A satire of a Gretna Green marriage, taking place in front of smithy's shop. Erskine, disguised in woman's dress with a huge feathered bonnet over a barrister's wig, holds the right hand of a demure-looking woman, modishly dressed and apparently pregnant. He holds a paper: 'Breach of Promise'. With them are three young children. The smith wears Highland dress; he holds a red-hot bar on the anvil and raises his hammer, saying, "I shall make a good thing of this Piece at last." Erskine says: "I have bother'd the Courts in London many times, I'll now try my hand at the Scotch Bar--as to Miss C-- she may do her worst since I have got my Letters back." The woman says: "Now who dare say, Blacks the White of my Eye." In the background (right) a young woman rushes down a slope towards the smithy, shouting, "Oh Stop Stop Stop, false Man, I will yet seek redress tho you have got back your letters--" Beside her is a sign-post pointing 'To Gretna Green'. A little boy with Erskine's features, wearing tartan trousers, stands on tip-toe to watch the smith; on the ground beside him is a toy (or emblem), a cock on a pair of breeches. A little girl stands by her mother nursing a doll fashionably dressed as a woman, but with Erskine's profile. Another boy with a toy horse on a string stands in back view watching 'Miss C'. Behind the smith is the furnace; on the wall hang many rings: 'Rings to fit all Hands.'
Alternative Title:
More legitimates
Description:
Title etched below image. and Printed on paper watermarked "1818".
Publisher:
Pubd. Feby. 4th, 1819, by S.W. Fores, 50 Piccadilly & 312 Oxford Street
Subject (Geographic):
Scotland, Gretna Green, Gretna Green (Scotland), and Gretna Green.
Subject (Name):
Erskine, Thomas Erskine, Baron, 1750-1823, Erskine, Sarah Buck, Baroness, -1825, and Erskine, Thomas Erskine, Baron, 1750-1823.
Subject (Topic):
Elopement, Breach of promise, Elopements, Ethnic stereotypes, Forge shops, Metalworking, Furnaces, Anvils, and Hammers
"Piracy of plate IV of Hogarth's Rake's Progress with considerable differences: a scene in St James's Street with the Rake (here named Ramble) emerging from a sedan-chair to be arrested for debt; figures in the foreground include a Welshman, probably the creditor, honouring St David's day (March 1st) with a leek in his hat, "Nanny" offering a handful of money to reprieve her former lover, and a lamp-lighter carelessly spilling oil on the Rake's coat; in the distance to left, a group of street-boys point to "Taffy", a mannikin, perched on a lamp-post, and beyond the gate of St James's Palace."--British Museum online catalogue
Description:
Title engraved below image., Printmaker and publisher from the Wellcome Collection online catalogue, Wellcome Library no. 38342i., Date of publication from British Museum online catalogue., Sheet trimmed within plate mark., Four columns of verse beneath title., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., Cf. Paulson, R, Hogarth's graphic works (3rd ed.), page 90., and Window mounted to 29 x 44 cm.
Publisher:
John Bowles
Subject (Geographic):
Saint James Westminster, London, England : Parish),
Subject (Name):
Hogarth, William, 1697-1764.
Subject (Topic):
Dogs, Debt, Ethnic stereotypes, Lampposts, Law enforcement, Puppets, Rake's progress, Sedan chairs, and Street lights
Four ugly old women try to scrub a black man white with brushes, a kettle of boiling water, as steam billows around the room. A fifth woman brings buckets of hot water. A sixth, in the center background, drinks gin. The black man squats in a big tub, with a pained expression on his face
Description:
Title inscribed beneath central image., Attributed to George Cruikshank., Date inferred from the 1827 publication date of George Cruikshank's Illustrations of time, plate 3 of which includes a smaller version of the central image. Cf. No. 15472 in the Catalogue of prints and drawings in the British Museum, v. 10., Image also used in Plate 3 of Cruikshank's 'Illustrations of Time'; the attempt to 'wash a black man white' was a traditional example of an impossible task., and On paper watermarked "J. Whatman 1821".
Subject (Topic):
Black people, Ethnic stereotypes, Racism, Wash tubs, and Brooms & brushes
A single-horse carriage is stopped in front of a rustic inn or roadhouse, with two caricatured Frenchmen (one a postillion wearing enormous boots) engaged in changing out the horse. An occupant of the carriage hands money out the window to a peasant woman holding an infant and accompanied by a young boy; two other shabbily dressed figures are nearby next to a tree, one of them playing a makeshift drum. In the doorway of the building stands a young woman, and to the left a man under an archway stands with arms crossed; both watch the scene unfold. In the background a postillion rides away on horseback, whip extended into the air
Alternative Title:
Changing horses on the road to Paris
Description:
Title from dealer's description., Signed by the artist in lower left., and One of five views by the artist F.G. Byron that record his visit to France in 1790; they were exhibited at the Society of Artists the following year. This drawing was exhibited under the title "Changing horses on the road to Paris" (Society of Artists, 1791, no. 39).
Subject (Geographic):
Clermont (France) and France.
Subject (Topic):
Carriages & coaches, Horses, Taverns (Inns), Postillions, French, Peasants, Country life, Ethnic stereotypes, and Drums (Musical instruments)
"John Bull, as a burly and ugly sailor, sits enthroned (right), listening to Melville's plea of innocence. Melville, in Highland dress, and wearing a feathered bonnet, stands in profile to the right. with clasped hands and flexed knees; he says: "Indeed Mr Bull - I knaw nae more aboot it - than Johnny Groat o'the Highlands." Trotter lurks behind him (left) furtively twitching his superior's kilt, and jerking his thumb to the left.; he says: "Take my advice - and let us Trot off while we are well, he looks confounded inquisitive." John scowls and glares pugnaciously, saying, "Why Look ye - de ye see - I dont come for to go for to say - exactly, that you sack'd the cole - all I say is the Shiners set sail - and as you had the care of the Hatches - it is, likely, you should know what Port they steer'd into! I say let's look at your log book Old one." He wears striped trousers and a knotted scarf; in his hat is a tobacco-pipe. His chair stands on a dais and is decorated with a crowned anchor and dolphins."--British Museum online catalogue and A satire on Henry Dundas, 1st Viscount Melville, who was accused of appropriating funds for non-naval purposes during his tenure as Lord of the Admiralty. Dundas was the most prominent Scottish politician of his era and instrumental in the progress of the Scottish Enlightenment. He is controversial today through his delaying the abolition of slavery for several years
Alternative Title:
Iohn Bull makeing a naval enqury and John Bull making a naval enquiry
Description:
Title etched below image., Attributed to Charles Williams in the British Museum catalogue., Sheet trimmed within plate mark., and Publisher's advertisement in lower right: Folios of caracatures lent out for the evening.
Publisher:
Pubd. April 1st, 1805, by S.W. Fores, 50 Piccadilly
Subject (Name):
Dundas, Henry, 1742-1811, Dundas, Henry, 1742-1811., and Trotter, Alexander, 1750-1830
Subject (Topic):
John Bull (Symbolic character), Sailors, British, Thrones, Ethnic stereotypes, and Pleading (Begging)
"George IV sits jauntily astride a tall high-stepping giraffe, at the base of the neck, hands on hips. Lady Conyngham (left) sits sideways on the sloping back, close to the tail, her vast posterior projecting. She smiles over her shoulder. He wears a straw hat with wide curving brim. She is décolletée, with large gigot sleeves and feathers in her hair. Four Nubians (right) bow obsequiously."--British Museum online catalogue
Alternative Title:
New hobby
Description:
Title etched below image., Date based on subject: A camel was present to the King at Windsor on 13 August 1827., and Attribution to William Heath and date of publication from the British Museum catalogue.
Publisher:
publisher not identified
Subject (Name):
George IV, King of Great Britain, 1762-1830 and Conyngham, Elizabeth Conyngham, Marchioness, -1861
"A huge bull, snorting fire, rushes with lowered head towards a French fort (left) from which cannon-balls descend upon him. Beneath the fort sansculottes on one knee fire at the bull while standing French soldiers, correctly dressed, also fire. On the fortress stand Frenchmen, firing and waving their hats; they shout: "Vive la republic, Blood & plunder, no Quarter to John Bull!" A huge tricolour flag has a staff surmounted by a skull. To the bull's back is strapped a bundle inscribed 'Debt Debt'. One horn has been shot off and lies on the ground. To his left hind leg is chained a heavy weight inscribed 'Subsidies'. Nevertheless, he cries: "Now my brave Allies let us all stand firm together & make a bold push, & I'll be Answerable for the Event." But behind him (right) his allies have all turned their backs and are departing in directions indicated by signposts. A fat Dutchman smoking a pipe goes 'To Amsterdam', saying, "I care not who beats, I'll join the Strongest Party". Frederick William II (father-in-law of the Duke of York) walks off 'To Berlin', saying, "I've fingerd the Cash from both Sides, & will now employ it to Secure the Partition of Poland"; "Negociate with Robertspierre privately & then - Damn Relationship!!!" Next, a Spanish don, Charles IV, goes 'To Madrid', saying, "Whats the Bourbon Family to me when they Impede my Interest. Hush!! I am now treating for a Separate peace with that Blackguard Roberspere to Secure my own Crown - I must enlarge the Powers of the Inquisition". On the extreme right Francis II and Mack in a two-wheeled gig, on which is the Habsburg eagle, are driving off 'To Vienna'. The Emperor says: "Well Mack we have made a Glorious Campaign of it; of what use are the Low Countries without they continue to fill my Coffers? As for John Bull, let him settle the business as he can he loves to be meddling"."--British Museum online catalogue
Alternative Title:
John Bulls last effort to oblige his false friends
Description:
Title etched below image., Attributed to Isaac Cruikshank in the British Museum catalogue., Sheet trimmed to plate mark., and Matted to 39 x 52 cm.
Publisher:
Pub. July 17, 1794, by S.W. Fores, No. 3 Piccadilly
Subject (Geographic):
Great Britain.
Subject (Name):
Mack von Leiberich, Karl, 1752-1828, Frederick William II, King of Prussia, 1744-1797, Robespierre, Maximilien, 1758-1794., Charles IV, King of Spain, 1748-1819, Francis I, Emperor of Austria, 1768-1835, Frederick William II, King of Prussia, 1744-1797., and Mack von Leiberich, Karl, 1752-1828.
Subject (Topic):
Great Britain, Foreign relations, John Bull (Symbolic character), Bulls, Ethnic stereotypes, Caricatures and cartoons, English wit and humor, Pictorial, and Satire, English
"Napoleon, pushing an officer before him through a pillared doorway, looks back to speak to a monk and a sansculotte, shackled together, who drag a car in which is an imperial crown. They hold a large scroll inscribed: 'Most religious Sovereign - the benefactor of the church - the patron of liberty - the scourge of tyrants, and the defender of our most holy religion; may you long fill the Imperial Chair, and diffuse over a free and happy people all the blessings of your auspicious government.' Demons fly round a tricolour flag which floats from the car. Napoleon holds out a scroll headed: 'Address, &c. &c. &c. The Legions of France congratu - ', saying, "This token of your gratitude, my dear subjects will ever stimulate me to protect your liberties - to promote your happiness - and to preserve my empire from the ravages of war, tyranny and oppression." The officer, with a cynical smile, says: "Patron of Liberty - Defender of our most holy Religion - free and happy People - Ha! ha! ha! - What may we not expect? - Has he not got them under excellent subjection?" On the left is Napoleon's 'Secret Chamber': a table is covered with maps and plans; a large map, partly unrolled, shows Europe from '[En]gland to [Tur]key', including the 'Black Sea'; another map shows 'Suez' and the 'Red Sea'. A demon under the table holds up a large pile of papers: 'Plans against England'; on the floor are similar piles: 'Religion' and 'Treaties'. There are also 'Plans against Germany and Turkey', and a paper: 'Mem. the chance of the conquest of England is worth the sacrifice of one third of the people of France. Item. As Charlemaine not only conquered Italy, but the whole of Germany, and left the Imperial dignity hereditary in the Sovereigns of France, it is indispensably necessary to obtain possession of Germany, in order to support the dignity of the Gallic empire.' On the wall are three pictures: 'Sacking of Rome', 'Dissolution of the National Assembly' [see British Museum Satires No. 9426, &c], and 'View of Cairo' [see British Museum Satires No. 9358, &c.]. Below the design: 'Explanation. The two figures bringing the Imperial crown . . . represent . . . the bitter Enemies of Aristocracy, and the staunch Supporters of the late Monarchial Government, tackled to the National Machine, and reduced to the most abject State of Slavery by the Influence of the Military, whose congratulatory Address Bonaparte has received at the Hand of an Officer, and is introducing him into his Secret Chamber to receive Instructions. The Demons hovering over the Imperial Crown denote Five Years of Destruction; during which Period Bonaparte will overrun and ravage the greater Part of the Continent of Europe, be the Means of nearly depopulating Turkey, and finally be slain with the Sword, be cast out as an abominable Branch, and be left as Dung to rot on the Face of the Earth."--British Museum online catalogue
Description:
Title printed in letterpress above image., Text above imprint statement: For particulars respecting the ingress, progress and regress of the Gallic Empire, as represented in prophecy, see the publications entitled "The Prophetic Mirror," and "The Emperor of the Gauls," by L. Mayer; to be had at Parson's Library, Ludgate-Hill; and T. Williams, Stationers'-Court., Print was apparently sold separately, but also used as a folding plate in: Mayer, L. The prophetic mirror, or, A hint to England. London : Printed by C. Stower and sold by T. Williams, 1804., and "Price 1s. coloured."--Following imprint.
Publisher:
Published by L. Mayer, as the act directs and Bryer, printer, Bridge Street, Blackfriars
Subject (Name):
Napoleon I, Emperor of the French, 1769-1821
Subject (Topic):
Military officers, French, Monks, Flags, Ethnic stereotypes, Shackles, Crowns, Columns, Demons, and Maps
"Prince Leopold (right), in uniform, puts his head through a glassless aperture in a window in the door of his 'Grecian Establish[ment]--Co[burg]', to look intently at a fat Turk who stands in profile to the right, elaborately dressed and holding a long pipe with smoking bowl. The door, partly cut off by the right margin, is flanked by a Corinthian pillar and set in a wall on which are placards: 'This . Shop!!! will shortly open under entire new Management--Vivant [sic] Rex'; a Union Jack poster (partly covered); the Russian eagle, and a fleur-de-lis, the two last inscribed 'Loan'. The Turk: 'What have you taken the Shop? well if you take my advice you will not give Your Customers too much Credit for I can tell you they are a queer set to deal with by the bye they nearly ruined me--and mind that you look sharp after your Shopmen'."--British Museum online catalogue
Description:
Title etched below image., Sheet trimmed within plate mark., and Window mounted to 50 x 36 cm.
Publisher:
Pub. April 10, 1830, by T. McLean, 26 Haymarket
Subject (Name):
Léopold I, King of the Belgians, 1790-1865
Subject (Topic):
Turks, Ethnic stereotypes, Doors & doorways, National emblems, and Signs (Notices)
"Prince Leopold sits enthroned, flanked by his new subjects; he wears uniform with a crown, and sits on a two-tiered circular dais in a chair of state, the seat of which is covered with giant thorns. Punctured and frightened, he grasps the arms of his chair with crisped fingers; his toes are drawn back, touching the ground, and he looks towards a savage-looking Greek (right) who kneels before him with a long knife held behind his back. A similar ruffian kneels on the left; others approach menacingly from the left, one smoking a long pipe and grasping a knife. They wear Greek costume with embroidered jackets and full white breeches. On the right are long-robed ecclesiastics, headed by a bearded patriarch with a cross in one hand, a knife in the other."--British Museum online catalogue
