Opposite page 15. Trial of Elizabeth duchess dowager of Kingston for bigamy, before the Right
Image Count:
1
Resource Type:
still image
Abstract:
An engraving, showing a scene from the Venetian Ambassadors Masquerade in which Miss Chudleigh appears wearing stockings, shoes, and a tunic, the last covering only a very small portion of her person, and taking off her mask on being seized round the waist by a gentleman. "Punch", "Judy", and another masquerader, George II?, are behind
Description:
Title from text below image., Attributed to Charles Moseley in the British Museum online catalogue, registration no.: 1868,0808.3894., Date of publication from the British Museum catalogue., Sheet trimmed within plate mark on three sides., "Price 6 d."--Lower right corner of plate., and Bound in opposite page 15 in an extra-illustrated copy of: The trial of Elizabeth duchess dowager of Kingston for bigamy, before the Right Honourable the House of Peers ... London : Printed for Charles Bathurst, in Fleet-Street, MDCCLXXVI [1776].
Publisher:
publisher not identified
Subject (Geographic):
England and England.
Subject (Name):
Bristol, Elizabeth Chudleigh, Countess of, 1720-1788 and Bristol, Elizabeth Chudleigh, Countess of, 1720-1788.
Title from item., Sheet trimmed within plate mark., Two columns of verse in Latin on left and English on right, separated with a decorative border: Effigiem servi si vis spectare probati, quisquis as hoec oculos pascat Image tuos ..., Copy, slightly reduced, with different background imagery and arms of William of Wykeham in upper left corner, of No. 3045 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3., Temporary local subject terms: Arms: William of Wykeham -- Arms: ?Wichester College -- Mottoes: Manners makyth man -- Reference to William of Wykeham, 1324-1404 -- Animals: boar -- Shovels -- Pitchforks -- Brooms -- Scrapers -- Shields: saucepan lid as a shield -- Padlocks -- Emblems: boar, partly human., and Probably a late 18th century restrike.
Title from item., Sheet trimmed within plate mark., Plate from: The London magazine; or, Gentleman's monthly intelligencer. London : Printed for R. Baldwin, v. 88 (1749), p. 282., Not in the Catalogue of engraved British portraits ... in the British Museum., and Window mounted to 15 x 23 cm.
Publisher:
Printed for R. Baldwin junr. at [the] Rose in Pater Noster Row
Subject (Name):
Garrick, David, 1717-1779, and Garrick, Eva Marie, 1724-1822,
A man with his hands clasped in supplication, is seized on one side by a burly turnkey and on the other by a man wearing in a Kevenhuller hat and armed with a cudgel. A third man tries to hit the prisoner on the head with a long cudgel. A fourth man, standing near the turnkey, threatens a boy and a woman who both kneel facing the prisoner whie a little girl in front of the woman stretches her arms towards her. On the far left, a well dressed man points to the scene with his left hand, his right hand resting on his hip. To his right is an entrance to a building with a lamp in the shape of an acorn hanging above the door. On the opposite side is another building with old-fashioned casement windows with diamond panes, or possibly bars, on upper floors and modern square paned windows on the ground floor. Over the door, in lieu of a lantern, hangs a bunch of grapes. The two buildings are connected in the background by a wall with a gate with heavy grill through which two men are peeking into the courtyard. On the wall above the grill are the Royal Arms, flanked by the arms of London and Westminster
Description:
Title engraved above image., Publication date from an unverified card catalog record., Sheet trimmed within plate mark., Sixteen lines of verse in four columns below image: Welcome, welcome, brother debtor, As an old and hearty song ..., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., Temporary local subject terms: Prisons: The Compter -- Turnkeys -- Hats: Kevenhuller -- Weapons: cudgel -- Arms: royal arms -- Arms: City of London -- Arms: City of Westminster -- Emblems: grapes hanging over the dooor -- Lighting: outdoor hanging lantern., and Watermark: Strasburg lily with initials LVG below.
The King of France is seated on his throne in front of the tent surmounted by a large fleur-de-lis. His feet rest on the head of the British Lion whom he is pushing to the ground. Two guards with pikes stand on either side of him. He is pointing with his scepter to two kneeling men in peers' coronets who have hooks in their noses and are led on a string by another man, probably Lord Sandwich, British negotiator at Aix-la-Chapelle. The two peers are probably the Earl of Sussex and Baron Cathcart, offered as hostages at the time of signing the Treaty. They carry scrolls and a fishnet with three fishes in it, probably alluding to the fisheries of Cape Breton. The scrolls convey promises to wear French cambric, as well as surrender of newly discovered coal mines. A fortress with breached walls is visible in the background. On the right, sits Britannia weeping. Behind her, three men, probably English merchants, express their disappointment with the terms of the Treaty. A scroll in the upper right corner, above a ship on turbulent seas, lists the concessions made by English negotiators
Description:
Title from caption above image., Sheet trimmed within plate mark., Six lines of text below image: [The] Gods! Is is possible are these the brave E--- [i.e., Englishmen] who so lately professed 'emselves in such strong terms to be my friends! ..., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Watermark: Pro patria.
Publisher:
publisher not identified
Subject (Name):
Louis XV, King of France, 1710-1774, Cathcart, Charles Schaw Cathcart, Lord, 1721-1776, Sussex, George Augustus Yelverton, Earl of, 1727-1758, and Sandwich, John Montagu, Earl of, 1718-1792
Title from item., Publication information from British Museum online catalogue., Temporary local subject terms: Violin -- Treaties: Aix-la-Chapelle, 1748 -- Personifications: nobles and wheelbarrow vendors -- Hostage: British hostages to France -- Emblems: fool's head -- Hanover turnips., and Watermark: Strasburg lily with initials L V G below.
Publisher:
G. Bickham
Subject (Name):
Louis XV, King of France, 1710-1774, Fredrik I, King of Sweden, 1676-1751, George II, King of Great Britain, 1683-1760, Maria Theresa, Empress of Austria, 1717-1780, Charles Edward, Prince, grandson of James II, King of England, 1720-1788, Klemens August, of Bavaria, 1700-1761, Sussex, George Augustus Yelverton, Earl of, 1727-1758, and Cathcart, Charles Schaw Cathcart, Lord, 1721-1776
Subject (Topic):
Flags, Musical instruments, National emblems, Hanoverian, and Wheelbarrows
Title from item., The 'u' in 'conduct' etched backwards., Publisher tentatively attributed to Bickham in an unverified card catalog record., Publication place and date inferred from British Museum catalogue., Twelve lines of verse in two columns below image: O England, how revolving is thy state! How few thy blessings! How severe thy fate ..., Temporary local subject terms: Britannia (Symbolic character) as St. Erasmus -- Martyrdom of St. Erasmus -- Dissections -- Emblems: the White Horse of Hanover -- Baron Ilton., and Watermark: countermark IV.
Publisher:
G. Bickham?
Subject (Name):
George II, King of Great Britain, 1683-1760, Newcastle, Thomas Pelham-Holles, Duke of, 1693-1768, and Pelham, Henry, 1695?-1754
Title etched above image., Publisher indentified from address., Four columns of verse below image: When conjurers [the] quality can bubble, and get their gold w[i]th very little trouble ..., Temporary local subject terms: Haymarket Theatre: burning of stage properties -- Bottles: conjurer in a bottle -- Watch: Military uniforms: Grenadier, Foot Guard -- Sticks -- Placards: Foote gives tea., and Watermark: countermark IV.
Publisher:
Sold in Mays Building, Covent Garden
Subject (Name):
William Augustus, Prince, Duke of Cumberland, 1721-1765, Foote, Samuel, 1720-1777, Chesterfield, Philip Dormer Stanhope, Earl of, 1694-1773, and Sandwich, John Montagu, Earl of, 1718-1792
Title from item., Publisher identified from address., Caption below image: No money, with fireworks. Money, with commerce., Temporary local subject terms: Wars: War of the Austrian Succession -- Treaties: Aix-la-Chapelle, 1748 -- London: St. James's Park -- Fairs: British Jubilee, 1749 -- Fireworks: exhibition of fireworks -- Ships -- Money -- Lighting: Sun -- Swords -- Walking staves -- Male dress: Dutch, 1749 -- Personifications: empty-pocketed England -- Personifications: full-pocketed Holland., and Watermark: countermark IV.
Publisher:
Accordg. to act in May's Buildings [that is, Bickham, George]
Epistle to Miss - etc, etc and Miss - in the actual dress as she appear'd in ye character of Iphigenia, at ye jubilee ball or masquerade at Ranelagh
Description:
Title from item., Miss - is Miss Chudleigh., Broadside illustrated at top of sheet with an etching (plate mark 26.5 x 33.3 cm)., Two lines of verse below title : Some men to pleasure, some to bus'ness take ... Pope., Twelve lines of verse etched below caption title on the plate: What odd fantastick whimsies fill ..., and Temporary local subject terms: Allusion to Susannah Maria Ciber, 1714-1766 -- Masquerade: Punch -- Masquerade: Domino -- Masquerade: Iphigenia -- Literature: Alexander Pope, 1688-1744 -- Jubilee: masquerade ball, Ranelagh, May 1, 1749 -- Mask.
Publisher:
Printed for A. Freeman, near Charing-Cross
Subject (Name):
George II, King of Great Britain, 1683-1760 and Bristol, Elizabeth Chudleigh, Countess of, 1720-1788
The Duke of Cumberland rides a horse towards the left; in the distance are buildings which are labelled 'Eton College'. From his mouth come the words, "My all is in my possession, possession, possession. My all is in my posession. Mounted behind him on the horse is a pretty, young woman playing a hurdy-gurdy. From her mouth, the words, "Virgins are like [the] fair flowers in its lustre." A large belt labelled "The girdle of affection" encircles the two riders waists. A distressed young peasant, the girl's brother, chases the horse, crying, "My dear sister. Stop 'e. Stop 'e. Stop 'e. O, I fear she's gone for aye." He carries the box for the hurdy-gurdy on his back. An allusion to the Savoyards - and Mars. Quotation from Twelfth night, I.i.1, by William Shakespeare, 1564-1616
Alternative Title:
Mars on his journey
Description:
Title engraved below image., Sheet trimmed to plate mark., 'Price 6d.'--Lower right corner., One line of verse added after title: If musick be the food of love, play on. Gay., Temporary local subject terms: Savoyards -- Mythology: allusion to Mars., and Watermark: Strasburg bend with initials LVG below.
Publisher:
publisher not identified
Subject (Name):
William Augustus, Prince, Duke of Cumberland, 1721-1765
publish's according to act of Parliament, July 15th, [1749]
Call Number:
749.07.15.01+ Impression 1
Image Count:
1
Resource Type:
still image
Alternative Title:
Mars on his knees
Description:
Title etched below image., Sheet trimmed within plate mark., 'Price 6d.'--Lower right corner., Two lines of verse below title: Musick hath charms to soothe the savage breast! / To soften rocks, and bend the knotted oak. Congrave [sic]., and Temporary local subject terms: Savoyards -- Mythology: allusion to Mars -- Buildings: Eton College -- Peasants -- Royal Arms -- 'The great fat hog to be seen alive' -- Literature: quotation from The mourning bride by William Congreve, 1670-1729.
Publisher:
publisher not identified
Subject (Name):
William Augustus, Prince, Duke of Cumberland, 1721-1765
Subject (Topic):
Musical instruments, Organ grinders, and Signs (Notices)
Title etched above image., Date of publication from British Museum catalogue., Sheet trimmed within plate mark on top edge with loss of upper part of title., Ninety four lines of verse in five columns, in letterpress, below image on the plate: An arch and sturdy bellman of the town, that us' to cry his matters up and down ..., Temporary local subject terms: LIterature: The bellman and the captain, by John Byrom, 1691-1763, The Chester Courant, July 25 1749 -- Jacobites -- Literature: Jacobitish tales -- Bells: hand bells -- Bellmen -- Trades: butcher -- Military uniforms: captain's uniform -- Signs: butcher's sign -- Male costume: butcher's outfit -- Bellman's outfit -- Harlequin -- Allusion to King George II., and Watermark.
Publisher:
publisher not identified
Subject (Name):
William Augustus, Prince, Duke of Cumberland, 1721-1765
publis'd [sic] according to act of Parliament, [1749?]
Call Number:
749.08.12.01+
Image Count:
1
Resource Type:
still image
Description:
Title from item., Publication date extrapolated from earlier state. See Catalogue of prints and drawings in the British Museum 3047., 'Price 6d.'--Lower right corner., Four lines of verse below image: Thus blest was I before I went to law ..., Another state, with imprint burnished from plate. Cf. No. 3047 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3., Temporary local subject terms: Law and lawyers., and Watermark: Pro patria.
"Interior; a great hall with figures in Elizabethan dress, the women in balconies around the side, men standing below, a procession approaching from the right towards Henry VIII who sits enthroned at the far end, below a coffered ceiling with pendants"--British Museum online catalogue
Description:
Title from dedication etched below image. and Sheet trimmed within plate mark.
"View in St James's Park of the music gallery and pavillions erected for the fire work display, with a spiked fence surrounding the area, in foreground fashionably dressed figures stand next to a wooden fence looking across the park"--British Museum online catalogue
Description:
Title from caption below image., Date of publication from British Museum online catalogue., and Sheet trimmed within plate mark on right edge.
Publisher:
Printed according to act of Parliament, & sold by P. Brookes facing Southampton Street in the Strand, & R. Sayer opposite Fetter Lane, Fleet Street
"View in Green Park, the structure in question central in the view, Buckingham House beyond on the left, a few more buildings and rolling country side in the background, a number of fashionably dressed figures in foreground"--British Museum online catalogue
Alternative Title:
Veüe perspective du batiment magnifique, erigé dans le Parc Verd pour le Feu f'Artifice Royal exhibé le 27 d'Avril 1749, sur l'occasion de le paix general
Description:
Title from caption below image., Date of publication from British Museum online catalogue., Sheet trimmed within plate mark., and Sheet numbered "127" (later corrected to "129") in ink in lower right corner.
Publisher:
Printed for John Bowles at the Black Horse in Cornhill
A satire on the 9 June 1749 order from His Royal Highness the Duke of Cumberland to have the uniforms of three regiments of footguards shortened some three inches for the sake of convenience on marches. The group of guards are shown protesting (most with speech bubbles above their heads) in an open space with the Banqueting House, Whitehall, and Holbein's Gate, Westminster forming the perimeter
Description:
Title from caption below image. and Publication date from British Museum catalogue: [1 June 1794].
Publisher:
publisher not identified
Subject (Name):
William Augustus, Prince, Duke of Cumberland, 1721-1765 and Great Britain. Army.
"Emblematic portrait of a trusty servant, with the head of a boar, padlocked lips and the tools of his profession."--British Museum online catalogue
Description:
Title from item., Originally engraved by Mosley. See Pierpont Morgan Library Peel 0455, Peel III, 67., Sheet trimmed within plate mark., Later state, with printmaker's name burnished from plate, reduction and lightening of horizontal background lines, and addition of marks outlining hills., Two columns of verse in Latin on left and English on right below title., Temporary local subject terms: Animals: boar -- Shovels -- Pitchforks -- Brooms -- Scrapers -- Shields: saucepan lid as a shield -- Padlocks -- Emblems: boar, partly human -- Borders: scrolls and flowers -- Reference to Winchester College., and Window mounted to 39 x 28 cm.
Title etched below image., Sheet trimmed within plate mark at bottom., Plate from: The Universal magazine of knowledge and pleasure ... London : Printed by and for M. Brown, v. 4 (1749), p. 82., and Temporary local subject terms: Literature: Coriolanus by William Shakespeare, 1564-1616.
Publisher:
Design'd & engrav'd for the Universal Magazine 1749 for J. Hinton, at the King's Arms in St. Pauls Church Yard, London
Mosley, Charles, approximately 1720-approximately 1770, printmaker
Published / Created:
publish'd according to act of Parliament, March 6th, 1749.
Call Number:
Folio 75 H67 800 v.2 (Oversize) Box 1
Collection Title:
Plate 33. Queen Charlotte's collection of Hogarth works. Leaf 33. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
At the Gate of Calais, a fat monk is shown poking a very large side of beef carried by a thin cook; the label indicates that the beef is intended "For Madm Grandsire at Calais." On either side are two French soldiers, one of whom spills his bowl of thin soup as he gazes in amazement at the beef. In the foreground on the left, three market women with crosses hanging from their necks admire a skate in a basket of fish; on the right, two ragged men carry a large pot of soup while another drinks from a bowl, and a Scottish soldier cowers beneath an archway; in the middle distance, to left, Hogarth himself is seen sketching at the moment when a soldier's hand takes him by the shoulder; beyond, through the gate, is a religious procession
Alternative Title:
Gate of Calais, or, The roast beef of old England and Roast beef of old England
Description:
Title engraved below image., State from Paulson., After Hogarth's painting Gate of Calais, now at the Tate Gallery, London., Title from Paulson: The gate of Calais, or, The roast beef of old England., Ms. note in pencil in Steevens's hand to side of print: See Nichols's book, 3d edit. p. 289., Sheet trimmed within plate mark to: 37.7 x 44.5 cm., and Formerly on page 145 in volume 2. Removed in 2012 by LWL conservator.
Publisher:
Wm. Hogarth
Subject (Geographic):
Great Britain
Subject (Name):
Hogarth, William, 1697-1764 and Catholic Church
Subject (Topic):
Artists, Clergy, Eating & drinking, Ethnic stereotypes, and Religious processions
Mosley, Charles, approximately 1720-approximately 1770, printmaker
Published / Created:
publish'd according to act of Parliament, March 6th, 1749.
Call Number:
Folio Greenberg 75 H67 753
Collection Title:
Plate 33. Queen Charlotte's collection of Hogarth works. Leaf 33. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
At the Gate of Calais, a fat monk is shown poking a very large side of beef carried by a thin cook; the label indicates that the beef is intended "For Madm Grandsire at Calais." On either side are two French soldiers, one of whom spills his bowl of thin soup as he gazes in amazement at the beef. In the foreground on the left, three market women with crosses hanging from their necks admire a skate in a basket of fish; on the right, two ragged men carry a large pot of soup while another drinks from a bowl, and a Scottish soldier cowers beneath an archway; in the middle distance, to left, Hogarth himself is seen sketching at the moment when a soldier's hand takes him by the shoulder; beyond, through the gate, is a religious procession
Alternative Title:
Gate of Calais, or, The roast beef of old England and Roast beef of old England
Description:
Title engraved below image., State from Paulson., After Hogarth's painting Gate of Calais, now at the Tate Gallery, London., Title from Paulson: The gate of Calais, or, The roast beef of old England., 1 print : etching and engraving on laid paper ; plate mark 38.3 x 45.7 cm, on sheet 45 x 56 cm., and Leaf 33 in: Album of William Hogarth prints.
Publisher:
Wm. Hogarth
Subject (Geographic):
Great Britain
Subject (Name):
Hogarth, William, 1697-1764 and Catholic Church
Subject (Topic):
Artists, Clergy, Eating & drinking, Ethnic stereotypes, and Religious processions
Self-portrait after the painting in the Tate; the artist is portrayed as if on an oval canvas resting on a pile of books; in the foreground, his dog Trump, his burin, and palette. On the palette is engraved the title "The line of beauty."
Description:
Title engraved below image., State and publisher from Paulson., Earlier state of this plate was used as the frontispiece to Hogarth's Folios., 1 print : engraving with etching on laid paper ; plate mark 37.8 x 28.4 cm, on sheet 43.7 x 33.5 cm., and Mounted on leaf 1 in: Album of William Hogarth prints.
Portrait of philanthropist Thomas Coram, shown bust-length to right within oval frame, eyes to the right, his shoulder-length hair loose, wearing plain, open coat and white necktie; after Hogarth. Below frame, a "frontview of [the] Founding Hospital."
Description:
Title from text in image., Imperfect; sheet trimmed within plate mark with loss of printmaker's signature and imprint from bottom edge, and periodical's name and date from top edge. Missing text supplied from impression in the British Museum, registration no.: 1880,1113.4783., Plate from: The London magazine, or, Gentleman's monthly intelligencer. London : R. Baldwin, v. 18 (1749), opposite p. 239., "Engrav'd for [the] London magazine 1749"--Above image., and On page 107 in volume 2.
Publisher:
Printed for R. Baldwin Junr. at the Rose in Pater Noster Row
Caption title., Illustration at top of sheet is a copy of a French soldier from Hogarth's Gate of Calais., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 3050., and On page 145 in volume 2.
Publisher:
Printed by R. Shaw, Silver-Street, White-Friars, Fleet-Street
Capt. Ord's Independent Company of Volunteer Rangers
Description:
Title from first line of text., Illustration at top of sheet (plate mark 9.2 x 13.8 cm) is a copy of a French soldier from Hogarth's Gate of Calais., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 3050., and On page 145 in volume 2.
Mosley, Charles, approximately 1720-approximately 1770, printmaker
Published / Created:
publish'd according to act of Parliament, March 6th, 1749.
Call Number:
Sotheby 33++ Box 310
Collection Title:
Plate 33. Queen Charlotte's collection of Hogarth works. Leaf 33. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
At the Gate of Calais, a fat monk is shown poking a very large side of beef carried by a thin cook; the label indicates that the beef is intended "For Madm Grandsire at Calais." On either side are two French soldiers, one of whom spills his bowl of thin soup as he gazes in amazement at the beef. In the foreground on the left, three market women with crosses hanging from their necks admire a skate in a basket of fish; on the right, two ragged men carry a large pot of soup while another drinks from a bowl, and a Scottish soldier cowers beneath an archway; in the middle distance, to left, Hogarth himself is seen sketching at the moment when a soldier's hand takes him by the shoulder; beyond, through the gate, is a religious procession
Alternative Title:
Gate of Calais, or, The roast beef of old England and Roast beef of old England
Description:
Title engraved below image., State from Paulson., After Hogarth's painting Gate of Calais, now at the Tate Gallery, London., and Title from Paulson: The gate of Calais, or, The roast beef of old England.
Publisher:
Wm. Hogarth
Subject (Geographic):
Great Britain
Subject (Name):
Hogarth, William, 1697-1764 and Catholic Church
Subject (Topic):
Artists, Clergy, Eating & drinking, Ethnic stereotypes, and Religious processions
Mosley, Charles, approximately 1720-approximately 1770, printmaker
Published / Created:
publish'd according to act of Parliament, March 6th, 1749.
Call Number:
Folio 75 H67 764 (Oversize)
Collection Title:
Plate 33. Queen Charlotte's collection of Hogarth works. Leaf 33. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
At the Gate of Calais, a fat monk is shown poking a very large side of beef carried by a thin cook; the label indicates that the beef is intended "For Madm Grandsire at Calais." On either side are two French soldiers, one of whom spills his bowl of thin soup as he gazes in amazement at the beef. In the foreground on the left, three market women with crosses hanging from their necks admire a skate in a basket of fish; on the right, two ragged men carry a large pot of soup while another drinks from a bowl, and a Scottish soldier cowers beneath an archway; in the middle distance, to left, Hogarth himself is seen sketching at the moment when a soldier's hand takes him by the shoulder; beyond, through the gate, is a religious procession
Alternative Title:
Gate of Calais, or, The roast beef of old England and Roast beef of old England
Description:
Title engraved below image., State from Paulson., After Hogarth's painting Gate of Calais, now at the Tate Gallery, London., Title from Paulson: The gate of Calais, or, The roast beef of old England., 1 print : etching and engraving on laid paper ; plate mark 38.2 x 45.7 cm, on sheet 46 x 59 cm., and Plate 33 in the album: Queen Charlotte's collection of Hogarth works.
Publisher:
Wm. Hogarth
Subject (Geographic):
Great Britain
Subject (Name):
Hogarth, William, 1697-1764 and Catholic Church
Subject (Topic):
Artists, Clergy, Eating & drinking, Ethnic stereotypes, and Religious processions
Toms, W. H. (William Henry), approximately 1700-approximately 1750, printmaker
Published / Created:
[1749]
Call Number:
Folio 75 H67 800 v.2 (Oversize) Box 1
Image Count:
1
Abstract:
Below larger image of the churth, a portrait of John Palmer, bust to the left, wearing cravat and cap, in circle; arms below and motto 'Visibilia Temporaria'; after Hogarth
Description:
Title etched above image., Dedication etched below oval portrait of John Palmer 1749 / W. Hogarth pinx. ; B. Baron sculp.: "To John Palmer of the Inner Temple London, patron of this church this plate is inscribed by his obedient and humble servt. Will. Hen. Toms, Ao. 1749"., Sheet trimmed to plate mark., See Paulson, R. Hogarth's graphic works (2nd ed.), p. 63., Ms. note in pencil in Steevens's hand beneath print: See Mr. Nichols's book., and Formerly on page 146 in volume 2. Removed in 2012 by LWL conservator.
Copy of Hogarth's self-portrait: Round frame with artist's implements
Description:
Title etched below image., Sheet trimmed to plate mark., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 181., Ms. note in pencil in Steevens's hand centered above this print and one to right: See Mr. Nichols's book, 3d. edit. p. 297., and On page 147 in volume 2.
Publisher:
Publish'd according to act of Parliament by R. Sayer opposite Fetter Lane
A portrait of Hogarth in profile, looking right, with a pencil in his right hand poised above an open book in his left hand. He wears a cocked hat on his head. Adapted from his self-portrait in "The Gate of Calais."
Description:
Title from engraved text in frame encicling the portrait., Numbered '12' above image., Cf. No. 3066 in the Catalogue of political and personal satires preserved in the Department of Prints and Drawings in the British Museum, v. 3., Sheet trimmed within plate mark., Ms. note in pencil in Steevens's hand centered above this print and one to left: See Mr. Nichols's book, 3d. edt., p. 297., and On page 147 in volume 2.
Publisher:
Publish'd according to act of Parliament by r. Sayer opposite Fetter Lane
Self-portrait after the painting in the Tate; the artist is portrayed as if on an oval canvas resting on a pile of books; in the foreground, his dog Trump, his burin, and palette. On the palette is engraved the title "The line of beauty."
Description:
Title engraved below image., State and publisher from Paulson., Earlier state of this plate was used as the frontispiece to Hogarth's Folios., and Imperfect impression; all but date erased. Sheet trimmed within plate mark.
Self-portrait after the painting in the Tate; the artist is portrayed as if on an oval canvas resting on a pile of books; in the foreground, his dog Trump, his burin, and palette. On the palette is engraved the title "The line of beauty."
Description:
Title engraved below image., State and publisher from Paulson., Earlier state of this plate was used as the frontispiece to Hogarth's Folios., and On page 1 in volume 1, used as bookplate. Sheet 380 x 285 mm.
Title from item., Not in the Catalogue of engraved British portraits ... in the British Museum., Temporary local subject terms: Congregations: country congregations -- Female dress, 1749 -- Male dress, 1749, and Watermark: Pro patria.
"This engraving represents a circular building, with conical roof of tiles, shown in two sections, and partly in perspective. Within the building is a large wheel turned by a horse and giving motion to a considerable number of spindles, to which are attached disks; on each of the disks are several razors, which are thus set in action on the faces of the men who apply their cheeks to openings in the inner wall of the building. Exterior to this inner wall is a gallery where stand the men who are thus expeditiously shaved; their hats hang on pegs, each over the hole to which the owner has applied himself. In the gallery several men are finishing or preparing for their toilettes. The operation of dressing a wig is shown below the wheel, on our right, where many combs are placed on a drum which revolves like a water-wheel before a man's wig, placed on a block near it."--British Museum catalogue, description of an earlier state
Description:
Title engraved below image., Text following title: See the explanation., "Price 6d."--Bottom of plate, centered., For an earlier state published in 1745, see no. 2687 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, and English short title catalogue no. T42881., and With watermark of fleur-de-lis. Ms. note on verso in black in ink: Mr. Freeman, Arlington Street.
Publisher:
Publish'd according to act of Parliament Novr. [the] 2, 1749, and sold by J. Dubois at [the] Golden Head [the] corner of Burleigh Street near Exeter Chanc[...]
Subject (Topic):
Horses, Shaving, Razor blades, Machinery, and Wigs
An allegorical representation of the nationalistic riot occasioned by a troupe of French comedians in London. This satirical print refers to the controversy and protest surrounding a French theatrical company, nicknamed the 'French Strollers', who applied for and were granted a licence to perform at the Haymarket in the winter of 1749. Their arrival occasioned much discontent; as the Scots Magazine reported, they were 'bitterly pelted in the news-papers'. Asserting their right to perform, they persisted in a show on 14 November, but were met by an audience intent on sabotage. An eyewitness account of the incident appeared in the Monthly Review some years later (July 1761): 'People went early to the Theatre, as a crouded House was certain ... I soon perceived that we were visited by two Westminster Justices, Deveil and Manning. The Leaders, that had the conduct of the Opposition, were known to be there; one of whom called aloud for the song in praise of English roast beef, which was accordingly sung in the gallery, by a person prepared for that purpose; and the whole house besides joining in the chorus, saluted the close with three huzzas! This, Justice Deveil was pleased to say, was a riot'. Despite the Justice's assertions that the play was licensed by the King's command, the crowd had come prepared to produce disruption. They were equipped with instruments which they played discordantly as an accompaniment to their jeers, catcalls, and Francophobic songs: 'as an attempt at speaking was ridiculous, the Actors retired, and opened instead with a grand dance of twelve men and twelve women; but even that was prepared for, and they were directly saluted with a bushel or two of peas, which made their capering very unsafe'. Unable even to dance, and following another abortive attempt by the magistrates to assert the King's authority, the curtain fell for the final time. The eyewitness evidently relished the outcome, venturing 'that at no battle gained over the French, by the immortal Marlborough, the shoutings could be more joyous than on this occasion'. The print embodies similar sentiments; the French strollers attack British theatrical establishment--represented by an affronted Britannia--who stands between them and British theatre-goers. In the foreground stands a perplexed Othello, lamenting the loss of his occupation, and an injured man a man lies on the floor 'Almost kill'd for not understanding French'.
Alternative Title:
Modern cramers
Description:
Title etched below image., Date of publication based on date of the depicted event., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
publisher not identified
Subject (Geographic):
Great Britain, England, and London.
Subject (Topic):
Britannia (Symbolic character), Foreign public opinion, French, Theater, Actors, Actresses, Fighting, and Riots
