Doctor Sangrado relieving John Bull of the yellow fever
Description:
Title from item., Sheet partially trimmed within plate mark., Printseller's announcement following publication statement: who has just fitted up his exhibition in an entire novel stile [sic], admittance one shilling. NB Folios lent out for the evening., Temporary local subject terms: Debates: budget debate, 23 February 1795 -- Artisans -- Money -- Medical procedures -- Kettles., Watermark: Strasburg lily with intials GR below., and Mounted.
Publisher:
Pub. Feby 25, 1795, by S.W. Fores, N. 3 Piccadilly
Subject (Name):
Windham, William, 1750-1810, Portland, William Henry Cavendish-Bentinck, Duke of, 1738-1809, and Pitt, William, 1759-1806
Subject (Topic):
John Bull (Symbolic character), Fireplaces, and Wigs
Title from item., Reduced copy of a print by Isaac Cruikshank under the same title, published by S. W. Fores in 1795., Publication information extrapolated from the place and date of publication of the periodical for which the plate was etched., Plate from: London und Paris. Weimar: Im Verlage des Industrie-Comptoirs, 1800, v. 5., p. 346., Numbered 'No. XI' in upper right corner., Temporary local subject terms: Debates: budget debate, 23 February 1795 -- Artisans -- Money., and Mounted.
Publisher:
Im Verlage des Industrie-Comptoirs
Subject (Name):
Pitt, William, 1759-1806, Portland, William Henry Cavendish-Bentinck, Duke of, 1738-1809, and Windham, William, 1750-1810
Subject (Topic):
John Bull (Symbolic character), Fireplaces, Kettles, Wigs, and Medical procedures & techniques
Title on item., Number '50' in publisher's address etched over '3'., Temporary local subject terms: Debts: Prince of Wales's debts -- Hair powder tax -- Trades: barbers -- Barber's blocks -- Head of George III as a barber's block -- Barbers' bowls -- Spits., and Watermark: in center of sheet, with intials G R below.
Publisher:
Pub. 23 May, 1795, by S.W. Fores, 50 Piccadilly, corner of Sackville St.
Subject (Name):
George III, King of Great Britain, 1738-1820 and Pitt, William, 1759-1806
"A theatre seen diagonally from the pit, with the stage on the right, two side boxes forming a background. On the stage a man in quasi-classical dress holds a dripping dagger, a woman lies at his feet; through an open door the prompter is seen. The audience is much disturbed: in the foreground a stout citizen holds a smelling-bottle to the nose of his (apparently) fainting young wife; she takes a note from a young man on the bench behind her. Behind stands a bearded Jew. In the stage-box two seated figures resemble the King and Queen, a man standing behind resembles Pitt."--British Museum online catalogue
Description:
Title from item., Printmaker identified in the British Museum catalogue., One of a series of Drolls., Plate numbered '163' in lower left corner., Temporary local subject terms: Theatrical performances -- Reference to adultery -- Medicine: salts., Watermark., and Publication year corrected in manuscript from '5' to '6.'
Publisher:
Publish'd 12 Novr. 1795 by Laurie & Whittle, Fleet Street, London
Subject (Name):
George III, King of Great Britain, 1738-1820, Charlotte, consort of George III, King of Great Britain, 1744-1818, and Pitt, William, 1759-1806
Subject (Topic):
Jews, Interiors, Theaters, and Theatrical productions
Title from item., Plate from the Carlton House magazine, volume iv, p. 3., Publication date based on that of the Magazine., Printmaker and artist from earlier state of the right half, published by Bentley & Co., Sept. 1, 1790, for The Attic Miscellany, v. i, p. 441, under title: Landing at Margate., Above image: Frontispiece., and Temporary local subject terms: Emigration: emigration from Holland -- Margate -- Costume: Dutch costume -- Dutch shoes -- Boats: sailboat -- Scissors -- Medical: crutches -- Chairs: invalid's chair carried on poles.
"An enormously fat lady stands in profile to the left, holding a bowl (resembling a punch-bowl), her left hand on her hip, holding up the frilled apron which drapes her quilted petticoat. She wears ringlets with a small ribbon-trimmed straw hat poised on the side of her head. Her girth is accentuated by her quasi-peasant costume, with laced bodice, and flowered over-dress looped up in festoons, giving her a globular contour. ..."--British Museum online catalogue
Description:
Title etched below image., Four lines of quoted verse in two columns below title: "As a cedar tall & slender; "sweet Cowslip's grace "is her nom'tive case, "and she's of the feminine gender.", One line of quoted text within lower border of image: "Ay, here's the masculine to the feminine gender.", Sheet trimmed to plate mark., and Temporary local subject terms: Dishes: bowls -- Female costume: peasant's dress -- Obesity -- Literature: quotes from John O'Keefe's Agreeable Surprise -- Theater: private performances.
Publisher:
Pubd. June 13th, 1795, by H. Humphrey, No. 37 New Bond Street
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., 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
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
"Social satire; Pitt the Younger portrayed as a monkey, with regalia and his crown hanging on a chain around his neck, in a field labelled "Windsor Park"; below the image a text explains that this animal is confounding naturalists, who suppose it to be an offspring of the devil."--British Museum online catalogue
Description:
Title etched below image., Signed at bottom of image with printmaker W. O'Keeffe's monogram; see British Museum online catalogue, registration no.: 1991,0720.19., Sheet trimmed to plate mark in lower right corner., Three lines of text below title: The naturalist's of this country is [sic] at a loss how to give an account of this extroardionary [sic] animal ..., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Watermark: Edmeads & Pine 1797.
Publisher:
Pubd. by J. Aitken, Castle Street, Leicester Fields
Subject (Name):
Pitt, William, 1759-1806 and George III, King of Great Britain, 1738-1820.
