Title in English and French from "Five Hundred Years of Medicine in Art"., Artist's name etched on plate at lower right., 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" in pencil at lower right.
Publisher:
publisher not identified
Subject (Topic):
Prostitution, Death (Personification)., Brothels, Skeletons, Prostitutes, Prostitutes' clients, and Older people
"The March to Finchley"; scene at Tottenham Court (after the painting in the Foundling Museum) with soldiers gathering to march north to defend London from the Jacobite rebels; the crowd includes, in the foreground, a man urinating painfully against a wall as he reads an advertisement for Dr. Rock's remedy for venereal disease, an innocent young piper, a drunken drummer, a young soldier with a pregnant ballad seller (her basket contains "God Save our Noble King" and a portrait of the Duke of Cumberland) and a Jacobite harridan selling newspapers, a milkmaid being kissed by one soldier while another fills his hat from her pail, a muffin man, a young chimney sweep, a gin-seller whose emaciated baby reaches for a drink. In the background a boxing match takes place under the sign of Giles Gardiner (Adam and Eve depicted), a wagon loaded with equipment follows the marching soldiers and, to the right, prostitutes lean from the windows of a brothel at the sign of Charles II's head; beyond the sunlight shines on Hampstead village on the hill."--British Museum online catalogue
Description:
Title, imprint, artist, printmaker and state from Paulson., Sheet trimmed within plate mark., and On page 150 in volume 2.
"The March to Finchley"; scene at Tottenham Court (after the painting in the Foundling Museum) with soldiers gathering to march north to defend London from the Jacobite rebels; the crowd includes, in the foreground, a man urinating painfully against a wall as he reads an advertisement for Dr. Rock's remedy for venereal disease, an innocent young piper, a drunken drummer, a young soldier with a pregnant ballad seller (her basket contains "God Save our Noble King" and a portrait of the Duke of Cumberland) and a Jacobite harridan selling newspapers, a milkmaid being kissed by one soldier while another fills his hat from her pail, a muffin man, a young chimney sweep, a gin-seller whose emaciated baby reaches for a drink. In the background a boxing match takes place under the sign of Giles Gardiner (Adam and Eve depicted), a wagon loaded with equipment follows the marching soldiers and, to the right, prostitutes lean from the windows of a brothel at the sign of Charles II's head; beyond the sunlight shines on Hampstead village on the hill."--British Museum online catalogue
Description:
Title, imprint, artist, printmaker and state from Paulson., Sheet trimmed with plate mark., Ms. note in pencil in Steevens's hand below print: Aqua fortis proof. See Mr. Nichols's book, 3d. edit. p. 299., and On page 149 in volume 2.
Page 219. New London spy, or, A twenty-four hours ramble through the bills of mortality.
Image Count:
1
Resource Type:
still image
Description:
Title and date from note in ink below image, on mounting page., Sheet trimmed within plate mark with probable loss of text., Not in the Catalogue of prints and drawings in the British Museum., Temporary local subject terms: Gaming-table -- Male costume, 1736 -- Female costume, 1736 -- Table settings -- Furniture., Folded to 23.1 x 25 cm; mounted to 32 x 26 cm., and Mounted on page 219 in a copiously extra-illustrated copy of: King, R. The new London spy, or, A twenty-four hours ramble through the bills of mortality. London : Printed for J. Cooke [and 3 others], [1771?].
A diorama consisting of 6 engraved cardboard leaves that give a perspective view through a peep hole of a contemporary public boulevard, a walled middle-European town in the background, with a lively crowd. The first panel apparently shows the bordello's exterior, to the left a man leans out of a window to admire a woman (who takes a rose from a boy) and to the right one man steps from the door as another, hand seeking out his purse, is about to proceed in. In other panels may be seen young women pointing men toward the doorways or leading them there
Description:
BEIN 2009 1828: Plates numbered on verso in ms. and Illustrations hand colored.
"A street scene. An artisan staggers forward, dismayed at the disappearance of a woman who has fallen head first down a cellar whose flap has been left open. Her legs and petticoats issue from the small aperture. Behind is a window in which are bottles inscribed 'Cordials & Compounds'. A placard of clasped hands suggests a brothel. In the man's hat is thrust a pipe from which smoke issues."--British Museum online catalogue
Description:
Title from item., Printseller's announcement following publication statement: Folios of caricatures lent for the evening., Printing date from watermark., Temporary local subject terms: Placards: brothel -- Emblems: clasped hands as a sign of brothel -- Shops: liquors,, and Watermark: Ansell 1824.
Publisher:
Pubd. by S.W. Fores, No. 5 [sic] Piccadilly
Subject (Geographic):
England and London.
Subject (Topic):
Artisans, Brothels, Signs (Notices), and City & town life
"A decrepit old man stands at the door of a house of ill fame at the corner of Portland Street; Mrs Burke is on the door-plate. One hand is on the knocker; he turns to scowl at a woman (right) who holds out a bunch of water-cress from a large shallow basket slung from the hip. A child clings to her shoulders; a little girl (left) with a small basket also offers him a bunch. Two young courtesans lean from a first-floor window. In the background (right), behind a spiked gate, are trees and a large house (or houses)."--British Museum online catalogue
Alternative Title:
Watercresses, come buy my watercresses
Description:
Title etched below series title and number.
Publisher:
Pub. Mar. 1, 1799, at R. Ackermann's, 101 Strand
Subject (Topic):
Brothels, Children, City & town life, Mothers, Peddlers, Prostitutes, Vegetables, and Women
Leaf 98. Darly's comic-prints of characters, caricatures, macaronies, &c.
Image Count:
1
Resource Type:
still image
Abstract:
A lawyer (Theodosius Forrest), shown whole length in profile looking right, carries a lawyer's bag in which there is a scroll labeled "of Damocles"; in his pocket is another scroll labeled "Ge. ho. Dobbin." A dog at his side sniffs the bag. The door is labeled 'Good Entertainment gratis' and is probably a bagnio
Alternative Title:
Theodosius Homunculus Esq., attorney general to the Royal Academy
Description:
Title etched above image., Artist and printmaker's names are unidentified pseudonyms., Initial letters of publisher's name in imprint form a monogram., Theodosius Homunculus Esq. is a representation of Theodosius Forrest., Below image is etched: In opinion a Poet, a Painter, a Critic Dear The: take my word instead of some Physic, A Poet in Bawdy, a Painter in Daubing, A Coxcomb the Critics your Friends are allowing., Plate from vol. VI: Characters, macaronies, & caricatures. [London] : Pub. by MDarly, 39 Strand, Novr. 1, 1773., Plate numbered "v. 6" in upper left corner and "13" in upper right corner., First of three plates on leaf 98., and 1 print : etching on laid paper ; plate mark 17.3 x 12.3 cm, on sheet 27.5 x 44.4 cm.
Leaf 98. Darly's comic-prints of characters, caricatures, macaronies, &c.
Image Count:
1
Resource Type:
still image
Abstract:
A lawyer (Theodosius Forrest), shown whole length in profile looking right, carries a lawyer's bag in which there is a scroll labeled "of Damocles"; in his pocket is another scroll labeled "Ge. ho. Dobbin." A dog at his side sniffs the bag. The door is labeled 'Good Entertainment gratis' and is probably a bagnio
Alternative Title:
Theodosius Homunculus Esq., attorney general to the Royal Academy
Description:
Title etched above image., Artist and printmaker's names are unidentified pseudonyms., Initial letters of publisher's name in imprint form a monogram., Theodosius Homunculus Esq. is a representation of Theodosius Forrest., Below image is etched: In opinion a Poet, a Painter, a Critic Dear The: take my word instead of some Physic, A Poet in Bawdy, a Painter in Daubing, A Coxcomb the Critics your Friends are allowing., Plate from vol. VI: Characters, macaronies, & caricatures. [London] : Pub. by MDarly, 39 Strand, Novr. 1, 1773., and Plate numbered "v. 6" in upper left corner and "13" in upper right corner.
Caption title., Place and date of publication based on provence: formerly bound in a collection of chapbooks published in Lichfield in the 1770s., First line: Miss Diana G---y is arrived at this meeting for the diversion of those gentlemen who are stong in hand ..., Not in ESTC., and Broadsides printed on laid paper and mounted in an album bound in red, quarter-leather morocco with Cockerell-marbled boards and vellum corners, with black-leather, gilt-stamped spine label. For further information, consult library staff.
Print with twelve panels relating to the affair of Mary Toft, "the rabbit breeder": from top left, she is held aloft by two men and a Harlequin or Merry Andrew, she has a rabbit in either hand; she pursues a rabbit while working in a field; she dreams of being impregnated by rabbit, Cupid is shown on a cloud beside her bed holding a rabbit in either hand; she is seated in a chair attended by two women while the two men and Harlequin discuss the monstrous birth; Harlequin demonstrates that he can express milk from her breast; Harlequin feels "the rabbets leapin in her belly" while two men look on; she sits on the edge of a bed and Harlequin kneels to seize a rabbit that emerges from her skirts while a doctor raises his hands in surprise, wishing to anatomize the animal; Harlequin stands behind a table holding a balance in which he weighs dung removed from the rabbit explaining to two men that this will allow him to judge whether the animal had "breath'd in air"; doctors and midwives discuss the phenomenon around a table and Harlequin enters claiming that the birth must be "praeternatural"; a crowd of gentlemen are welcomed to the bagnio in Leicester Square where Toft is housed; two men spy from the door to Toft's room as another hands her a dead rabbit; Toft, weeping, is led away to Bridewell by two constables while Harlequin "sits upon Repenting stool, Cursing his fate in being made a Fool. See British Museum online catalogue
Alternative Title:
New whim wham from Guildford
Description:
Title etched above images. and Trimmed within plate mark.
Publisher:
publisher not identified
Subject (Name):
Toft, Mary, 1703-1763
Subject (Topic):
Christianity, Superstition, Demonology, Births, Brothels, Cupids, Fools & jesters, Fraud, Law enforcement, Physicians, Pregnant women, and Rabbits
"Thomas Raikes sits on a divan between two courtesans, his head in profile to the right. On the right is a round table spread with a luxurious dessert, pine-apple, peaches, decanters, &c. The centre-piece is a figure of Mercury (cf. British Museum Satires No. 7592) poised on a globe and holding up a second globe, perhaps a lamp. A long bill hangs from the table . . . Dr to Mrs Wood--Bed--10-- Brandy 5--coffee 1--Eggs--Brandy 2--Oysters 1--Eggs--20, 0 Ham--10-- Coffee 11--Beds 5--Brandy 2--Bed 1-- to show that the establishment is a brothel run by Mrs. ('Mother') Wood (cf. British Museum Satires No. 13734). On the wall are two pairs of crossed rakes tied with ribbons, and pictures, with punning titles: Siege of Belle Lisle, Wood Deamon [cf. British Museum Satires No. 10796], Babes in ye Wood, The Rakes Progress, Burn em Wood, Deity of the Woods, Wood Pigeon Wood Cock."--British Museum online catalogue
Alternative Title:
The commercial dandy and his sleeping partners
Description:
Title from caption below image., "Dr. E.D." pseudonym of George Cruikshank?, Sheet trimmed within plate mark., Temporary local subject terms: Costume: male, female, 1821 -- Furniture: round table -- Divan -- Food: pineapple, fruit -- Decanters -- Lighting: candlestick -- Mythology: Mercury -- Rakes -- Mrs. "Mother" Wood, fl. 1821., Manuscript "256" in upper center of plate., and Watermark: J. Whatman.
Publisher:
Pubd. Novr. 1st, 1821 by G. Humprey [sic] 27 St. James's St.
Subject (Name):
Raikes, Thomas, 1777-1848
Subject (Topic):
Brothels, Courtesans, Dandies, British, and Prostitutes
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays. The painting above the door, the mural on the back wall, and the portrait near the window illustrate the theme
Description:
Title engraved below image., In lower left corner: Size of picture 3 ft. by 2 ft. 4 in., After the painting "The Bagnio" in the National Gallery, London., Sheet trimmed to plate mark., No. 5 in a series of 6 images. Series title engraved below image., Copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2748., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 162., and Copy of: Paulson, R. Hogarth's graphic works (1st ed.), no. 232.
Publisher:
Pub. Aug. 1, 1800, by J. & J. Boydell, No. 90, Cheapside & at the Shakspeare Gallery, Pall Mall, London
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays. The painting above the door, the mural on the back wall, and the portrait near the window illustrate the theme
Description:
Title engraved below image., The engraver's initials 'R.F. Ravenet' are a mistake for 'S.F.' or Simon François., and Sheet trimmed within plate mark.
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 4
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.5 x 46.3 cm, on sheet 45 x 56 cm., and Leaf 20 in: Album of William Hogarth prints.
Plate 20. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 5
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.4 x 46.6 cm, on sheet 46 x 59 cm., and Plate 20 in the album: Queen Charlotte's collection of Hogarth works.
Plate 20. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 5
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.4 x 46.6 cm, on sheet 46 x 59 cm., and Plate 20 in the album: Queen Charlotte's collection of Hogarth works.
Plate 20. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 5
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., Ms. note, and On page 119 in volume 2. Sheet trimmed to: 38.1 x 46.1 cm.
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 4
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., and Formerly on page 118 in volume 2. Removed in 2012 by LWL conservator.
Plate 20. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 5
Description:
Title engraved below image., State from Paulson., and After the painting "The Bagnio" in the National Gallery, London.
