Title from later impression with title and Hogarth's name added., After the design engraved on the tankard belonging to the Clare Market Artists Club which included William Hogarth., Plate from: Ireland, S. Graphic illustrations of Hogarth. London : Published by R. Faulder, New Bond Street; and J. Egerton, 1794, vol. 1, opposite p. 77., Copy after Hogarth. See Paulson, R. Hogarth's graphic works (2nd ed.), no. 6., Sheet trimmed to plate mark., With Steevens's ms. note in ink below image: Tankard., With ms. note in pencil: Sold at Gulstons sale for £10.0.0., Printmaker's name erased from this impression., and On page 3 in volume 1. Sheet 12.4 x 17.6 cm.
Title from later impression with title and Hogarth's name added., After the design engraved on the tankard belonging to the Clare Market Artists Club which included William Hogarth., Plate from: Ireland, S. Graphic illustrations of Hogarth. London : Published by R. Faulder, New Bond Street; and J. Egerton, 1794, vol. 1, opposite p. 77., Copy after Hogarth. See Paulson, R. Hogarth's graphic works (2nd ed.), no. 6., Sheet trimmed to plate mark., and Title added in pencil below: Silver tankard.
Title supplied by curator., Carlo Losi was active in Rome., Date from item., In image bottom: Tyrones picturae Hbmo. et Exmo. Dno Iacobo Boncompagno Arcis Praefecto, ingenior(um) ac industriae fautori, Artiu(m) nobiliu(m) praxim, a lo Strade(n)si Belga artificiose expressa., This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing., and Temporary local Medical Library subject terms: Anatomy for artists.
Publisher:
Apud Carolus Losi
Subject (Name):
Boncompagni, Giacomo, 1548-1612,
Subject (Topic):
Anatomy, Artistic, Human anatomy, Human dissection, Art, Study and teaching, Students, Artists, Sculpture, Paintings, and Dead persons
Portrait of Anthonis Mor (ca. 1517-1576 or 7), portrait painter, born in Utrecht, Netherlands. He worked in London from 1553 until 1555 in the service of Prince Philip (later Philip II of Spain) until 1555. In addition to the portraits of members of the English court, he also portrayed élite merchants and financiers
Alternative Title:
Sir Antonio More and Anthonis Mor
Description:
Title from print based on this drawing, in Anecdotes of painting in England., Drawing that was later used for an engraving published in : Anecdotes of painting in England, with some account of the principal artists / by Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Farmer at Strawberry-Hill, MDCCLXII [1762], v.1, opp. p. 122., and George Vertue, English artist, 1684-1756.
Design consists of 4 strips of figures engaged in various activities. Row 1: A dairy maid milking a cow; a mother and child beside a crib; a couple conversing; a musician with flute and drum; two women and a man around a tea table with a maid making tea. Row 2: A couple conversing; a man in stocks getting whipped; a woman with a basket on her head behind a lady with a fan; a boy with a book beside a cobbler, a dog at his feet; a hunter on horseback with a hunting dog. Row 3: An artist painting a portrait of a woman; an old woman seated with a boy at her feet, learning to read; two men; a man with a horn and dancing dog; a Scot in tartan looking at a woman with a yoke on her shoulders support two pails. Row 4: A trainer with a performing bear and dog; a vendor with an urn; a woman with a cart of apples; a boy with a toy hoop; a woman feeding her hogs and piglet as a boy looks on.
Description:
Title devised by curator., Imprint burnished from plate., Dated by costume., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Watermark: Vryheyt.
Publisher:
publisher not identified
Subject (Topic):
Artists, Occupations, Trainged animals, and Stocks (Punishment).
Two undated crayon drawings by Don Freeman of African American artist Beauford Delaney. Each is signed "DF" at lower right and mounted on a sheet of blue paper. One drawing portrays Delaney seated at a table with a coffee cup and pot; the other is a bust-length portrait
Description:
Don Freeman (1908-1978), New York illustrator., Beauford Delaney (1901-1979), New York artist., and Title devised by cataloger.
Subject (Geographic):
United States.
Subject (Name):
Delaney, Beauford, 1901-1979 and Freeman, Don, 1908-1978.
Subject (Topic):
African American artists, Artists, and Illustrators
A portrait of the American academic and editor Norman Holmes Pearson by Deane Keller. The painting is oil on canvas, and is signed at the upper right: "Deane / Keller / 1976." Included in the portrait (hanging on the wall behind Pearson) is a painting titled "Arabella!" by D. H. Lawrence, which was in Pearson's personal collection of art works created by authors; the collection, called by him "Art for the Wrong Reason," is now at Beinecke Rare Book and Manuscript Library along with Pearson's papers
Description:
Deane Keller (1901-1992), American artist, academic, soldier, and preservationist. He earned a BA from Yale University in 1923 and a BFA from the Yale School of Fine Arts in 1926. Keller taught for forty years at the Yale School of Fine Arts, and during World War II was an officer with the Allied Forces's Monuments, Fine Arts and Archives Section., Norman Holmes Pearson (1909-1975, Yale 1932, 1941 PhD), professor of English and American Studies at Yale University and officer in the United States Office of Strategic Services during World War II. Pearson collaborated with Yale University Library curator Donald Gallup to develop the Yale Collection of American Literature, playing an instrumental role in the library's acquisition of the papers of H. D. and Bryher., and Title devised by cataloger.
Subject (Geographic):
United States.
Subject (Name):
Keller, Deane, 1901-1992., Lawrence, D. H. 1885-1930. (David Herbert),, and Pearson, Norman Holmes, 1909-1975
The collection consists of seven portrait drawings of noted African Americans and Haitians by the artist Amy Einstein Spingarn. The sitters include scientist George Washington Carver (1935) and authors Langston Hughes (1930), Zora Neale Hurston (circa 1935), James Weldon Johnson (undated), René Piquion (undated), George S. Schuyler (1933), and Philippe Thoby-Marcelin (undated). The portrait of Carver is pastel on paper; the others are charcoal and graphite on paper. Each portrait is identified by the artist's inscriptions and signature
Description:
Amy Einstein Spingarn was born in New York on January 29, 1883, the daughter of American businessman and manufacturer David L. Einstein (1839-1909) and Caroline Fatman Einstein (1852-1910). In 1905 she married Joel Elias Spingarn (1875-1939), a Columbia University literature professor and a founder of the National Association for the Advancement of Colored People (NAACP). In addition to being an artist herself, Amy Einstein Spingarn was a patron of the Harlem Renaissance and supported the work of many black artists and writers; she also served on the board of directors of the NAACP for nearly forty years. Spingarn died at her home, Troutbeck, in Amenia, New York, on June 25, 1980., Title devised by cataloger., and Captions in English.
Subject (Geographic):
United States.
Subject (Name):
Carver, George Washington, 1864?-1943, Hughes, Langston, 1902-1967, Hurston, Zora Neale, Johnson, James Weldon, 1871-1938, Piquion, René, Schuyler, George S. 1895-1977 (George Samuel),, Spingarn, Amy Einstein, 1883-1980., and Thoby-Marcelin, Philippe, 1904-1975
Drawing of the monument Nicholas Stone Senior (1586-1647).
Description:
Title devised be cataloger., Inscription in pencil, within design of the monument encirling effigy: Nicholas Stone, sculp. & architect, &c., Inscription in pencil, within design of the monument below effigy: 24 Aug 1642 departed this life., Inscription in pencil, within design at the base of the monument: H.S. posuit., Inscription in pencil, lower half of sheet: This monument was fixed in the north wall of the Parish Church of St. Martins in the Fields., Drawing that was used as a basis for an engraving of Stone in: Anecdotes of painting in England / by Mr. Horace Walpole. [Strawberry-Hill] : Printed by Thomas Farmer at Strawberry-Hill, MDCCLXII [1762], v. 2, opp. p. 23., and George Vertue, English artist, 1684-1756.
Subject (Name):
Stone, Nicholas, 1586-1647, and Stone, Nicholas, 1586-1647
Title supplied by curator., Date derived from date of original work., Place of publication derived from artist's country of residence., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
publisher not identified
Subject (Name):
Michelangelo Buonarroti, 1475-1564,
Subject (Topic):
Human dissection, Human anatomy, Artists, and Dead persons
John Collier, known as Tim Bobbin, the caricaturist; styled himself as "the Lancashire Hogarth"; half-length, seated in a chair, looking left, in cap. After the portrait by Hogarth
John Collier, known as Tim Bobbin, the caricaturist; styled himself as "the Lancashire Hogarth"; half-length, seated in a chair, looking left, in cap. After the portrait by Hogarth
Drawing of John Baptist Monnoyer (bap.1636-1699), French-born painter educated in Antwerp, known for his floral interior decorations, fashionable in France in the second half of the 17th century. He moved to England in 1690 where he continued to specialize in decorating royal and grand houses
Alternative Title:
Jean-Baptiste Monnoyer
Description:
Title based on title of engraving in Anecdotes of painting in England., Drawing that was later used as a basis for an engraving of Monoyer in: Anecdotes of painting in England, with some account of the principal artists / by Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Farmer, 1762, v. 3, p. 116. Vertue's drawing is based on a chalk drawing by Sir Godfrey Kneller, now in the Courtauld Institute of Art, London., and George Vertue, English artist, 1684-1756.
Title devised by curator., Text below image: from a drawing by the late Iohn Mortimer., Sheet trimmed to plate mark., Plate from: Ireland, J. Hogarth illustrated (1st ed.), v. iii., Ms. note in Steevens's hand not directly related to any individual print below print., and On page 234 in volume 3.
"Self-portrait of Hogarth painting the Comic Muse, after the painting in the National Portrait Gallery; the artist is seated looking to right, wearing an indoor cap and a loose coat, he holds a palette, brushes and palette knife while a pot of oil is on the floor beside the chair; in a niche in the wall behind the easel is a volume of prints and a burin; leaning against the leg of the easel, a copy of the "Analysis of Beauty" and the accompanying print, Plate I (Paulson 195)."--British Museum online catalogue
Alternative Title:
Wm. Hogarth serjeant painter to His Majesty and William Hogarth serjeant painter to His Majesty
Description:
Title, state, and publisher from Paulson., Lettered within image on print in portfolio at base of easel: Analysis o..., In this state the date of publication has been added, and Hogarth is no longer smiling. See Paulson for other changes to the plate., Sheet trimmed leaving thread margins., Ms. note in pencil in Steevens's hand below print: See Mr. Nichols's book, edit. 3, p. 366 &c., and On page 181 in volume 2. Sheet trimmed to: 39.5 x 34.6 cm.
"Self-portrait of Hogarth painting the Comic Muse, after the painting in the National Portrait Gallery; the artist is seated looking to right, wearing an indoor cap and a loose coat, he holds a palette, brushes and palette knife while a pot of oil is on the floor beside the chair; in a niche in the wall behind the easel is a volume of prints and a burin; leaning against the leg of the easel, a copy of the "Analysis of Beauty" and the accompanying print, Plate I (Paulson 195)."--British Museum online catalogue
Alternative Title:
Wm. Hogarth serjeant painter to His Majesty and William Hogarth serjeant painter to His Majesty
Description:
Title, state, and publisher from Paulson., Lettered within image on print in portfolio at base of easel: Analysis o..., In this state the date of publication has been added, and Hogarth is no longer smiling. See Paulson for other changes to the plate., and Sheet trimmed leaving thread margins.
A self-portrait of Hogarth painting Thalia, the Comic Muse holding a satyr's mask in her left hand and a book in her right hand. On the pillar to her left is engraved the words "Comedy 1764." Hogarth is seated in a chair leaning forward toward the easel, looking to right, wearing an indoor cap and a loose coat; he holds a palette, brushes and palette knife, a pot of oil on the floor beside the chair. A volume of prints and a burin can be seen in a niche in the wall behind the easel. Leaning against the leg of the easel is a copy of "Analysis of Beauty", the accompanying print protruding from its pages
Alternative Title:
William Hogarth 1764
Description:
Title, state, publisher, and date from Paulson., After the painting in the National Portrait Gallery., For a description of prints from this plate, see R. Paulson, Hogarth's graphic works (3rd ed.), no. 204., and See Catalogue of engraved British portraits preserved in the Department of Print and Drawings of the British Museum, v. 2, p. 539.
Publisher:
Wm. Hogarth
Subject (Name):
Hogarth, William, 1697-1764,
Subject (Topic):
Painting, Muses (Greek deities), Artists, and British
Plate 1. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
A self-portrait of Hogarth painting Thalia, the Comic Muse holding a satyr's mask in her left hand and a book in her right hand. On the pillar to her left is engraved the words "Comedy 1764." Hogarth is seated in a chair leaning forward toward the easel, looking to right, wearing an indoor cap and a loose coat; he holds a palette, brushes and palette knife, a pot of oil on the floor beside the chair. A volume of prints and a burin can be seen in a niche in the wall behind the easel. Leaning against the leg of the easel is a copy of "Analysis of Beauty", the accompanying print protruding from its pages
Alternative Title:
William Hogarth 1764
Description:
Title, state, publisher, and date from Paulson., After the painting in the National Portrait Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 40.3 x 35 cm, on sheet 57 x 42.7 cm., Mounted on leaf 59 x 46 cm., and Plate 1 in the album: Queen Charlotte's collection of Hogarth works.
Publisher:
Wm. Hogarth
Subject (Name):
Hogarth, William, 1697-1764,
Subject (Topic):
Painting, Muses (Greek deities) in art, Artists, and British
Plate 1. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
A self-portrait of Hogarth painting Thalia, the Comic Muse holding a satyr's mask in her left hand and a book in her right hand. On the pillar to her left is engraved the words "Comedy 1764." Hogarth is seated in a chair leaning forward toward the easel, looking to right, wearing an indoor cap and a loose coat; he holds a palette, brushes and palette knife, a pot of oil on the floor beside the chair. A volume of prints and a burin can be seen in a niche in the wall behind the easel. Leaning against the leg of the easel is a copy of "Analysis of Beauty", the accompanying print protruding from its pages
Alternative Title:
William Hogarth 1764
Description:
Title, state, publisher, and date from Paulson., After the painting in the National Portrait Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 40.3 x 35 cm, on sheet 57 x 42.7 cm., Mounted on leaf 59 x 46 cm., and Plate 1 in the album: Queen Charlotte's collection of Hogarth works.
Publisher:
Wm. Hogarth
Subject (Name):
Hogarth, William, 1697-1764,
Subject (Topic):
Painting, Muses (Greek deities) in art, Artists, and British
"Self-portrait of Hogarth painting the Comic Muse, after the painting in the National Portrait Gallery; the artist is seated looking to right, wearing an indoor cap and a loose coat, he holds a palette, brushes and palette knife while a pot of oil is on the floor beside the chair; in a niche in the wall behind the easel is a volume of prints and a burin; leaning against the leg of the easel, a copy of the "Analysis of Beauty" and the accompanying print, Plate I (Paulson 195)."--British Museum online catalogue
Alternative Title:
Wm. Hogarth serjeant painter to His Majesty and William Hogarth serjeant painter to His Majesty
Description:
Title, state, and publisher from Paulson., Lettered within image on print in portfolio at base of easel: Analysis o..., In the 4th state the date of publication was been added, and Hogarth is no longer smiling. In this state the mouth has been again altered. "The face engrav'd by Wm. Hogarth" has been erased with faint traces remaining. See Paulson for other changes to the plate., Sheet trimmed within plate mark., and Formerly on page 182 in volume 2. Removed in 2012 by LWl conservator.
Plate 1. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
A self-portrait of Hogarth painting Thalia, the Comic Muse holding a satyr's mask in her left hand and a book in her right hand. On the pillar to her left is engraved the words "Comedy 1764." Hogarth is seated in a chair leaning forward toward the easel, looking to right, wearing an indoor cap and a loose coat; he holds a palette, brushes and palette knife, a pot of oil on the floor beside the chair. A volume of prints and a burin can be seen in a niche in the wall behind the easel. Leaning against the leg of the easel is a copy of "Analysis of Beauty", the accompanying print protruding from its pages
Alternative Title:
William Hogarth 1764
Description:
Title, state, publisher, and date from Paulson., After the painting in the National Portrait Gallery, London., and On page 184 in volume 2. Sheet trimmed to: 40 x 34.8 cm.
Publisher:
Wm. Hogarth
Subject (Name):
Hogarth, William, 1697-1764,
Subject (Topic):
Painting, Muses (Greek deities) in art, Artists, and British
"Self-portrait of Hogarth painting the Comic Muse, after the painting in the National Portrait Gallery; the artist is seated looking to right, wearing an indoor cap and a loose coat, he holds a palette, brushes and palette knife while a pot of oil is on the floor beside the chair; in a niche in the wall behind the easel is a volume of prints and a burin; leaning against the leg of the easel, a copy of the "Analysis of Beauty" and the accompanying print, Plate I (Paulson 195)."--British Museum online catalogue
Alternative Title:
Wm. Hogarth and William Hogarth
Description:
Title, state, publisher, and date from Paulson., After the painting in the National Portrait Gallery., State with "Serjeant painter to His Majesty" in caption below image heavily scored through. 'Comedy' inscribed on the Muse's book is partially excised. The face of Comedy and mask are now outlined in black as well as white. 'Comedy 1764' is engraved on the pillar in the painting. See Paulson for other changes to the plate., and On page 183 in volume 2. Sheet trimmed to: 40.2 x 34.9 cm.
Publisher:
Wm. Hogarth
Subject (Name):
Hogarth, William, 1697-1764,
Subject (Topic):
Artists, British, Muses (Greek deities) in art, and Painting
Plate 1. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
A self-portrait of Hogarth painting Thalia, the Comic Muse holding a satyr's mask in her left hand and a book in her right hand. On the pillar to her left is engraved the words "Comedy 1764." Hogarth is seated in a chair leaning forward toward the easel, looking to right, wearing an indoor cap and a loose coat; he holds a palette, brushes and palette knife, a pot of oil on the floor beside the chair. A volume of prints and a burin can be seen in a niche in the wall behind the easel. Leaning against the leg of the easel is a copy of "Analysis of Beauty", the accompanying print protruding from its pages
Alternative Title:
William Hogarth 1764
Description:
Title, state, publisher, and date from Paulson., After the painting in the National Portrait Gallery, London., and Plate mark 40.3 x 35.3 cm, on sheet 41.2 x 35.8 cm.
Publisher:
Wm. Hogarth
Subject (Name):
Hogarth, William, 1697-1764,
Subject (Topic):
Painting, Muses (Greek deities) in art, Artists, and British
"Self-portrait of Hogarth painting the Comic Muse, after the painting in the National Portrait Gallery; the artist is seated looking to right, wearing an indoor cap and a loose coat, he holds a palette, brushes and palette knife while a pot of oil is on the floor beside the chair; in a niche in the wall behind the easel is a volume of prints and a burin; leaning against the leg of the easel, a copy of the "Analysis of Beauty" and the accompanying print, Plate I (Paulson 195)."--British Museum online catalogue
Alternative Title:
Wm. Hogarth and William Hogarth
Description:
Title, state, publisher, and date from Paulson., After the painting in the National Portrait Gallery., and State with "Serjeant painter to His Majesty" in caption below image heavily scored through. 'Comedy' inscribed on the Muse's book is partially excised. The face of Comedy and mask are now outlined in black as well as white. 'Comedy 1764' is engraved on the pillar in the painting. See Paulson for other changes to the plate.
Publisher:
Wm. Hogarth
Subject (Name):
Hogarth, William, 1697-1764,
Subject (Topic):
Artists, British, Muses (Greek deities) in art, and Painting
Plate 1. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
A self-portrait of Hogarth painting Thalia, the Comic Muse holding a satyr's mask in her left hand and a book in her right hand. On the pillar to her left is engraved the words "Comedy 1764." Hogarth is seated in a chair leaning forward toward the easel, looking to right, wearing an indoor cap and a loose coat; he holds a palette, brushes and palette knife, a pot of oil on the floor beside the chair. A volume of prints and a burin can be seen in a niche in the wall behind the easel. Leaning against the leg of the easel is a copy of "Analysis of Beauty", the accompanying print protruding from its pages
Alternative Title:
William Hogarth 1764
Description:
Title, state, publisher, and date from Paulson. and After the painting in the National Portrait Gallery, London.
Publisher:
Wm. Hogarth
Subject (Name):
Hogarth, William, 1697-1764,
Subject (Topic):
Painting, Muses (Greek deities) in art, Artists, and British
Drawing of Hendrick Cornelisz Vroom (1566-1640), Flemish born painter who worked briefly in England. Best known for his marine painting and designs for tapestries illlustating the great English naval victories of 1588 over the Spanish Armada
Alternative Title:
Hendrick Cornelius Vroom
Description:
Title and artist from engraving based on this drawing, in Anecdotes of painting in England. Engraving by T. Chambars identifies artist as: Is. Oliver pinxt., Slight corrects in brown ink., Drawing that was used as a basis for an engraving of Vroom in: Anecdotes of painting in England / by Mr. Horace Walpole. Strawberry-Hill : Printed in the year MDCCLXIII, [1763], v. 1, opp. p. 144., and George Vertue, English artist, 1684-1756.
Plate lettered in the top center 'H': Reverse copies of details from figures from the lower right corner of Hogarth's "Beer Street". Numbered 1: Two fisherwomen, one with a large basket of fish on her head, read a sheet titled "A new ballad on the herring fishery by Mr. Lockman"; 2. A sign painter smiles as he dips his brush in the paint on his palette; the edge of the sign visible upper left
Description:
Title devised by cataloger., Printmaker and date from other prints in this series in the British Museum online catalogue., Plate from: Lichtenberg's Göttinger Taschen Kalender., and Not in Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
"Portrait of George Morland; half length, to the left, holding drawing of woman, head turned to look at viewer; after Muller; illustration to Cunningham's 'Lives of the Painters' (London: 1830)."--British Museum online catalogue, description of published state
Description:
Title from published state., Artist and printmaker from statements of responsibility on published state: Robt. Muller ; W.C. Edwards., Proof before letters. For the published state with the imprint "London, Published by John Murray, Albemarle St., 1830," see British Museum online catalogue, registration no.: 1927,1126.1.30.58., Proof state of a plate from: Cunningham, A. The lives of the most eminent British painters, sculptors, and architects. London : J. Murray, 1830-39 (v. 2, opposite page 222)., Window mounted to 51 x 36 cm., and Mounted before page 687 (leaf numbered '130' in pencil) in volume 4 of an extra-illustrated copy of: Moore, T. Memoirs of the life of the Right Honourable Richard Brinsley Sheridan.
Drawing of Francis Cleyn, formerly Franz Klein, painter and tapestry designer born in German and raised at the Danish court. After travelling in Italy, he moved to England in 1623 and worked in the Court of Charles I.
Alternative Title:
Francis Cleyn
Description:
Title supplied by cataloger., Drawing that was used as a basis for an engraving of Cleyn in: Anecdotes of painting in England / by Mr. Horace Walpole. [Strawberry-Hill] : Printed by Thomas Farmer at Strawberry-Hill, MDCCLXII [1762], v. 2, opp. p. 127., and George Vertue, English artist, 1684-1756.
Drawing of Edward Courtney, first Earl of Devonshire, standing in front of a ruined tower
Description:
Title supplied by cataloger., Drawing that was later used for an engraving published in: Anecdotes of painting in England, with some account of the principal artists / by Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Farmer at Strawberry-Hill, MDCCLXII [1762], v.1, opp. p. 128., The engraving which is based on this drawing states: "from an original by Sr. Antonio More at the Duke of Bedford's at Woburn." Cf. Anecdotes of painting., and George Vertue, English artist, 1684-1756.
"Double portrait of the ladies Yorke after Reynolds (Mannings 1956); as children, whole-length to front, in garden beside sphinx on pedestal; Lady Annabel Grey standing at left with dove perched on her right hand, Lady Mary Jemima running towards her holding another dove, dog at her heels."--British Museum online catalogue
Alternative Title:
Ladies Yorke and Two daughters of Philip Yorke Viscount Royston and the Marchioness of Grey, 1761
Description:
Title and publisher from British Museum description., Title, imprint, and date from Smith: Ladies Yorke., Sheet trimmed with loss of imprint., Description based on imperfect impression; sheet trimmed within plate mark resulting in probable loss of imprint. Bottom corners trimmed at an angle., and With title added in Horace Walpole's hand below image: "The two daughters of Philip Yorke Viscount Royston and the Marchioness of Grey, 1761." Also added in his hand are the names of the two girls below each portrait: "Lady Annabella married Lord Polwarth" and Lady Mary married Lord Grantham."
Publisher:
Publish'd accordg. to act of Parliament by Ed. Fisher in Great Newport Street, Leicester Square
Subject (Name):
Grantham, Mary Jemima Robinson, Lady, 1757-1730, and De Grey, Amabel Hume-Campbell, Countess, 1751-1733,
Group portrait of nine men seated around a table set with fruit and decanters; they are served by a black page. Boswell is on the left, with Johnson to his right talking to Edmund Burke; Reynolds is seated across from Johnson and listens with a trumpet to his ear. Garrick to the left of Reynolds faces the viewer, while Pasquale Paoli to his left observes Johnson conversing at the far end of the table. Charles Burney across from Paoli also follows the same conversation, as he rests his right hand on his chin. Next to Paoli, Warton leans toward Oliver Goldsmith who sits at the head of the table on the right; Warton holds his hand up towards his mouth as if to keep his words confidential. The room is richly decorated with a Japanese screen on the right, curtains, a miniature portrait, and a portrait bust on a pedestal on the left; Reynolds' pictures of Puck (Mannings 2142) and the Infant Academy (Mannings 2092) hanging on the wall and a bright chandelier hangs above the table
Description:
Title from later state in the British Museum., Also etched below is a facsimilie the nine individuals' signatures., and Tear badly repaired with tape, lower right corner. For further information, consult library staff.
Publisher:
Published July 1st 1848 by the proprietors Wm. Walker, 64 Margaret St., Cavendish Sqre., & Owen Bailey, 128 Seymour St. Euston Sqre
20 demons teasing me, Vingt démons me turlupinant, and Twenty demons teasing me
Description:
Title in English and French from "Five Hundred Years of Medicine in Art"., Place of publication derived from artist's place of residence., Artist's name and date etched in plate at top center., This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing., and "James Ensor 1895" in pencil at lower right. Title in pencil verso.
An invitation to accompany the Society of Painters at St Lukes Feast on Thursday 24 November, 1687 in Painter Stayner's Hall; with a cartouche illustrated with an allegory of the arts with painting in the center, with winged Fame holding a laurel crown In the top corners are emblems of painting and architecture and on the bottom, drawing (disegno) and sculpture as a putto
Alternative Title:
Sr., you are desired to accompany the Society of Painters ... and Sir, you are desired to accompany the Society of Painters ...
Description:
Title from item., Artist from manuscript annotation on earlier state in the British Museum., Later state of the plate, with alterations to allow the invitation to be used for a variety of events; portions of the engraved text have been removed to create spaces for manuscript additions. For an earlier state with engraved text specific to a St. Luke's Feast on 24 November 1687, see British Museum online catalogue, registration no.: 1977,U.1223., Date from British Museum online catalogue., and Mounted on board to: 39 x 30 cm. For further information, consult library staff.
Publisher:
publisher not identified
Subject (Name):
Worshipful Company of Painters.
Subject (Topic):
Allegories, Artists' materials, Angels, Artists, and Putti
Drawing of William Lodge (1649-1689), English born painter, etcher and landscape draughtsman
Alternative Title:
William Lodge, Gent
Description:
Title, caption and Inscription in ink, in Horace Walpole's hand., Drawing that was later used as a basis for an engraving of Lodge in: Catalogue of engravers / digested by Mr. Horace Walpole from the mss. of Mr. George Vertue. Strawberry-Hill : Printed in the year MDCCLXIII [1763], opp. p. 87., and George Vertue, English artist, 1684-1756.
Half-length portrait of William Hogarth, facing viewer, slightly turned to the right; he holds a palette in his left hand
Alternative Title:
William Hogarth
Description:
Title from caption below image., After a portrait by Hogarth., Page from: Ireland, S. Graphic illustrations of Hogarth ... 1794, vol. ii, frontispiece., On page 207 in volume 3. Sheet trimmed to: 19.1 x 12.8 cm., and Ms. note in pencil in Steevens's hand to side of print: From S. Ireland's Graphic Illustrations &c.
Half-length portrait of William Hogarth, facing viewer, slightly turned to the right; he holds a palette in his left hand
Alternative Title:
William Hogarth
Description:
Title from caption below image., After a portrait by Hogarth., and Page from: Ireland, S. Graphic illustrations of Hogarth ... 1794, vol. ii, frontispiece.
Portrait of Hogarth after a painted self-portrait; head and shoulders to right, glancing towards the viewer, holding a palette in his left hand; wearing a coat with tassels, a plain cravat and a mid-length wig
Alternative Title:
William Hogarth
Description:
Title etched below image. and Sheet trimmed within plate mark.
Publisher:
Publish'd March 1st 1786 by W. Dickenson, No. 158, New Bond St.
Self-portrait of William Hogarth in a fur cap, looking right; a bust in an oval canvas resting on volumes of Shakespeare's works; with his dog Trump on the right. In the lower right, an artist's palette engraved with the words: "The line of beauty and grace. WH 1745". Stack of books labeled: Shakspeare, Swift Works, Milton Paradise Lost
Description:
Title from caption below image., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 181., Ms. note in pencil in Steevens's hand in margin at top of print: See p. 1 & Mr. Nichols's book, 3d, edit. p. 295., and On page 147 in volume 2. Sheet trimmed within plate mark to: 39.6 x 29.9 cm.
Publisher:
Published June 4, 1795 by J. & J. Boydell, No. 90, Cheapside, & at the Shakspeare Gallery Pall Mall
Self-portrait of William Hogarth in a fur cap, looking right; a bust in an oval canvas resting on volumes of Shakespeare's works; with his dog Trump on the right. In the lower right, an artist's palette engraved with the words: "The line of beauty and grace. WH 1745". Stack of books labeled: Shakspeare, Swift Works, Milton Paradise Lost
Description:
Title from caption below image. and Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 181.
Publisher:
Published June 4, 1795 by J. & J. Boydell, No. 90, Cheapside, & at the Shakspeare Gallery Pall Mall
Copy of Hogarth's self-portrait; he is painting Thalia, the Comic Muse who holds a satyr's mask in her left hand and a book in her right hand. After the state without "Comedy 1764" on the pillar. Hogarth is seated in a chair leaning forward toward the easel, looking to right, wearing an indoor cap and a loose coat; he holds a palette, brushes and palette knife; the pot of oil on the floor in front of the chair. A volume of prints and a burin can be seen in a niche in the wall behind the easel. Leaning against the leg of the easel is a volume with a print protruding from its pages and no title (in the original it is identified as "Analysis of Beauty").
Description:
Title engraved below image. and Date from other prints by Dent in the British Museum online catalogue.
Publisher:
publisher not identified
Subject (Name):
Hogarth, William, 1697-1764,
Subject (Topic):
Painting, Muses (Greek deities) in art, Artists, and British
A portrait of Hogarth in profile, looking left, 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 above image., Date based on similar print published by R. Sayer. See no. 3066 in the Catalogue of political and personal satires preserved in the Department of Prints and Drawings in the British Museum, v. 3., and Verses engraved below image begin: "In solemn scenes great Kneller's pencil wrought, and kings and heroes fill'd his lab'ring thought. Hogarth more humble, yet as justly draws the lines of nature, and pursues her laws ..."
Publisher:
Printed for & sold by Bowles & Carver, No. 69 in St. Paul's Church Yard
Title etched below image., Figures and landmarks in this print are lettered in plate with key beneath title: A. Upnor Castle. B. The River Medway. C. Mr. Thornhill. D. Mr. Hogarth. E. Mr. Forrest. F. Mr. Tothall. G. Mr. Scott., Sheet trimmed to plate mark., Plate for: Gosling, W. Account of what seemed most remarkable in the five days peregrination of the five following persons ..., Not in: Paulson, R. Hogarth's graphic works (3rd ed.)., and On page 211in volume 3.
Publisher:
Publish'd Novr. 27th 1781 by Rd. Livesay at Mrs. Hogarth's Leicester Fields
Subject (Name):
Hogarth, William, 1697-1764,, Thornhill, James, Sir, 1675 or 1676-1734,, Scott, Samuel, approximately 1710-1772,, and Upnor Castle (Kent, England)
Head-and-shoulders self-portrait of English painter Thomas Gainsborough, facing right and "Portrait of Thomas Gainsborough, after his self-portrait; half length, to the right, head turned to the front, his hair lightly curled over ears, wearing jacket fastened at waist and cravat."--British Museum online catalogue
Description:
Title etched below image., Sheet trimmed within plate mark., Plate from: The British Gallery of contemporary portraits. London : Printed for T. Cadell and W. Davies ... by J. M'Creery ..., 1813-1822., Window mounted to 51 x 36 cm., and Mounted after page 686 (leaf numbered '129' in pencil) in volume 4 of an extra-illustrated copy of: Moore, T. Memoirs of the life of the Right Honourable Richard Brinsley Sheridan.
Publisher:
Published Nov. 27, 1810, by T. Cadell & W. Davies, Strand, London
Subject (Name):
Gainsborough, Thomas, 1727-1788, and Gainsborough, Thomas, 1727-1788.
"Portrait group of the Society of Artists; men gathered around a table in a fine interior, some seated, attended by servants; with portraits of Grinling Gibbons, William Kent, John Michael Rysbrack, Gawen Hamilton, Marcellus Laroon, Michael Dahl, John Vanderbanck, and Charles Bridgman; a landscape painting on wall in background, a curtain to the right, after Hogarth."--British Museum online catalogue
Alternative Title:
Society of Artists
Description:
Title etched below image. and Dobson. Hogarth, 1902, p. 233.
Publisher:
Published May 1, 1829 by W.B. Tiffin, 3, Hay Market
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
Title engraved below image., An impression of the design engraved on the tankard belonging to the Clare Market artists club which included William Hogarth., Later state of plate from: Ireland, S. Graphic illustrations of Hogarth. London : Published by R. Faulder, New Bond Street; and J. Egerton, 1794, vol. 1, opposite p. 77., After Hogarth. See Paulson, R. Hogarth's graphic works, no. 6., and Sheet trimmed to plate mark.
Grant, C. J. (Charles Jameson), active 1830-1852, artist
Published / Created:
[between 1830 and 1852]
Call Number:
Drawings G761 no. 1 Box D123
Image Count:
1
Resource Type:
still image
Abstract:
An artist (left) with a caricatured face looks on with horror as a bust falls on the head of the Lord, the sitter, who jumps and shreaks with pain, his foot breaking the window (right). In the background the Lord's round, well-dressed wife looks on in horror and Sketch on verso in pencil shows a boxer with gloves in a fighting stance. The figures in ink on recto, the artist and his lordship, bleed-through the image on verso
Description:
Title from caption written above image on recto; image on verso untitled., Verses below image begin: " A poor sculptor with his work elated, on a fickle lord one evening waited ; with his Lordship's bust ... Now her Ladyship with great acknowledg'd the sculptor's work to be a striking likeness.", Place and date of creation based on Grant's known place of residence and years of activity., and For further information, consult library staff.
Subject (Topic):
Artists, Boxers (Sports), Boxing, Couples, Distress, Pain, Sculptors, and Sculptures
Grant, C. J. (Charles Jameson), active 1830-1852, artist
Published / Created:
[between 1830 and 1852]
Call Number:
Drawings G761 no. 1 Box D123
Image Count:
1
Resource Type:
still image
Abstract:
An artist (left) with a caricatured face looks on with horror as a bust falls on the head of the Lord, the sitter, who jumps and shreaks with pain, his foot breaking the window (right). In the background the Lord's round, well-dressed wife looks on in horror and Sketch on verso in pencil shows a boxer with gloves in a fighting stance. The figures in ink on recto, the artist and his lordship, bleed-through the image on verso
Description:
Title from caption written above image on recto; image on verso untitled., Verses below image begin: " A poor sculptor with his work elated, on a fickle lord one evening waited ; with his Lordship's bust ... Now her Ladyship with great acknowledg'd the sculptor's work to be a striking likeness.", Place and date of creation based on Grant's known place of residence and years of activity., and For further information, consult library staff.
Subject (Topic):
Artists, Boxers (Sports), Boxing, Couples, Distress, Pain, Sculptors, and Sculptures
"Portrait in profile of a young man who lacks hands and legs beyond the knee; full-length, sitting on a cushion before a lectern on the right, drawing a tree with a pen held against his mouth using his left elbow."--British Museum online catalogue
Description:
Title from text within image., Etched below the image: These deficiencies were occasioned, (as his mother supposes) by a fright she suffer'd whilst pregnant with him. Notwithstanding these disadvantages he has by industry acquired the arts of writing, and drawing, holding and guiding the pen and pencil with the muscles of his cheek and arm., and Mounted to: 27.7 x 21 cm
Publisher:
Publish'd for T. Inglefield
Subject (Name):
Inglefield, Thomas, 1769-,
Subject (Topic):
Abnormalities, Human, Phocomelus, Artists, British, and People with disabilities
Portrait of a young man, full-length, facing the viewer but with his head turned slightly to the right. He lacks hands and legs beyond the knee and is seated before a lectern (right) with a drawing of a tree on the page. He holds a pen held against his mouth using his left elbow
Description:
Title etched below image., Text etched below the image: "This extraordinary young man was born Decr. 18, 1769, at Hook, in Hampshire, without arms or legs, as here delineated, occasioned as his mother supposes by a fright she suffered when pregnant with him. Notwithstanding these disadvantages he has by industry acquired the arts of writing & drawing, holding his pencil between the stump of his left arm and his cheek & guiding it with the muscles of his mouth. In order to assist these extraordinary efforts of ingenuity, this drawing was presented to him by Mr. Robertson, & Mr. Fittler kindly super-intended the etching. This print is sold by T. Inglefield at No. 8 Chapel Street, Tottenham Court Road, where ladies & gentlemen may see him & many more of his performances."--Below title., and Sheet trimmed to plate mark.
Publisher:
Sold by T. Inglefield at No. 8 Chapel Street, Tottenham Court Road
Subject (Name):
Inglefield, Thomas, 1769-
Subject (Topic):
Abnormalities, Human, Phocomelus, Artists, British, and People with disabilities
Hogarth is shown fleeing from a village, his hat flying off as a scolding woman at his side points to cow horns that appear over his head. The horns are numbered “1”, a reference to a table below to Hogarth's prints "Four times the day". A chimney sweep behind Hogarth holds up his print “H- [of] Prussia” as he steals from his satchel the 'March to Finchley'. Another chimney sweep -- numbered “2” referencing the table below that identifies him as "a painter"--rides a sow and carries a palette as a shield emblazoned with a “line of beauty”. Exemplifying the "lines of beauty". Hogarth's dog bits the woman's drapery; a greyhound steals from a pail hanging from the yoke of a milkmaid; a cripple with his crutch, wooden leg, and natural leg. The design includes numerous other references to other Hogarth prints and Centered below the main design is an etching of Hogarth in stocks under a pump. Mounted on the pump is a broadside inscribed: "Puggs proposals to his Dunces to humbug them by an election feast a burlesque on the wort[hy] members o[f Parlia]ment 1754." Parts of the image are lettered, referencing a table to the right
Alternative Title:
Painters march from Finchley
Description:
Title etched below image., Artist and printmaker identified as Paul Sandby. See British Museum cataogue., and On page 291 in volume 3. Sheet trimmed to: 23.1 x 19.6 cm.
Publisher:
publisher not identified
Subject (Name):
Hogarth, William, 1697-1764
Subject (Topic):
Influence, Artists, Chimney sweeps, Crowds, Dogs, Livestock, Milkwomen, People with disabilities, Signs (Notices), Stocks (Punishment), and Water pumps
Hogarth is shown fleeing from a village, his hat flying off as a scolding woman at his side points to cow horns that appear over his head. The horns are numbered “1”, a reference to a table below to Hogarth's prints "Four times the day". A chimney sweep behind Hogarth holds up his print “H- [of] Prussia” as he steals from his satchel the 'March to Finchley'. Another chimney sweep -- numbered “2” referencing the table below that identifies him as "a painter"--rides a sow and carries a palette as a shield emblazoned with a “line of beauty”. Exemplifying the "lines of beauty". Hogarth's dog bits the woman's drapery; a greyhound steals from a pail hanging from the yoke of a milkmaid; a cripple with his crutch, wooden leg, and natural leg. The design includes numerous other references to other Hogarth prints and Centered below the main design is an etching of Hogarth in stocks under a pump. Mounted on the pump is a broadside inscribed: "Puggs proposals to his Dunces to humbug them by an election feast a burlesque on the wort[hy] members o[f Parlia]ment 1754." Parts of the image are lettered, referencing a table to the right
Alternative Title:
Painters march from Finchley
Description:
Title etched below image. and Artist and printmaker identified as Paul Sandby. See British Museum cataogue.
Publisher:
publisher not identified
Subject (Name):
Hogarth, William, 1697-1764
Subject (Topic):
Influence, Artists, Chimney sweeps, Crowds, Dogs, Livestock, Milkwomen, People with disabilities, Signs (Notices), Stocks (Punishment), and Water pumps
A family seated around a table, with a couple on one side, a child in the middle, and the third woman drinking from a large bowl. On the table is a lit candels, drinking glasses, paper and pipes. On the walls hang pictures., Title etched below image., Dated by curator., Verse etched below image in two columns on either side of title, three lines each: See here the various scenes of human life, A debauched husband and a drunken wife, One stupid, faithless, haughty when reprov'd, Loved by her husband, her gallant she lov'd, The husband tho' fortune frown tho' wife desert, Finds a sprightly dame that reviv's his heart., Sheet trimmed around image into plate mark., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and On page 71 in volume 1.
Publisher:
publisher not identified
Subject (Topic):
Artists, Couples, Families, Interiors, and Intoxication
A full-length image of an artist whose body is composed of artists' tools: his legs are formed form those of an easel, his torso is covered (formed by?) a pallette, a box filled with paint brushes form his hat. The figure walks in a park, a milestone on the left reads: IV Miles from Hyde Parck
Description:
Title from item. and Subject identified on verso in an unknown hand as Hogarth.
Publisher:
publisher not identified
Subject (Topic):
Arcimboldesque figures, Artists, and Artists' materials
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
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
Satire with three-quarters length portraits of Wilkes (left), Bute (middle), and Hogarth (right) in oval cartouches; below each portrait is an acrostic of the name of the sitter above. Wilkes holds a book marked "North Briton, No. 17" which was published 25 September 1762. In front of the portrait at the base of the oval is a book marked "North Briton No. 45". Wilkes's frame is decorated with a cap, staff, and wreath of "Liberty"; on a ribbon is "Magna Carta". Bute looks out at the viewer, a book inscribed "Cyder and Perry &c. &c" at the base of the oval frame; a scourge and manacles are place on either side of the frame, alluding to the prosecution undertaken by the ministry of Lord Bute. Hogarth is shown in profile sketching Wilkes and looking across the portrait of Bute. The book at the base of the frame is "Line of Beauty". The heads of Folly and Envy decorate the frame; above is Hogarth's dog Trump
Alternative Title:
Champions of liberty
Description:
Title engraved in banner above image., Sheet trimmed to plate mark., and On page 295 in volume 3. Sheet trimmed to: 23.7 x 31.5 cm.
Publisher:
publisher not identified
Subject (Geographic):
England.
Subject (Name):
Hogarth, William, 1697-1764, Bute, John Stuart, Earl of, 1713-1792, and Wilkes, John, 1725-1797
Subject (Topic):
Caricatures and cartoons, Artists, Dogs, National emblems, Scottish, Newspapers, and Politicians
Satire with three-quarters length portraits of Wilkes (left), Bute (middle), and Hogarth (right) in oval cartouches; below each portrait is an acrostic of the name of the sitter above. Wilkes holds a book marked "North Briton, No. 17" which was published 25 September 1762. In front of the portrait at the base of the oval is a book marked "North Briton No. 45". Wilkes's frame is decorated with a cap, staff, and wreath of "Liberty"; on a ribbon is "Magna Carta". Bute looks out at the viewer, a book inscribed "Cyder and Perry &c. &c" at the base of the oval frame; a scourge and manacles are place on either side of the frame, alluding to the prosecution undertaken by the ministry of Lord Bute. Hogarth is shown in profile sketching Wilkes and looking across the portrait of Bute. The book at the base of the frame is "Line of Beauty". The heads of Folly and Envy decorate the frame; above is Hogarth's dog Trump
Alternative Title:
Champions of liberty
Description:
Title engraved in banner above image., Sheet trimmed to plate mark., and Numbered in ms. on verso: N14290.
Publisher:
publisher not identified
Subject (Geographic):
England.
Subject (Name):
Hogarth, William, 1697-1764, Bute, John Stuart, Earl of, 1713-1792, and Wilkes, John, 1725-1797
Subject (Topic):
Caricatures and cartoons, Artists, Dogs, National emblems, Scottish, Newspapers, and Politicians
Leaf 32. Caricatures drawn & etched by those celebrated artists Gillray, Rowlandson, Cruikshanks
Image Count:
1
Resource Type:
still image
Abstract:
"A re-issue of British Museum Satires No. 2277 referring to the Gin Act of 1736; the only alteration being the reference to the Act of 1751."--British Museum online catalogue
Description:
Title from banner at top of image., Restrike, bearing the Bowles imprint statement of the 1751 reissue. For original issue of the plate, published by J. Clark in 1736, see no. 2277 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3., Plate from: Caricatures drawn & etched by those celebrated artists Gillray, Rowlandson, Cruikshanks, &c. [London] : [Field & Tuer], [ca. 1868?], Remnants of original imprint statement, burnished from the plate prior to its reissue in 1751, are faintly visible in upper right margin., "Publish'd according to act of Parliament"--Below banner with title., Dedication above image: To those melancholly sufferers (by a late severe act) the distillers, this plate is most humbly inscrib'd by a lover of trade., Five columns of verse below image: Gins fun'ral mourn, lo! near the body, in ragged state moves rueful Loddy* ..., and On leaf 32 of: Caricatures drawn & etched by those celebrated artists Gillray, Rowlandson, Cruikshanks, &c.
Publisher:
Printed for John Bowles & Son at the Black Horse in Cornhill, London [i.e. Field & Tuer]
Leaf 67. Darly's comic-prints of characters, caricatures, macaronies, &c.
Image Count:
1
Resource Type:
still image
Abstract:
A fashionably dressed lady stands in profile, looking right; the print she holds in her hand is a Mary Darly print "The lily macaroni". and "Satire on a woman admirer of satirical prints: (No.7) a well-dressed woman, wearing a long loose jacket tied with large bows with a skirt in the same material, a small bonnet and gloves, standing in profile to right, holding a macaroni print."--British Museum online catalogue
Alternative Title:
Female connoisseur
Description:
Title etched below image., Printmaker from the Catalogue of engraved British portraits., Initial letters of publisher's name in imprint form a monogram., Plate numbered "v. 2" in upper left corner and "7" in upper right corner., An impression of a print from the Darlys' Macaroni series entitled The Female Conoiseur (1852,0214.362) was annotated by Horace Walpole "Mrs Darly" and is assumed to be her portrait, although that cannot be confirmed. See British Museum catalogue., For an earlier state, see no. 4692 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 4., and Second of three plates on leaf 67.
A fashionably dressed lady stands in profile, looking right; the print she holds in her hand is a Mary Darly print "The lily macaroni". and "Satire on a woman admirer of satirical prints: (No.7) a well-dressed woman, wearing a long loose jacket tied with large bows with a skirt in the same material, a small bonnet and gloves, standing in profile to right, holding a macaroni print."--British Museum online catalogue
Alternative Title:
Female connoisseur
Description:
Title etched below image., Printmaker from the Catalogue of engraved British portraits., Initial letters of publisher's name in imprint form a monogram., Plate from v. 2: Caricatures, macaronies & characters by sundry ladies, gentlen., artists, &c., Plate numbered '7' in upper right corner., An impression of a print from the Darlys' Macaroni series entitled The Female Conoiseur (1852,0214.362) was annotated by Horace Walpole "Mrs Darly" and is assumed to be her portrait, although that cannot be confirmed. See British Museum catalogue., and Mounted to 54 x 39 cm.
A view of the river Medway, opposite Sheerness, on a windy day with the town and ships in the distance. In the foreground the figures (identified by letters) struggle with their boat
Description:
Title etched below image., Figures are lettered in plate with key beneath title: A. The boat. B. Mr. Tothall at the helm. C. Mr. Thornhill lending a hand to. D. Mr. Hogarth. E. Mr. Forrest pushing forward. F. Mr. Scott. G. Sheerness., Sheet trimmed to plate mark., Plate for: Gosling, W. Account of what seemed most remarkable in the five days peregrination of the five following persons ..., Not in: Paulson, R. Hogarth's graphic works (3rd ed.)., and On page 212 in volume 3.
Publisher:
Publish'd Novr. 27th 1781 by Rd. Livesay at Mrs. Hogarth's Leicester Fields
Subject (Name):
Hogarth, William, 1697-1764,, Thornhill, James, Sir, 1675 or 1676-1734,, and Scott, Samuel, approximately 1710-1772,
V. 1. Caricature magazine, or, Hudibrastic mirror.
Image Count:
1
Resource Type:
still image
Abstract:
"The design is surrounded on the upper and side margins by a festooned curtain; from this, in the upper corners, smiling heads look out supporting a chain of prints, small copies of plates in the volume, overlapping one another. These form a border to the central figure, who stands, like a showman, addressing the spectator, arms extended, opera-hat in his right. hand. He resembles the man who stands chapeau-bras in British Museum satire No. 10889. Behind him (left and right) stand six grinning figures, men and women, who listen to him. All seven are grotesque figures with large heads, typical of Woodward's 'Lilliputians' (cf. Museum Satire No. 9635). He says (the words etched above his head across the centre of the design): "Ladies and Gentlemen having compleated the first volume of the Caricature Magazine I am desired in the names of the Proprietors. Publisher Artists &c. as also from myself and large-long [see British Museum Satire No. 10604, &c], and small headed Bretheren to return you our sincere thanks for the kind reception we have experienced, in this the commencement of our exertions, and at the same time to assure you that neither pains nor expence shall be spared to merit your future patronage, you are requested to be as early as possible in giving your orders for the first number of the second volume, for the present Ladies and Gentlemen we most respectfully take our Leave." At the base of the design, flanking a tablet on which the title is etched in small letters are (left) ink-stand, book: 'Sketches from Nature', and a rolled print or drawing. On the right are painting materials: palette, with brushes, and mahl-stick, small bags of (powdered) colour, porte-crayon, and another print or sketch. ..."--British Museum online catalogue
Alternative Title:
Ladies and gentlemen, having compleated the first volume of Caricature magazine ...
Description:
Title etched below image., Printmaker from British Museum catalogue., Design incorporates small representations of prints included in the Caricature magazine; see British Museum catalogue for identifications of the depicted prints., Central figure is most likely a caricature of G.M. Woodward., Tailpiece to: Woodward, G.M. Caricature magazine, or Hudibrastic mirror. London : Thomas Tegg, [1808?], v. 1., Sheet trimmed within plate mark., 1 print : etching with stipple on wove paper, hand-colored ; sheet 25.6 x 41.8 cm., Sheet trimmed within plate mark on bottom edge., Watermark: Basted Mill., and Leaf 99 in volume 1.
Publisher:
Published 1st Septr. 1807 by Thos. Tegg, 111 Cheapside
Subject (Name):
Woodward, G. M. approximately 1760-1809 (George Moutard),
V. 1. Caricature magazine, or, Hudibrastic mirror.
Image Count:
1
Resource Type:
still image
Abstract:
"The design is surrounded on the upper and side margins by a festooned curtain; from this, in the upper corners, smiling heads look out supporting a chain of prints, small copies of plates in the volume, overlapping one another. These form a border to the central figure, who stands, like a showman, addressing the spectator, arms extended, opera-hat in his right. hand. He resembles the man who stands chapeau-bras in British Museum satire No. 10889. Behind him (left and right) stand six grinning figures, men and women, who listen to him. All seven are grotesque figures with large heads, typical of Woodward's 'Lilliputians' (cf. Museum Satire No. 9635). He says (the words etched above his head across the centre of the design): "Ladies and Gentlemen having compleated the first volume of the Caricature Magazine I am desired in the names of the Proprietors. Publisher Artists &c. as also from myself and large-long [see British Museum Satire No. 10604, &c], and small headed Bretheren to return you our sincere thanks for the kind reception we have experienced, in this the commencement of our exertions, and at the same time to assure you that neither pains nor expence shall be spared to merit your future patronage, you are requested to be as early as possible in giving your orders for the first number of the second volume, for the present Ladies and Gentlemen we most respectfully take our Leave." At the base of the design, flanking a tablet on which the title is etched in small letters are (left) ink-stand, book: 'Sketches from Nature', and a rolled print or drawing. On the right are painting materials: palette, with brushes, and mahl-stick, small bags of (powdered) colour, porte-crayon, and another print or sketch. ..."--British Museum online catalogue
Alternative Title:
Ladies and gentlemen, having compleated the first volume of Caricature magazine ...
Description:
Title etched below image., Printmaker from British Museum catalogue., Design incorporates small representations of prints included in the Caricature magazine; see British Museum catalogue for identifications of the depicted prints., Central figure is most likely a caricature of G.M. Woodward., Tailpiece to: Woodward, G.M. Caricature magazine, or Hudibrastic mirror. London : Thomas Tegg, [1808?], v. 1., and Sheet trimmed within plate mark.
Publisher:
Published 1st Septr. 1807 by Thos. Tegg, 111 Cheapside
Subject (Name):
Woodward, G. M. approximately 1760-1809 (George Moutard),
A copy after the 1734 print from a design by W. Hogarth. The artist Jonathan Richardson, seated at a table, looks through a telescope that is aimed at the bare bottom of his son who stands on the table before him. Through his son the father looks at a volume of "Virgil [A]enid" which lies open on the shelf above. With his right hand he writes with a quill pen on a sheet of paper with the heading 'Note'. On the other shelves along the wall are paintings and small statuary; on the wall below the shelves is a portrait of Milton. On the floor in the lower right edge is an artist's palette and an easel. A dog jumps and barks at the son's feet
Alternative Title:
Complicated Richardson
Description:
Title from caption above image., Signed within image: WH f. [i.e., Wm. Hogarth fecit]., Text below image: "I know well enough my eye is no eye at all. I must apply to my telescope. My son is my telescope, tis by his help I read [the] learned languages.", Page from: Ireland, S. Graphic illustrations of Hogarth ... 1794, vol. i, p. 86., Ms. note in pencil in Steevens's hand above print: £14-0--0., and On page 233 in volume 3. Sheet trimmed to: 19.7 x 12.6 cm.
A copy after the 1734 print from a design by W. Hogarth. The artist Jonathan Richardson, seated at a table, looks through a telescope that is aimed at the bare bottom of his son who stands on the table before him. Through his son the father looks at a volume of "Virgil [A]enid" which lies open on the shelf above. With his right hand he writes with a quill pen on a sheet of paper with the heading 'Note'. On the other shelves along the wall are paintings and small statuary; on the wall below the shelves is a portrait of Milton. On the floor in the lower right edge is an artist's palette and an easel. A dog jumps and barks at the son's feet
Alternative Title:
Complicated Richardson
Description:
Title from caption above image., Signed within image: WH f. [i.e., Wm. Hogarth fecit]., Text below image: "I know well enough my eye is no eye at all. I must apply to my telescope. My son is my telescope, tis by his help I read [the] learned languages.", and Page from: Ireland, S. Graphic illustrations of Hogarth ... 1794, vol. i, p. 86.
Burgess, Thomas, approximately 1730-1791, printmaker
Published / Created:
[1754?]
Call Number:
754.00.00.03
Image Count:
1
Resource Type:
still image
Abstract:
Satire on the conflict between artists campaigning for a public academy and those who were opposed. William Hogarth (A), shown as the leader of the latter group, rides a peacock. He is followed by (B) probably intended for the journalist Bonnell Thornton, dressed as Mercury, holding a paper lettered "Sr by G[o]d they laugh at us", and (C) Thomas Burgess, a young artist "who etch'd the Club of Artists" [BM Satires 3278]; (D) consists of a group of young followers sheltering behind the peacock's tail. Opposite them stands another group, a "New Club", led by (E) the "Chairman" holding a gavel, probably Francis Hayman, and (F) an older man holding a candle described as a "comic Poet study'd Painter and Chapman". Behind them stand (G), "a Swiss Operator", (H) "a great Projector", (I) "Toast Master General" and others only partly visible; those at the back of this group have peacock feathers in their hats. On the ground between the groups sits (T) "a late Author & Publisher of Scandal". To the right, a child (U) holding a lantern has climbed a tree in search of "Impartiality". Above flies Fame (W) "inspiring the Heros". A zodiacal arc on the left includes a pair of clasped hands (a symbol for mutual trust) lettered "Unknown"."--British Museum online catalogue
Description:
Title etched above image., Date from British Museum catalogue is "1762", but the British Museum online catalogue comments (April 2022) suggests 1754 as a more likely date of production., "P. 6d.", Lettered with title above and ten lines of description in lower margin, ending 'Sing Tantararara'., Sheet trimmed to plate mark., and Contemporary inscription in lower margin identifies Hogarth as the subject: Hogarth is here introduced with many [illegible].
Publisher:
publisher not identified
Subject (Name):
Hogarth, William, 1697-1764, Burgess, Thomas, approximately 1730-1791, Hayman, Francis, 1708-1776, and Thornton, Bonnell, 1724-1768
Subject (Topic):
Artists, Journalists, Supernatural beings, and Peacocks
Burgess, Thomas, approximately 1730-1791, printmaker
Published / Created:
[1754?]
Call Number:
Folio 75 H67 800 v.3 (Oversize)
Image Count:
1
Resource Type:
still image
Abstract:
Satire on the conflict between artists campaigning for a public academy and those who were opposed. William Hogarth (A), shown as the leader of the latter group, rides a peacock. He is followed by (B) probably intended for the journalist Bonnell Thornton, dressed as Mercury, holding a paper lettered "Sr by G[o]d they laugh at us", and (C) Thomas Burgess, a young artist "who etch'd the Club of Artists" [BM Satires 3278]; (D) consists of a group of young followers sheltering behind the peacock's tail. Opposite them stands another group, a "New Club", led by (E) the "Chairman" holding a gavel, probably Francis Hayman, and (F) an older man holding a candle described as a "comic Poet study'd Painter and Chapman". Behind them stand (G), "a Swiss Operator", (H) "a great Projector", (I) "Toast Master General" and others only partly visible; those at the back of this group have peacock feathers in their hats. On the ground between the groups sits (T) "a late Author & Publisher of Scandal". To the right, a child (U) holding a lantern has climbed a tree in search of "Impartiality". Above flies Fame (W) "inspiring the Heros". A zodiacal arc on the left includes a pair of clasped hands (a symbol for mutual trust) lettered "Unknown"."--British Museum online catalogue
Description:
Title etched above image., Date from British Museum catalogue is "1762", but the British Museum online catalogue comments (April 2022) suggests 1754 as a more likely date of production., "P. 6d.", Lettered with title above and ten lines of description in lower margin, ending 'Sing Tantararara'., Sheet trimmed to plate mark., and On page 295 in volume 3. Formerly dated "1762" in local card catalog.
Publisher:
publisher not identified
Subject (Name):
Hogarth, William, 1697-1764, Burgess, Thomas, approximately 1730-1791, Hayman, Francis, 1708-1776, and Thornton, Bonnell, 1724-1768
Subject (Topic):
Artists, Journalists, Supernatural beings, and Peacocks
An artist with a crazed look on his face paints at his easel the picture of Hebrew prophet (?) with wild hair and clenched fists. The artist is only half-dressed, his foot in the contents of an overturned chamber pot. He is surrounded by other pursuits of genius: a violin, scientific and medical equipment, a Roman bust, a French horn, a pile of books, etc. On the wall are three drawings: an air balloon, a dancer, and a portrait of Peter Jesta. He sits at the foot of a bed where his pretty wife sleeps peacefully, unaware that her young child is pouring out wine into a glass while a slightly older child sits with bellows before a stove, the spout of a kettle dangerously aimed in her direction
Description:
Title etched below image., Two lines of verse below title: Want is the scorn of every wealthy fool, and genius in rags is turn'd to ridicule. Juvl. Satires., and Sheet trimmed within plate mark.
Publisher:
Pubd. April 2nd, 1812, by T. Rowlandson, N. 1 James Street, Adelphi
Title etched below image., Printmaker from British Museum catalogue., False imprint?, Sheet trimmed to plate mark., and "Price 1s. done from [the] French"--Following title.
Publisher:
Avec priuilege du Roy
Subject (Name):
Hogarth, William, 1697-1764. and Hogarth, William, 1697-1764
"Satire on Hogarth's attack on Charles Churchill, "The Bruiser" (Paulson 215). Hogarth, his upper body an ass and the lower part a lion, sits on a three-legged stool on a dais with a painting of "The Bruiser" attached to a ladder as if to an easel; his dog sits at the foot of the ladder. Hogarth has a large boot (alluding to his allegiance to Bute) on his right leg, a bottle of aqua fortis hanging from one ear, a palette lettered "Line of Booty" slung around his neck, an apron into which is tucked a palette knife, a burin tied to his right front leg and a paint brush tucked into its cloven hoof; a "Smush pot" is falling down the steps of the dais spilling its contents on to a sheet labelled "Patirotism". A satyr standing on the ladder holds a notice reading, "Ha! Ha! Ha! said Old Will Now You shall see ye boasted Work of all the Antient & Modern painters, Your Raphael, Rubens, Carrach Outdone! I'll shew you a Picture done by Myself! A Picture Indeed! Ho! Ho! Ho! Ho!/What the Devil had he to do with the more Sublime Branch of Painting or vile Politicks, whose Talent consisted in low Humour? Ne Sutor ultra Crepidam." Hogarth turns back snarling at Wilkes and Churchill who stand behind him, the former holding a pair of horns, labelled "Horn Fair". Churchill, in clerical dress, writes with a large quill in a book, "The Life and Opinions of Willm. Hogass the Pannell Painter and his last dying Speech and Conf" and sheet hangs below the book which reads, "Since Willie has shown us the Dog & the Bear./Who scruples to own but They're much on a par?/The Bear has been baited & terribly bangd,/ And the Dog when his day comes deserves to be H-gd." Behind these two hangs a curtain on which is lettered in reference to Hogarth's Sigismonda, "This Curtain Hangs Here to preserve from Vulgar Eyes the Beauty of the inestimable Picture representing a Harlot blubbering over a Bullock's Heart; Painted by Willm. Hog-Ass, at the Golden Blockhead in Lie[...]er Fields."--British Museum online catalogue
Description:
Title from text above image., Publisher and date from the Catalogue of prints and drawings in the British Museum., Sheet trimmed within plate mark., Below title: The principal charecters [sic] by Mr. Hog-ass, Mr. Wi-k-s, Mr. Church-ll, &c. -- Walk in, ge'men & ladies, walk in!, After Jefferyes Hamett O'Neale? See British Museum online catalogue., and On page 294 in volume 3. Sheet trimmed to: 32 x 21 cm.
Publisher:
Now showing away at Sumpters political theatrical booth facing St. Brides Church, Fleet Street. No more than sixpence a pass, my masters
Subject (Name):
Hogarth, William, 1697-1764, Wilkes, John, 1725-1797, and Churchill, Charles, 1731-1764
"Satire on Hogarth's attack on Charles Churchill, "The Bruiser" (Paulson 215). Hogarth, his upper body an ass and the lower part a lion, sits on a three-legged stool on a dais with a painting of "The Bruiser" attached to a ladder as if to an easel; his dog sits at the foot of the ladder. Hogarth has a large boot (alluding to his allegiance to Bute) on his right leg, a bottle of aqua fortis hanging from one ear, a palette lettered "Line of Booty" slung around his neck, an apron into which is tucked a palette knife, a burin tied to his right front leg and a paint brush tucked into its cloven hoof; a "Smush pot" is falling down the steps of the dais spilling its contents on to a sheet labelled "Patirotism". A satyr standing on the ladder holds a notice reading, "Ha! Ha! Ha! said Old Will Now You shall see ye boasted Work of all the Antient & Modern painters, Your Raphael, Rubens, Carrach Outdone! I'll shew you a Picture done by Myself! A Picture Indeed! Ho! Ho! Ho! Ho!/What the Devil had he to do with the more Sublime Branch of Painting or vile Politicks, whose Talent consisted in low Humour? Ne Sutor ultra Crepidam." Hogarth turns back snarling at Wilkes and Churchill who stand behind him, the former holding a pair of horns, labelled "Horn Fair". Churchill, in clerical dress, writes with a large quill in a book, "The Life and Opinions of Willm. Hogass the Pannell Painter and his last dying Speech and Conf" and sheet hangs below the book which reads, "Since Willie has shown us the Dog & the Bear./Who scruples to own but They're much on a par?/The Bear has been baited & terribly bangd,/ And the Dog when his day comes deserves to be H-gd." Behind these two hangs a curtain on which is lettered in reference to Hogarth's Sigismonda, "This Curtain Hangs Here to preserve from Vulgar Eyes the Beauty of the inestimable Picture representing a Harlot blubbering over a Bullock's Heart; Painted by Willm. Hog-Ass, at the Golden Blockhead in Lie[...]er Fields."--British Museum online catalogue
Description:
Title from text above image., Publisher and date from the Catalogue of prints and drawings in the British Museum., Sheet trimmed within plate mark., Below title: The principal charecters [sic] by Mr. Hog-ass, Mr. Wi-k-s, Mr. Church-ll, &c. -- Walk in, ge'men & ladies, walk in!, and After Jefferyes Hamett O'Neale? See British Museum online catalogue.
Publisher:
Now showing away at Sumpters political theatrical booth facing St. Brides Church, Fleet Street. No more than sixpence a pass, my masters
Subject (Name):
Hogarth, William, 1697-1764, Wilkes, John, 1725-1797, and Churchill, Charles, 1731-1764
"Satire on Hogarth's attack on Charles Churchill, "The Bruiser" (Paulson 215). Hogarth, his upper body an ass and the lower part a lion, sits on a three-legged stool on a dais with a painting of "The Bruiser" attached to a ladder as if to an easel; his dog sits at the foot of the ladder. Hogarth has a large boot (alluding to his allegiance to Bute) on his right leg, a bottle of aqua fortis hanging from one ear, a palette lettered "Line of Booty" slung around his neck, an apron into which is tucked a palette knife, a burin tied to his right front leg and a paint brush tucked into its cloven hoof; a "Smush pot" is falling down the steps of the dais spilling its contents on to a sheet labelled "Patirotism". A satyr standing on the ladder holds a notice reading, "Ha! Ha! Ha! said Old Will Now You shall see ye boasted Work of all the Antient & Modern painters, Your Raphael, Rubens, Carrach Outdone! I'll shew you a Picture done by Myself! A Picture Indeed! Ho! Ho! Ho! Ho!/What the Devil had he to do with the more Sublime Branch of Painting or vile Politicks, whose Talent consisted in low Humour? Ne Sutor ultra Crepidam." Hogarth turns back snarling at Wilkes and Churchill who stand behind him, the former holding a pair of horns, labelled "Horn Fair". Churchill, in clerical dress, writes with a large quill in a book, "The Life and Opinions of Willm. Hogass the Pannell Painter and his last dying Speech and Conf" and sheet hangs below the book which reads, "Since Willie has shown us the Dog & the Bear./Who scruples to own but They're much on a par?/The Bear has been baited & terribly bangd,/ And the Dog when his day comes deserves to be H-gd." Behind these two hangs a curtain on which is lettered in reference to Hogarth's Sigismonda, "This Curtain Hangs Here to preserve from Vulgar Eyes the Beauty of the inestimable Picture representing a Harlot blubbering over a Bullock's Heart; Painted by Willm. Hog-Ass, at the Golden Blockhead in Lie[...]er Fields."--British Museum online catalogue
Description:
Title from text above image., Publisher and date from the Catalogue of prints and drawings in the British Museum., Sheet trimmed within plate mark., Below title: The principal charecters [sic] by Mr. Hog-ass, Mr. Wi-k-s, Mr. Church-ll, &c. -- Walk in, ge'men & ladies, walk in!, After Jefferyes Hamett O'Neale? See British Museum online catalogue., Manuscript notes in Bowditch's hand on second mount., and Mounted twice.
Publisher:
Now showing away at Sumpters political theatrical booth facing St. Brides Church, Fleet Street. No more than sixpence a pass, my masters
Subject (Name):
Hogarth, William, 1697-1764, Wilkes, John, 1725-1797, and Churchill, Charles, 1731-1764
"Satire on Hogarth's attack on Charles Churchill, "The Bruiser" (Paulson 215). Hogarth, his upper body an ass and the lower part a lion, sits on a three-legged stool on a dais with a painting of "The Bruiser" attached to a ladder as if to an easel; his dog sits at the foot of the ladder. Hogarth has a large boot (alluding to his allegiance to Bute) on his right leg, a bottle of aqua fortis hanging from one ear, a palette lettered "Line of Booty" slung around his neck, an apron into which is tucked a palette knife, a burin tied to his right front leg and a paint brush tucked into its cloven hoof; a "Smush pot" is falling down the steps of the dais spilling its contents on to a sheet labelled "Patirotism". A satyr standing on the ladder holds a notice reading, "Ha! Ha! Ha! said Old Will Now You shall see ye boasted Work of all the Antient & Modern painters, Your Raphael, Rubens, Carrach Outdone! I'll shew you a Picture done by Myself! A Picture Indeed! Ho! Ho! Ho! Ho!/What the Devil had he to do with the more Sublime Branch of Painting or vile Politicks, whose Talent consisted in low Humour? Ne Sutor ultra Crepidam." Hogarth turns back snarling at Wilkes and Churchill who stand behind him, the former holding a pair of horns, labelled "Horn Fair". Churchill, in clerical dress, writes with a large quill in a book, "The Life and Opinions of Willm. Hogass the Pannell Painter and his last dying Speech and Conf" and sheet hangs below the book which reads, "Since Willie has shown us the Dog & the Bear./Who scruples to own but They're much on a par?/The Bear has been baited & terribly bangd,/ And the Dog when his day comes deserves to be H-gd." Behind these two hangs a curtain on which is lettered in reference to Hogarth's Sigismonda, "This Curtain Hangs Here to preserve from Vulgar Eyes the Beauty of the inestimable Picture representing a Harlot blubbering over a Bullock's Heart; Painted by Willm. Hog-Ass, at the Golden Blockhead in Lie[...]er Fields."--British Museum online catalogue
Description:
Title from item., Publisher and date from the Catalogue of prints and drawings in the British Museum., Sheet trimmed within plate mark on sides., Below title: The principal charecters [sic] by Mr. Hog-ass, Mr. Wi-k-s, Mr. Church-ll, &c. -- Walk in, ge'men & ladies, walk in!, Possibly a restrike, line with price below imprint burnished out., Below design: "Now shewing away at Sumpters Political Theatrical Booth facing St. Brides Church, Fleet Street.", After Jefferyes Hamett O'Neale? See British Museum online catalogue., See earlier state published by Edward Sumpter. Cf. No. 4085 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 4., and Mounted.
Publisher:
publisher not identified
Subject (Name):
Hogarth, William, 1697-1764, Wilkes, John, 1725-1797, and Churchill, Charles, 1731-1764
Townshend, George Townshend, Marquis, 1724-1807, printmaker
Published / Created:
[1762]
Call Number:
Folio 75 H67 800 v.3 (Oversize)
Image Count:
1
Resource Type:
still image
Abstract:
A satire on Lord Bute and Hogarth, with the head of Bute on a pole that rises from a huge jack-boot, the satirical emblem of John Stuart, Earl of Bute. On the boot is a meridian sun or Star of the Garter, a part of the Order's motto partial visible. The Briton, a journal devoted to Lord Bute lies on the foot of the boot; the scroll of "a Scotch Peace" is on the ground at the side. The "Auditor" (Arthur Murphy) bows before the boot. Other adorers include an old clergyman in spectacles. The blockhead, like those used by hairdressers, wears a Scotch "bonnet". On the ground near the pole stands William Hogarth as an old man with ass-ears and holding a print of "The Times" as he rushes forward to appeal to Charles Churchill who walks him from the right with a large whip in his right hand. In the background (right) the sun rises behind a flight of stairs as the Duke of Cumberland and Edward, Duke of York descend
Alternative Title:
Boot and the block-head and Boot and the blockhead
Description:
Title etched above image., Print made by: George Townshend. See British Museum catalogue., Sheet trimmed within plate mark., and On page 292 in volume 3. Sheet trimmed to: 28.5 x 19.4 cm.
Publisher:
publisher not identified
Subject (Name):
Edward Augustus, Prince, Duke of York and Albany, 1739-1767, Henry Frederick, Prince, Duke of Cumberland and Strathearn, 1745-1790, Bute, John Stuart, Earl of, 1713-1792, Churchill, Charles, 1731-1764, Hogarth, William, 1697-1764, and Murphy, Arthur, 1727-1805
Townshend, George Townshend, Marquis, 1724-1807, printmaker
Published / Created:
[1762]
Call Number:
Hogarth 762.10.23.01 Box 111
Image Count:
1
Resource Type:
still image
Abstract:
A satire on Lord Bute and Hogarth, with the head of Bute on a pole that rises from a huge jack-boot, the satirical emblem of John Stuart, Earl of Bute. On the boot is a meridian sun or Star of the Garter, a part of the Order's motto partial visible. The Briton, a journal devoted to Lord Bute lies on the foot of the boot; the scroll of "a Scotch Peace" is on the ground at the side. The "Auditor" (Arthur Murphy) bows before the boot. Other adorers include an old clergyman in spectacles. The blockhead, like those used by hairdressers, wears a Scotch "bonnet". On the ground near the pole stands William Hogarth as an old man with ass-ears and holding a print of "The Times" as he rushes forward to appeal to Charles Churchill who walks him from the right with a large whip in his right hand. In the background (right) the sun rises behind a flight of stairs as the Duke of Cumberland and Edward, Duke of York descend
Alternative Title:
Boot and the block-head and Boot and the blockhead
Description:
Title etched above image., Print made by: George Townshend. See British Museum catalogue., and Sheet trimmed within plate mark.
Publisher:
publisher not identified
Subject (Name):
Edward Augustus, Prince, Duke of York and Albany, 1739-1767, Henry Frederick, Prince, Duke of Cumberland and Strathearn, 1745-1790, Bute, John Stuart, Earl of, 1713-1792, Churchill, Charles, 1731-1764, Hogarth, William, 1697-1764, and Murphy, Arthur, 1727-1805
Townshend, George Townshend, Marquis, 1724-1807, printmaker
Published / Created:
[1762]
Call Number:
Folio 75 H67 800 v.3 (Oversize)
Image Count:
1
Resource Type:
still image
Abstract:
A satire on Lord Bute and Hogarth, with the head of Bute on a pole that rises from a huge jack-boot, the satirical emblem of John Stuart, Earl of Bute. On the boot is a meridian sun or Star of the Garter, a part of the Order's motto partial visible. The Briton, a journal devoted to Lord Bute lies on the foot of the boot; the scroll of "a Scotch Peace" is on the ground at the side. The "Auditor" (Arthur Murphy) bows before the boot. Other adorers include an old clergyman in spectacles. The blockhead, like those used by hairdressers, wears a Scotch "bonnet". On the ground near the pole stands William Hogarth as an old man with ass-ears and holding a print of "The Times" as he rushes forward to appeal to Charles Churchill who walks him from the right with a large whip in his right hand. In the background (right) the sun rises behind a flight of stairs as the Duke of Cumberland and Edward, Duke of York descend
Description:
Title etched above image., A reduced and reversed copy of a print first published by George Townshend. See British Museum catalogue, v. 4, no. 3977., In a later state the number '25' was added in upper right corner, as an illustrations to "The British Antidote to Caledonian poison.", Sheet trimmed to image with thread margins., and On page 296 in volume 3.
Publisher:
publisher not identified
Subject (Name):
Edward Augustus, Prince, Duke of York and Albany, 1739-1767, Henry Frederick, Prince, Duke of Cumberland and Strathearn, 1745-1790, Bute, John Stuart, Earl of, 1713-1792, Churchill, Charles, 1731-1764, Hogarth, William, 1697-1764, and Murphy, Arthur, 1727-1805
Townshend, George Townshend, Marquis, 1724-1807, printmaker
Published / Created:
[1762]
Call Number:
Hogarth 762.10.00.03 Box 111
Image Count:
1
Resource Type:
still image
Abstract:
A satire on Lord Bute and Hogarth, with the head of Bute on a pole that rises from a huge jack-boot, the satirical emblem of John Stuart, Earl of Bute. On the boot is a meridian sun or Star of the Garter, a part of the Order's motto partial visible. The Briton, a journal devoted to Lord Bute lies on the foot of the boot; the scroll of "a Scotch Peace" is on the ground at the side. The "Auditor" (Arthur Murphy) bows before the boot. Other adorers include an old clergyman in spectacles. The blockhead, like those used by hairdressers, wears a Scotch "bonnet". On the ground near the pole stands William Hogarth as an old man with ass-ears and holding a print of "The Times" as he rushes forward to appeal to Charles Churchill who walks him from the right with a large whip in his right hand. In the background (right) the sun rises behind a flight of stairs as the Duke of Cumberland and Edward, Duke of York descend
Description:
Title etched above image., A reduced and reversed copy of a print first published by George Townshend. See British Museum catalogue, v. 4, no. 3977., Numbered '25' in upper right corner, from the illustrations to "The British Antidote to Caledonian poison.", and Sheet trimmed within plate mark.
Publisher:
publisher not identified
Subject (Name):
Edward Augustus, Prince, Duke of York and Albany, 1739-1767, Henry Frederick, Prince, Duke of Cumberland and Strathearn, 1745-1790, Bute, John Stuart, Earl of, 1713-1792, Churchill, Charles, 1731-1764, Hogarth, William, 1697-1764, and Murphy, Arthur, 1727-1805
Satire by Paul Sandby on Hogarth's 'Analysis of Beauty', with Hogarth in Bedlam, bizarrely attired in a long cloak and fantastic headdress with an ink bottle as a crown and straw around one leg. His palette hangs from his neck as he paints on the wall
Description:
Title etched above image., Printmaker and publication date from British Museum catalogue., Sheet trimmed within plate mark., Description of content below image: He raves, his words are loose as heaps of sand ..., Temporary local Medical Library subject terms: Patients, psychiatric -- Hospitals, interior -- Patient restraints., 1 print : etching ; 246 (pa) x 179 (pl) mm., and Imperfect; sheet trimmed within plate mark with loss of title from top edge.
Publisher:
publisher not identified
Subject (Geographic):
Great Britain., England, and London.
Subject (Name):
Hogarth, William, 1697-1764 and Bethlem Royal Hospital (London, England)
Satire by Paul Sandby on Hogarth's 'Analysis of Beauty', with Hogarth in Bedlam, bizarrely attired in a long cloak and fantastic headdress with an ink bottle as a crown and straw around one leg. His palette hangs from his neck as he paints on the wall
Description:
Title etched above image., Printmaker and publication date from British Museum catalogue., Sheet trimmed within plate mark., Description of content below image: He raves, his words are loose as heaps of sand ..., Temporary local Medical Library subject terms: Patients, psychiatric -- Hospitals, interior -- Patient restraints., and On page 288 in volume 3. Sheet trimmed to:
Publisher:
publisher not identified
Subject (Geographic):
Great Britain., England, and London.
Subject (Name):
Hogarth, William, 1697-1764 and Bethlem Royal Hospital (London, England)
Satire by Paul Sandby on Hogarth's 'Analysis of Beauty', with Hogarth in Bedlam, bizarrely attired in a long cloak and fantastic headdress with an ink bottle as a crown and straw around one leg. His palette hangs from his neck as he paints on the wall
Description:
Title etched above image., Printmaker and publication date from British Museum catalogue., Sheet trimmed within plate mark., Description of content below image: He raves, his words are loose as heaps of sand ..., and Temporary local Medical Library subject terms: Patients, psychiatric -- Hospitals, interior -- Patient restraints.
Publisher:
publisher not identified
Subject (Geographic):
Great Britain., England, and London.
Subject (Name):
Hogarth, William, 1697-1764 and Bethlem Royal Hospital (London, England)
The figure of an artist in profile made from various artists' tools: the head is an artist's palette, paint brushes from a painter's box his hat, etc
Description:
Title from caption below image., Two lines of verse below title: On mind & matter there has been a great schism and here's the doctrine of materialism. T. H., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Watermark: 1824.
Publisher:
Published July 1, 1828 by W.B. Cooke, 9 Soho Square
Subject (Topic):
Artists' materials, Artists, Palettes, and Arcimboldesque figures
"Portrait after Reynolds (Mannings 1396); whole-length, standing directed to front, head turned in profile to right, leaning with her right elbow on a pedestal bearing a large urn, her left hand on her right arm; hair high and curled, a robe over her dress; a woodland landscape behind with stream to right"--British Museum online catalogue
Alternative Title:
Honourable Mrs. Parker
Description:
Title engraved in image. and Sheet trimmed to plate mark. Bottom corners trimmed at an angle.
Publisher:
Publish'd. Octr. 25th 1773 for S. Hooper No. 25 Ludgate Street; W. Shropshire No. 158 & T. Watson No. 142 New Bond Street
Half-length portrait of Sir James Thornhill, slightly turned to the right
Alternative Title:
Sir James Thornhill
Description:
Title from caption below image., Plate from: Ireland, S. Graphic illustrations of Hogarth ... 1794, vol. i, p. 86., and On page 207 in volume 3. Sheet trimmed to:
Drawing of Sir Nathaniel Bacon's based on his self-portrait in oil, circa 1618-20.
Alternative Title:
Sir Nathaniel Bacon
Description:
Title from item., Drawing that was later used for an engraving published in: Anecdotes of painting in England, with some account of the principal artists / by Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Farmer, 1762, v.1, opp. p. 163., Drawing attributed to Vertue., and Thomas Chambars (1724-1789), English artist.
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
"Portrait, after a self-portrait (Mannings 21); half-length to right and turned to face front, wearing his robes as President of the Royal Academy."--British Museum online catalogue
Description:
Title etched below image., Plate from: The British Gallery of contemporary portraits. London : Printed for T. Cadell and W. Davies ... by J. M'Creery ..., 1813-1822., and Bound in opposite page 108 (leaf numbered '157' in pencil) in volume 1 of an extra-illustrated copy of: Moore, T. Memoirs of the life of the Right Honourable Richard Brinsley Sheridan.
Publisher:
Published May 8, 1809, by T. Cadell & W. Davies, Strand, London
Drawing of Anton Shoonjans, artist, born in Antwerp in 1655, died in Vienna 1726 after a self-portrait
Alternative Title:
Anton Shoonjans
Description:
Title from item., Signed in pen in lower right of mount: G.V., In contemporary hand in lower center of early mount: in poss. Mr. Judice Margate., Drawing that was used as a basis for an engraving of Anton Shoonjans in: Anecdotes of painting in England / by Mr. Horace Walpole. [Strawberry-Hill] : Printed by Thomas Farmer at Strawberry-Hill, MDCCLXII [1762], v. 3, opp. p. 126., and George Vertue, English artist, 1684-1756.
Drawing of John Riley (1646-1691), fashionable English portrait painter
Description:
Title from the inscription in ink, on top of sheet., Inscription in pencil on verso: Mr. Riley painted this himself. Its in [the] possession of Mr. Leigh in Adlington in. 56170., "R" stamped on verso, lower right with "3/6" written in pencil above., Drawing that was used as a basis for an engraving of Riley in: Anecdotes of painting in England ... / by Mr. Horace Walpole. Strawberry-Hill : Printed in the year MDCCLXIII, [1762], v. 3, opp. p. 122., and George Vertue, English artist, 1684-1756.
"Portrait in Van Dyck dress, reclining on steps turned in profile to left, with his knees bent and legs drawn up, right hand at his breast, looking at the viewer, swathed in a cloak with a plumed, broad-brimmed hat, with a book labelled 'Vita Di Rubens' at the foot of a column to left; after a self-portrait."--British Museum online catalogue
Alternative Title:
Richardus Cosway Armiger R.A.
Description:
Title from text below image., Early state, with title in light scratched lettering. For a later state with title lettering strengthened, see British Museum online catalogue, registration no.: 1875,0814.1224., Imperfect; sheet trimmed within plate mark with loss of imprint statement from bottom edge. Imprint supplied from impression in the British Museum, registration no.: 1876,1209.145., Window mounted to 51 x 36 cm., and Mounted opposite page 390 (leaf numbered '6' in pencil) in volume 3 of an extra-illustrated copy of: Moore, T. Memoirs of the life of the Right Honourable Richard Brinsley Sheridan.
Publisher:
Publish'd as the act directs March 20th, 1786, by Mno. Bova & E. Diemar, No. 114 Strand
"Portrait of Philippe de Champaigne, after the painter's self-portrait; half-length, turned to the right, with left hand on chest and right hand holding a parchment inscribed with the date '1668'; landscape and view of Brussels in the background."--British Museum online catalogue
Description:
Title from caption below image. and Place of publication based on printmaker's known place of activity. See Bénézit.
Portrait of Paul van Somer (1576-1621), Flemish painter and printmaker
Alternative Title:
Paul van Somer
Description:
George Vertue, English artist, 1684-1756., Title from item., and Drawing that was later used for an engraving published in : Catalogue of engravers ... / digested by Mr. Horace Walpole from the mss. of Mr. George Vertue. Strawberry-Hill : Printed in the year MDCCLXIII [1763], opp. p.92.
First image, 'Painting after life' shows a skeleton (death) seated before an easel painting a portrait of the obese old man seated opposite and holding a cane. The subject is seated against a blank screen; a portfolio of other works is leaning against the screen. Beside the 'artist' is a box of paints and artist supplies and Second image, 'Death staring shipwrecked sailors in the face!!!', shows a skeleton (right) seated on a rock with his head resting in his hands, elbows on his knees as he stares at two shipwrecked sailors (left) on a beach
Alternative Title:
Death staring shipwrecked sailors in the face!!!
Description:
Each print titled below., Lewis Walpole Library: On the verso: an autograph letter from Ebenezer Gerard in Liverpool to Samuel Taylor Liverpool, dated 1826 February 5, in reference to "Prose by a poet" (by Montgomery James) which he compares to his own efforts since his illness, with the address incorporating watercolor and rebus material., Painting after life referencing Hogarth?, and For further information, consult library staff.
Title devised by curator., Copy of engraving by Lucas Vorsterman after Anthony van Dyke for van Dyke's Iconographie., In lower right corner: Hoffman 1755. Signature may be misreading of Vorsterman on plate which incorporates monogram in spelling., Place of production based on Vorsterman's country of residence., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Portrait of Orazio Gentileschi (1563-639), Pisan-born painter, whose style was influenced by Caravaggio after they met in 1600. Gentileschi moved to London in 1626 at the invitation of George Villiers, first duke of Buckingham, the favourite and chief minister of Charles I from whom he received a pension
Alternative Title:
Orazio Gentileschi
Description:
Title from inscription in ink below image., Drawing that was later used for an engraving published in : Anecdotes of painting in England, with some account of the principal artists / by Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Farmer, 1762, v. 3, opp. p. 113., and George Vertue, English artist, 1684-1756.
A broadside satirizing William Hogarth and his print "The Times plate 1" and a reply to Henry Howard's song "The Queen's Ass"; with an etching showing an ass with a human head representing Hogarth
Alternative Title:
The Time. Pl. 1st
Description:
Title from text etched at top of second plate., Two plates: the smaller on top with text "The times pl: 1st. 1762 Price 2s." and an image of an ass with the head of Hogarth, in profile as in the Gates of Calais. The second plate, following the caption title continues "An honest Man's the noblest work of God. Pope. The words by S.W. to the tune of [the] Ass in the Cahlet"; followed by eight stanzas of "A new song" in two columns; a ninth stanza centered below., "Price 6d.", and On page 292 in volume 3. Plate mark 6.4 x 6.6 at top, on sheet 27.3 x 19.3 cm.
A broadside satirizing William Hogarth and his print "The Times plate 1" and a reply to Henry Howard's song "The Queen's Ass"; with an etching showing an ass with a human head representing Hogarth
Alternative Title:
The Time. Pl. 1st
Description:
Title from text etched at top of second plate., Two plates: the smaller on top with text "The times pl: 1st. 1762 Price 2s." and an image of an ass with the head of Hogarth, in profile as in the Gates of Calais. The second plate, following the caption title continues "An honest Man's the noblest work of God. Pope. The words by S.W. to the tune of [the] Ass in the Cahlet"; followed by eight stanzas of "A new song" in two columns; a ninth stanza centered below., and "Price 6d."
