"A stout man (right), seated at a round table, tells a story to a parson on his left, who grins broadly. Two women fix the raconteur with expressions of absorbed amusement, while an officer is more frankly amused at watching the lady on his right. All are elderly. On the table are a decanter of 'Port' and glasses. A patterned carpet completes the design. From a sketch by an amateur."--British Museum online catalogue
Description:
Title etched below image., Printmaker from British Museum catalogue., Sheet trimmed within plate mark., 1 print : etching on wove paper, hand-colored ; sheet 25.5 x 34.3 cm., Watermark, partially trimmed: Turkey Mills [J. Whatman]., and Mounted on leaf 77 of volume 8 of 12.
Publisher:
Pubd. Novr. 9th, 1795, by H. Humphrey, No. 37 New Bond Street
Subject (Topic):
Chairs, Clergy, Floor coverings, Military uniforms, British, and Storytelling
"Pitt (half length) stands looking to the right, his right hand held palm upwards. He says: "Our great successes in the East & West Indies, conquest of Corsica; entertain no doubt you will chearfully grant the Supplies for carrying on this just & necessary War.""--British Museum online catalogue
Description:
Title etched above image., By Gillray using pseudonym 'A.S.' See British Museum catalogue., One of eight satirical portraits issued as a set on one sheet., Four lines of text below image: Our great successes in the East & West Indies, conquest of Corsica; entertain no doubt you will chearfully [sic] grant the supplies for carrying on this just & necessary war., and On same sheet: Opposition eloquence; Naval eloquence; Military eloquence; Fools eloquence; Billingsgate eloquence; Pulpit eloquence; Bar eloquence.
Publisher:
Pubd. Jany. 6th, 1795, by H. Humphrey, N. 37 New Bond Street
Nothing got by cheating and Miller there was, and he liv'd at his Mill
Description:
Caption title., Signed at end of text: Z [i.e. Hannah More]., A Cheap repository broadsheet., Date from Spinney., Beneath border at foot, in square brackets: Entered at Stationers Hall., Verse begins: A Miller there was, and he liv'd at his Mill ..., Price below imprint: "Price an Half-penny, or 2s, 3d, per 100, 1s, 3d, for 50, 9d. for 25.", Unlike most copies of the Cheap repository tracts published by Hazard and Marshall, this one does not have the phrase: Great allowance will be made to shopkeepers and hawkers., and For further information, consult library staff.
Publisher:
Sold by S. Hazard (printer to the Cheap Repository for Religious and Moral Tracts) at Bath; by J. Marshall, printer to the Cheap Repositories, No. 18, Queen-Street, Cheap-Side and No. 4 Aldermary Church Yard, by R. White, Piccadilly, London; and by all booksellers, newsmen and hawkers, in town and country
Gin-shop, Peep into a prison, and Look through the land from north to south
Description:
BEIN BrSides 2011 72: 44 x 30 cm., Caption title., Signed: Z. [i.e. Hannah More]., Date from Spinney., Verse - "Look through the land from north"., Following imprint: "Great Allowance will be made to Shopkeepers and Hawkers.", Price from imprint: "Price an Half-penny, or 2s, 3d, per 100, 1s, 3d, for 50, 9d. for 25.", A Cheap repository tract., and For further information, consult library staff.
Publisher:
Sold by S. Hazard, (printer to the Cheap Repository for moral and religious tracts) at Bath; by J. Marshall, printer to the Cheap Repositories, No. 17, Queen-street, Cheap-side, and No. 4, Aldermary Church-yard; and R. White, Piccadilly, London; and by all booksellers, newsmen, and hawkers, in town and country
Riot, Half a loaf is better than no bread, and Come neighbours, no longer be patient and quiet
Description:
Caption title below woodcut., Signed: Z. [i.e. Hannah More]., The sheet is headed: "Cheap repository"., First line reads: Come neighbours, no longer be patient and quiet., In two columns with a woodcut above the title., At foot of second column, in square brackets: Entered at Stationers Hall., Beneath imprint: Great allowance will be made to shopkeepers and hawkers., "Price an halfpenny, or 2s. 3d. per 100. - 1s 3d. for 50. - 9d. for 25.", and For further information, consult library staff.
Publisher:
Sold by J. Marshall, (printer to the Cheap Repository for moral and religious tracts) No. 17, Queen-Street, Cheapside, and No. 4, Aldermary Church-Yard; and R. White, Piccadilly, London; by S. Hazard, (printer to the Cheap Repository) at Bath; and by all booksellers, newsmen, and hawkers in town and country
"Design in an oval; a man (half-length) in profile to the right, slyly holds his thumb and forefinger against his nose. His hair falls on his collar from under a powdered wig."--British Museum online catalogue
Description:
Title from text below image., After Dighton. See British Museum catalogue., Date of publication from British Museum catalogue., Numbered "386" in lower left corner., No. 18 in a bound in a collection of 69 prints with a manuscript title page: A collection of drolleries., Bound in half red morocco with marbled paper boards and spine title "Facetious" in gold lettering., and Sheet trimmed with loss of numbering: 386.
Publisher:
Printed for & sold by Bowles & Carver, No. 69 St. Paul's Church Yard, London
"A ragged 'botching tailor' is climbing out of his bulk or stall (right) to attack with his goose a tailor who hastens from him, turning to snip his shears contemptuously. Above the penthouse stall is a placard, 'Simon Snip - maks & mendes Mens & Buoys reddy mad Close. N.B. nete Gallows for Breaches.' A garment and a pair of braces hang on a line; within a window is a sheet of patterns. The other, who is neatly dressed, carries a coat under his arm; a book of patterns protrudes from his coat pocket. A street receding in perspective (right) and the façade of a dignified house (left) form a background."--British Museum online catalogue
Alternative Title:
Quarrelsome tailors and Two of a trade seldom agree
Description:
Title engraved below image., Variant state, with publication date etched in lower right corner of plate. For state lacking publication date, see no. 8595 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 7., Numbered '644' in lower left of plate., No. 48 in a bound in a collection of 69 prints with a manuscript title page: A collection of drolleries., and Bound in half red morocco with marbled paper boards and spine title "Facetious" in gold lettering.
Publisher:
Printed for Bowles & Carver, No. 69 St. Paul's Church Yard
Subject (Topic):
Sewing equipment & supplies, Signs (Notices), Tailor shops, and Tailors
A man in profile, looking left, within an oval, wearing a hat and with a riding crop under his arm
Description:
Title engraved below image., After Dighton; see British Museum catalogue., Numbered "357" in lower left of plate., No. 10 in a bound in a collection of 69 prints with a manuscript title page: A collection of drolleries., Bound in half red morocco with marbled paper boards and spine title "Facetious" in gold lettering., Sheet trimmed with loss of number "357" and imprint., and 1 print; mezzotint on wove paper; sheet 14.8 x 11.2 cm.
Publisher:
Printed for & sold by Bowles & Carver, No. 69 in St. Paul's Church Yard, London
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
"Letters on the design refer to an 'Explanation' etched below the title. A scene on the stage of a theatre symbolizes Westminster Hall. In the foreground a large cauldron is sinking through a rectangular opening in the floor. It is inscribed 'A. \ Exit in Fumo', explained as 'The Managers Cauldron'. From it rises a dense mass of dark smoke which divides into two curving branches, one on each side of a brightly irradiated bust of Hastings. The bust looks towards the Managers' box (right) and stands on a large rectangular pedestal inscribed: 'Virtus repulsæ \ nescia sordidæ \ incontaminatis \ fulget honoribus'. The cauldron is filled with burning documents, the origin of the smoke, inscribed, respectively: 'Charge', 'Charge Presents', 'Charge of Oppression', 'Charge of Cruelty', 'Charge of Extortion', 'Charge of Peculation in Contracts', 'Torture'. These are: 'B Ingredients mix'd up by the Managers to blacken C a character out of their reach'. Standing within another rectangular opening in the floor is Burke in profile to the left, gesticulating furiously, a paint-brush in his raised right hand, a document, 'more Ingredients', clasped in his left hand. He is: 'D One of the Managers & a principal Performer who having "Out-heroded Herod" retires from the Stage in a Passion at seeing the Farce likely to be damn'd.' Above the bust are two projecting beams, each supported by an angel (as in Westminster Hall), wearing a judge's wig and gown with a scroll issuing from the mouth. The figure on the left is Thurlow, looking calmly down, his hand on his breast and saying: "not black upon my Honour." The other is Loughborough, his head turned away, showing the back of his wig only (cf. BMSat 6796), and saying: "Black upon my Honour". They are: 'K a great Critic in a high Situation, who has paid close Attention. L another great Critic, not quite so good a Judge, giving his Opinion on the other Side'. On the right is a stage-box, representing the Managers' box. From it Fox, wearing a bag-wig, leans forward, looking excitedly and near-sightedly through his glass, his hand outstretched as if to restrain Burke. Behind him is the quasi-imbecile profile of Sir James Erskine (see BMSat 7152) looking over his shoulder. On the extreme right are the backs of the heads and shoulders of two Managers who are leaving the box. Below (right) a profile looks gloomily towards the stage. Fox is 'E Another Manager a great Actor very anxious about the fate of the Farce'. The others are 'eee Other Managers very well dress 'd [cf. BMSat 7309] but not very capital performers some of them tired of acting'. Just outside the box is the profile head of Francis, his baleful stare (as in BMSat 7292, &c.) fixed on the bust. He is: 'F The Prompter, no Character in ye farce but very useful behind the Scenes.' The outside of the box ('G The Managers Box') is traversed by the winding track of a snail, beginning in '1787' and meandering past '1788', '1789', '1790', '1791', '1792', '1793', '1794', the snail's head touching '1795'. A rat has gnawed a hole in the front of the box, though which he peers; in his mouth is a ticket: 'Permit the Bearer to Pass & Repass 1787 renew'd 1795', on which are indicated the arms of Sir Peter Burrell (on all tickets of admission, cf. BMSat 7276). Above the design is a stage curtain with the usual motto, 'Veluti in Speculum'. Below the stage (right) appear, in an oblong aperture fringed with flames ('H. a Court below to which the Managers retire upon quitting the Stage.'), the head and hands of a corpse-like Devil holding a pitchfork which points directly to the Managers' box. He is 'I Usher of the Mack Rod there'. He says: "By the pricking of my Thumbs, Something wicked, this Way comes." Below the 'Explanation: The Scene lies in an old Hall (formerly a Court of Law).'"--British Museum online catalogue
Description:
Title etched below image., Signed with the monogram of James Sayers., and Mounted on page 63.
Publisher:
Published 8th May 1795 by H. Humphrey, New Bond Street
Subject (Name):
Hastings, Warren, 1732-1818, Burke, Edmund, 1729-1797, Fox, Charles James, 1749-1806, Thurlow, Edward Thurlow, Baron, 1731-1806, Rosslyn, Alexander Wedderburn, Earl of, 1733-1805, Francis, Philip, 1740-1818, and Westminster Hall (London, England)
