Reduced copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar without "Whitfield" etched on it echoes the preacher
Description:
Title etched below image., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery & ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, & on the same piece of copper engraved the plate which is copied on the opposite page., Dedication etched below title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., "Page 233"--Above image, right., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and On page 190 in volume 2.
Publisher:
Published March 1798 for John Ireland, Poets Corner, Palace Yard
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar labelled "Whitfield" echoes the preacher
Description:
Title etched below image., State from British Museum catalogue., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. March 15th 1796. [Image of hand with pointing finger]. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery and ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, and on the same piece of copper engraved the plate now in the possession of Messrs. Boydell, entitled Credulity, superstition & fanaticism, a medley., Dedication etched below title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., Legend following advertisement: A. After Raphael Urbino. B. After Rubens. C. After Rembrant. D.E.F.G.H. Are imitations of several other painters., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., Ms. note in pencil in Steevens's hand above print: See J. Ireland's Hogarth illustrated, p. 365., and On page 190 in volume 2.
Publisher:
Published Novr. 12th, 1795 by John Ireland (Author of Hogarth illustrated) No. 3 Poets Corner, Palace Yard, & for Messrs. Boydell, Cheapside & Shakespeare Gallery Pallmall
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Reduced copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar without "Whitfield" etched on it echoes the preacher
Description:
Title etched above image., Legend to figures lettered or marked with asterisks in image, above imprint and below image: A. After Raphael. B. After Rubens. C. After Rembrandt. D.E.F.G.H. Are imitiations of other painters. *From sketches by Hogarth on the margins of the original prints., "Page 233"--Above image, left., Plate prepared for: Ireland, J. Supplement to Hogarth Illustrated, 1798, p. 233., Sheet trimmed to plate mark., Details from: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2425., Details form: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and On page 190 in volume 2.
Publisher:
Published by John Ireland, No. 3 Poets Corner, Palace Yard, Westminster
Subject (Name):
Toft, Mary, 1703-1763
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, and Witches
Reduced copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar without "Whitfield" etched on it echoes the preacher
Description:
Title etched above image., Legend to figures lettered or marked with asterisks in image, above imprint and below image: A. After Raphael. B. After Rubens. C. After Rembrandt. D.E.F.G.H. Are imitiations of other painters. *From sketches by Hogarth on the margins of the original prints., "Page 233"--Above image, left., Plate prepared for: Ireland, J. Supplement to Hogarth Illustrated, 1798, p. 233., Sheet trimmed to plate mark., Details from: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2425., Details form: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and On page 191 in volume 2.
Publisher:
Published by John Ireland, No. 3 Poets Corner, Palace Yard, Westminster
Subject (Name):
Toft, Mary, 1703-1763
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, and Witches
Title from caption above woodcut. Text begins with a quote from Heb 12.6: "When I am scourged with affliction's rod ...", Each word or short phrase of the Apostles’ Creed is paired with two biblical quotations paraphrasing it., Text in two columns, divided by a single rule; the title and illustration span both columns., Mounted on leaf 3. Copy trimmed., and Bound in three-quarters red morocco leather with marbled boards, with spine title stamped in gold: Old English ballads, woodcuts, vol. 1.
"A clumsy lumbering diligence, with four horses, leaves the porte-cochère of an inn, part of whose ornate façade is on the left. The sign, 'Le Qoque [sic] en Pate', hangs from a wrought-iron bracket. Two postilions ride the near horses, flourishing their whips. The coach is full inside and out with typical French characters, humorously drawn, soldiers, monks, and women, with couples absorbed in conversation. An old couple beg from the passengers. A lean sow with small pigs scampers beside the coach. In the background (left) is the west end of a small church with a Calvary beside it at which nuns kneel in prayer; a group of monks approaches holding a cross. Down the hill leading from inn and church a post-chaise and pair and a post-boy on a horse are galloping, the latter wearing the huge 'milk-churn' boots which astonished visitors to France. A row of very ancient gabled houses forms part of the background, while on the extreme right is a large building of more recent date."--British Museum online catalogue
Alternative Title:
Paris diligence
Description:
Title from caption below item. and For a later state with imprint and plate number, see no. 11624 in Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 8.
Publisher:
publisher not identified
Subject (Geographic):
France.
Subject (Topic):
Beggars, Carriages & coaches, Cities & town life, Christianity, Crucifixions, Signs (Notices), Taverns (Inns), Passengers, Pigs, and Stagecoaches
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
Date of publication from ESTC., Joshua Davenport at this address 1800-1802 (Maxted)., First line reads: Sweet dear and loving wife., In six columns with the title and a woodcut above the first three; the columns are separated by decorative borders., Mounted on leaf 64. Copy trimmed., and Bound in three-quarters red morocco leather with marbled boards, with spine title stamped in gold: Old English ballads, woodcuts, vol. 2.
Publisher:
Printed and sold by J. Davenport, 6, George's Court, St. John's Lane, West Smithfield, London
Subject (Topic):
Christian poetry, English, Poverty, Christianity, Ballads, English, Prayer, Poor persons, Fireplaces, and Children
Polemics against Christianity, preceded by the author's autobiography. A short version
Alternative Title:
Tuḥfat al-arīb fī al-radd ʻalá Ahl al-Ṣalīb 880-01, Tuḥfat al-arīb fī al-radd ʻalá Ahl al-Ṣalīb, تحفة الأريب في الردّ على أهل الصليب 240-01/r, and تحفة الأريب في الردّ على أهل الصليب
Description:
Copied in A.H. 1269 (A.D. 1853)., In Arabic., Romanization supplied by cataloger., Incipit: "Hādhā Kitāb Tuḥfat al-adīb fī al-radd ʻalá Ahl al-Ṣalīb. Bismillāh al-Raḥmān al-Raḥīm, wa-bi-hi nastaʻīn. al-Ḥamdu lillāh al-munazzah ʻan al-ḥulūl wa-al-ittiḥād, al-muqaddas ʻan al-tathlīth wa-al-mawlūd wa-al-awlād, wa-al-munqidh lil-ḥaqq baʻda al-ḍalālah, wa-al-ṣalāh wa-al-salām ʻalá Nabīyihi Muḥammad al-khātim lil-risālah, wa-ʻalá ālihi al-rāshidīn fī kull ḥālah, mā ḥaqqa al-ḥaqq wa-zuhiqa al-bāṭil, wa-mā anṣafa ʻinda samāʻ al-ḥaqq kull ʻāqil. Wa-baʻd, fa-yaqūlu rājī ʻafwa Rabbihi al-Karīm, al-faqīr ilayhi ʻAbd al-Ḥalīm: Qad aṭlaʻanī Allāh ʻalá hādhihi al-risālah, wa-hiya tusammá 'Tuḥfat al-adīb fī al-radd ʻalá Ahl al-Ṣalīb' ...", The author was a Christian convert from Majorce., Script: Fair naskhī, in red and black., Binding: Modern library binding., and Colophon: "Tamma al-kitāb al-musammá bi-'Tuḥfat al-adīb fī al-radd ʻalá Ahl al-Ṣalīb'. Wa-al-ḥamdu lillāh waḥdahu. Wa-ṣallá Allāh ʻalá man lā nabī baʻdahu. Wa-al-ḥamdu lillāh Rabb al-ʻĀlamīn. Āmīn. Wa-qad tamma al-risālah ʻalá yad afqar al-ʻibād, wa-aḥwajihim ilá Allāh taʻālá, al-Sayyid Aḥmad ibn Sayyid Ṣāliḥ ibn Sayyid al-Ḥājj Muḥammad ibn Sayyid al-Ḥājj Bākīr ibn al-Ḥājj Muḥammad ibn Aḥmad Afandī, ghafara Allāh lahum wa-jamīʻ al-Muslimīn, wa-li-man daʻá la-hu bi-al-maghfirah. Āmīn. Wa-kāna al-farāgh min nuskhah al-mubārakah yawm al-Arbiʻāʼ, waqt al-ḍaḥwah al-ṣughrá, fī shahr Jumādá al-Awwal, alladhī huwa min shuhūr sanat alf wa-miʼatayn wa-tisʻah wa-sittīn min baʻd al-Hijrah al-Muḥammadīyah [February/March 1853], ʻalayhi afḍal al-ṣalāh wa-atamm al-taslīm. Sanat 1269. Sanat 1269."