mother Windsor, procuress., Sheet trimmed within plate mark resulting in loss of imprint., Imprint from untrimmed impression in Caricatures of Gillray at the Yale Center for British Art L296.32 (Folio A))., Date of publication inferred from John Miller's entry in London Publishers and Printers, by Philip A.H. Brown (London, British Library, 1982)., Plate from: Caricatures of Gillray, London, John Miller, [ca. 1824-1827]., and Reduced copy of a print with the same title etched by Gillray and published by Hannah Humphrey in 1797.
Publisher:
Published by John Miller, Bridge Street, and W. Blackwood, Edinburgh
Title from item., Numbered '192' in lower left of plate., One of the series of Laurie & Whittle drolls., One line of text below title: A sketch from life, take while the friar was stealing a nap., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Temporary local subject terms: Furniture: table -- Foot-stool -- Dishes: tankard -- Crucifixes.
Publisher:
Published 7th August 1797 by Laurie & Whittle, 53 Fleet Street, London
