"A portrait-painter painting a family group of a man and wife and their little boy. The group (right) is raised on a low semicircular platform, the couple sit on a high-backed settee without arms, the little boy on a stool in front of his mother. The child, though in his ordinary clothes, is holding a cupid's bow and a sheaf of arrows (reminiscent of the family portrait in the 'Vicar of Wakefield'); a large quiver holding arrows is slung across his shoulders, a wreath is on his head; he yawns violently. The man, in profile to the left, is obese and wears a short bushy wig, a dove sits on his left wrist; only the toes of his shoes reach the ground. His wife sits on his right holding a dove on her right hand; she turns towards her husband, looking straight forward with a fixed and painful smile; she wears ringlets and a cap of lace and ribbons on her high-dressed hair. The artist (left) stands at his easel which supports a large canvas and is placed close to his sitters. He wears spectacles, a bag-wig, and ruffled shirt, and holds a palette in his left hand. He looks towards his sitters with an insinuating smile, which, together with his attitude and the figure of the man sketched on the canvas, shows that he is intent on flattery. High up on the wall behind him are two oval bust portraits, one (left) of a clergyman, the other of a lady. Behind the sitters is a tall screen of several leaves."--British Museum online catalogue
Description:
Title from caption below image., Printmaker and date of publication from Grego., Plate also published in: Caricatures / drawn & etched by those celebrated artists Gillray, Rowlandson, Cruikshanks, &c. [London?] : [publisher not identified], [1836?], p. 40., A later copy of no. 5921 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 5, no. 10 of a series., Watermark: 1809., and Imperfect; artist's signature mostly erased from lower right corner of sheet.
Publisher:
publisher not identified
Subject (Topic):
Artists, Artists' materials, Doves, Easels, Families, Group portraits, Obesity, Wigs, and Yawning
A scene in a bedroom, the bed in a niche behind a curtain, one man sits as he is being shaved by his servant, as a companion stands with his arms crossed. To their left is an open trunk wotj slippers and boots on the ground on the far left. A fourth man stands apart arrange his queue(?), two pistols on the floor to his right beside an open duffle bag. On the right wall hangs a portrait of Emperor Joseph above a large fireplace; on the left wall hangs a portrait of a woman in profile
Alternative Title:
Shanks Leggs servant shaving him
Description:
Title from ink inscription in lower margin, in the artist's hand., Date from dealer's description., Two additional ink inscriptions by the artist, to the left ("J. Nixon") and right ("G. Nixon") of the title, identify figures depicted in the scene., and Window mounted on to a slightly larger sheet.
Subject (Name):
Nixon, John, -1818,
Subject (Topic):
Artists, British, Shaving, Servants, Bedrooms, Canopy beds, and Fireplaces
A series of six scenes, three in two rows, showing skeletons in various activities, each individually captioned: Singing, Dancing, Music, Oratory, Painting, Sculpture
Description:
Title from text above images., Sheet trimmed within plate mark., Six designs on one plate, each individually captioned., Text below title: No. 2., and Watermark: W. King 1829.
Publisher:
Published 3rd June 1830 by S. Gans, 15, Southampton Street, Strand
Subject (Topic):
Artists, Dancers, Musicians, Public speaking, and Skeletons
Engraving of William Hogarth’s 1748 painting ‘O the Roast Beef of Old England’ (London, Tate Britain), which he had himself published as a print. The scene is set at the Gate of Calais (after the painting in the Tate Gallery) with a fat monk prodding a large sirloin of beef carried by a cook, on either side are two French soldiers, one of whom spills his bowl of thin soup as he gazes in amazement at the beef; 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
Description:
Title engraved below image., Date of publication based on publisher's street address; Sayer's premises in Fleet Street were not numbered until ca. 1766. See British Museum online catalogue., Text of Theodosius Forrest’s cantata 'The Roast Beef of Old England' printed in letterpress beneath image in two columns., Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 180., and Watermark.
Publisher:
Printed for Robt. Sayer, No. 53 Fleet Street
Subject (Geographic):
England
Subject (Name):
Hogarth, William, 1697-1764.
Subject (Topic):
Foreign public opinion, French, Artists, Clergy, Eating & drinking, Ethnic stereotypes, and Religious processions
"Fashionable carriages throng the west side of St. James's Street, stopping outside a house with a pilastered door (right) above which is a notice: 'Chalk Drawing'. A dense crowd of tiny figures enters. The crowd is watched intently by Haydon who stands (left) on the opposite pavement; a taller man, probably a pupil, takes his arm. Haydon wears spectacles and holds a small portfolio. A goose labelled 'W C' menaces him from behind. At the bird's feet are two papers: 'Cabal 2 Octavo Volumes W C.' and 'Quack Artist Play .W C. Weather Cock.' There are two placard bearers; one behind Haydon and on the extreme left holds up a notice: 'Chalk Drawings by Haydon['s] Pupils Landsers & Bewick--Private Day.' The other is a small boy (right), assailed by hissing geese, at whose feet is a paper: 'Catalogue Raisonny'. His placard is inscribed 'Exhibition of Drawings, by Haydons pupils Landseers and Bewick for the Cartoons and Elgin Marbles.' The street recedes in perspective to the gate of St. James's Palace. Outside the first-floor windows of the house of the Exhibition is a carved lion."--British Museum online catalogue
Alternative Title:
St. James's Street in an uproar and Quack artist and his assailants
Description:
Title etched below image., Text following title: Saturday morning 30 Jany. 1819., and Date of publication from the British Museum online catalogue, registration no.: 1868,0808.8410.
Publisher:
Pubd. by S.W. Fores, Piccadilly
Subject (Geographic):
St. James's (London, England),, England, and London.
Subject (Name):
Haydon, Benjamin Robert, 1786-1846, Landseer, Thomas, 1795-1880., Bewick, William, 1795-1866., Carey, William, 1759-1839., Saint James's Palace (London, England),, and Royal Academy of Arts (Great Britain)
Subject (Topic):
City & town life, Artists, British, Carriages & coaches, Crowds, Signs (Notices), and Geese
A young Macaroni with an elaborate wig and enormous bow at his neck sits in an artist's studio as his portrait is painted by an artist, a caricature of Richard Cosway R.A., with an equally elaborate hair style. Both are fashionably dressed. The artist sits at his easel, his hand filled with paint brushes and an palette; the canvas faces the viewer so that the portrait is visible. On the wall in the background are two portraits, one of another dandy and one of a woman in an elaborate hat; the paintings hang on either side of a round mirror
Alternative Title:
Billy Dimple sitting for his picture
Description:
Title engraved below image., Engraved by Earlom after drawing by Dighton. See British Museum catalogue., Earlier state, without plate number. Cf. No. 4520 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 4., and Watermark: illegible name (2 lines).
Publisher:
Printed for Carington Bowles, Map & Printseller, No. 69 in St. Pauls Church Yard, London
A young Macaroni with an elaborate wig and enormous bow at his neck sits in an artist's studio as his portrait is painted by an artist, a caricature of Richard Cosway R.A., with an equally elaborate hair style. Both are fashionably dressed. The artist sits at his easel, his hand filled with paint brushes and an palette; the canvas faces the viewer so that the portrait is visible. On the wall in the background are two portraits, one of another dandy and one of a woman in an elaborate hat; the paintings hang on either side of a round mirror
Alternative Title:
Billy Dimple sitting for his picture
Description:
Title from item., Engraved by Earlom after drawing by Dighton. See British Museum catalogue., Later state, with altered imprint statement and added plate numbering. For an earlier state with the imprint "Printed for Carington Bowles, Map & Printseller, No. 69 in St. Pauls Church Yard, London, published as the act directs, 25 Sepr. 1772", see Lewis Walpole Library call no.: 772.09.25.01.1+, Publication date inferred from the date of partnership formed by Henry Carington Bowles and Carver after Carington Bowles's death in 1792. See: Plomer, H.R. Dictionaries of the printers and booksellers., Plate numbered '257' in lower left corner., Temporary local subject terms: Furnishings: round mirror -- Portrait paintings -- Artist's implements: palette and brushes., and Watermark.
Publisher:
Printed for Bowles & Carver, Map & Printsellers, No. 69 in St. Pauls Church Yard, London
An printed indenture form apprenticing a poor boy for a period of seven years, issued by the Mayor of the Town of Stamford, Lincolnshire and acting as trustee of an annuity paid from the estate of Thomas Earl of Exeter
Alternative Title:
This indenture witnesseth that of his own free will and with the consent of Gentleman ...
Description:
Title from first line of text., The Lewis Walpole copy: The document is signed and sealed with red wax and blind stamp and dated 1795 January 13. Docket title in manuscript on verso. Blanks filled in with the name of the boy, "Hugh Forster otherwise Foyster", who is apprenticed to George Sparrow, painter. Signed by the mayor, Jeremiah Belgrave, George Sparrow, Hugh Foster and J. Wyche. With notes on the verso, appending the agreement., Pages [2]-[4] blank., and Not in ESTC.
Publisher:
publisher not identified
Subject (Geographic):
England.
Subject (Topic):
Apprentices, Artists, Training of, and Indentured servants
