"Two actresses in a prison scene from Gay's 'Beggar's Opera'. At their feet is a tombstone inscribed 'The Beggars Opera Captn Macheath by Mrs E . . . [erased]', 'Lucy by Mrs W . . . [erased]'; other erasures are followed by '"Here lies Gay"'. They are identified by Mr. Hawkins as Mrs. Edwards and Mrs. Webb. Macheath (right), in leg-irons and fashionably dressed, wearing a cocked hat and top-boots, the tight riding-dress showing a feminine figure with ample curves, stands with his hands raised as if singing. Beside and behind him stands Lucy, listening, with her hands on her hips. She is stout and middle-aged, a head taller than Macheath, and resembles Mrs. Peachum more than Lucy. In the background is a barred window (right). Across the top of the design is etched 'Motto for the Manager', and (on a scroll) '"Reddere personae scit convenientia cuique" Hor'."--British Museum online catalogue
Description:
Title etched below image., Signed with the monogram of James Sayers., 1 print : etching with engraving on wove paper ; plate mark 25.2 x 20.7 cm, on sheet 27.2 x 22.4 cm., and Mounted on verso of leaf 32 of James Sayers's Folio album of 144 caricatures.
Publisher:
Published by Thos. Cornell
Subject (Geographic):
England
Subject (Name):
Gay, John, 1685-1732., Edwards, Mrs., and Wilmot, Mrs., active 1788-1812.
Subject (Topic):
Actors and actresses, English, Clothing & dress, Tombs & sepulchral monuments, Prisons, and Cells (Rooms & spaces)
"Two actresses in a prison scene from Gay's 'Beggar's Opera'. At their feet is a tombstone inscribed 'The Beggars Opera Captn Macheath by Mrs E . . . [erased]', 'Lucy by Mrs W . . . [erased]'; other erasures are followed by '"Here lies Gay"'. They are identified by Mr. Hawkins as Mrs. Edwards and Mrs. Webb. Macheath (right), in leg-irons and fashionably dressed, wearing a cocked hat and top-boots, the tight riding-dress showing a feminine figure with ample curves, stands with his hands raised as if singing. Beside and behind him stands Lucy, listening, with her hands on her hips. She is stout and middle-aged, a head taller than Macheath, and resembles Mrs. Peachum more than Lucy. In the background is a barred window (right). Across the top of the design is etched 'Motto for the Manager', and (on a scroll) '"Reddere personae scit convenientia cuique" Hor'."--British Museum online catalogue
Description:
Title etched below image., Signed with the monogram of James Sayers., and Mounted to 37 x 33.2 cm.
Publisher:
Published by Thos. Cornell
Subject (Geographic):
England
Subject (Name):
Gay, John, 1685-1732., Edwards, Mrs., and Wilmot, Mrs., active 1788-1812.
Subject (Topic):
Actors and actresses, English, Clothing & dress, Tombs & sepulchral monuments, Prisons, and Cells (Rooms & spaces)
"The Regent, as Macheath, wearing military uniform and heavily shackled, stands between Mrs. Fitzherbert, who kneels at his feet (left) removing his leg-irons, and Lady Hertford (right), who stands beside him taking the fetters from his wrists (inscribed 'Restri[ctions]'), He sings "How happy could I be with either." Mrs. Fitzherbert, a long rosary dangling from her waist, says: "The Benediction of His Holiness light on the Defender of Our Faith." Lady Hertford, sultana-like in a jewelled turban, says: "You heard of the Row & the Rowly Powly Song before Our house the Other Night?!!" Behind and on the right Eldon stands full-face between Perceval and McMahon, who face each other in profile. Perceval, in his Chancellor of the Exchequer's gown, and holding a brief-bag, says: "The Greys won't move without their own Coachman tho the Brewer [Whitbread] has offerd his black to do the dirty Work." Eldon, in a huge wig, holds the Purse of the Great Seal; he says: "We must hire Jobs for the Night Work but we are Pro' Rogued." McMahon, in military uniform, has a number of ribbons and stars hanging over his arm; he says: "These Garters & Ribbonds are all returned." On the wall are two pictures: George Hanger, bestriding his pony (as in No. 8889) with a burly bailiff seated behind him, rides in the direction of a sign-post, with a noose hanging from it, pointing 'To the Kings Bench'. This is 'George & his Hanger On, takeing a ride together to a Lodging in Surry'. The other is Sheridan as Bacchus, but dressed as Harlequin (cf. British Museum Satires No. 9916), bestriding a cask of 'Old Sherry'."--British Museum online catalogue
Alternative Title:
Polly & Lucy taking off the restrictions, Polly and Lucy takeing off the restrictions, and Polly and Lucy taking off the restrictions
Description:
Title etched below image. and Watermark: J. Whatman.
Publisher:
Published March 1812 by J. Jonhston, 98 Cheapside
Subject (Name):
Gay, John, 1685-1732., George IV, King of Great Britain, 1762-1830, Hertford, Isabella Anne Ingram-Seymour-Conway, Marchioness of, 1760-1834, Fitzherbert, Maria Anne, 1756-1837, Perceval, Spencer, 1762-1812, Eldon, John Scott, Earl of, 1751-1838, McMahon, John, approximately 1754-1817, Sheridan, Richard Brinsley, 1751-1816, Hanger, George, 1751?-1824, Grey, Charles Grey, Earl, 1764-1845., Whitbread, Samuel, 1764-1815., and Dionysus (Greek deity),
Subject (Topic):
Harlequin (Fictitious character), Military uniforms, British, Shackles, Religious articles, Turbans, Wigs, Bags, and Pictures
"Satire on John Rich and his new theatre in Covent Garden with a procession moving from left to right across the east end of the market square and entering the colonnade leading to the theatre. John Gay is carried on a porter's back preceded by a crowd, one of whom cries "Gay for ever". He is followed by Rich, as Harlequin, driving an open carriage drawn by six satyrs, with Columbine and a spotted dog (a disguise adopted by Rich as Harlequin in "Perseus and Andromeda", 1730). Two authors bow obsequiously to Rich, another wheels a barrow of plays towards the theatre, bootblacks also bow, but in the lower right-hand corner, Alexander Pope defecates on sheets from the Beggar's Opera (the great triumph of Rich and Gay). Actors in costume, some identified in the verses below, follow the carriage, and a cart containing properties including "A Box of Thunder and Lightening", brings up the rear. Beyond the main procession is a large crowd of admirers and a closed carriage; St Paul's church in the background is clearly identifiable."--British Museum online catalogue
Alternative Title:
His triumphant entry into Covent-Garden
Description:
Title etched above image., Signed twice: once in the shadowing lower left of design (illegible) and again above first stanza., Formerly attributed to Hogarth. See Paulson., First recorded as having been published in 1811 by Robert Wilkinson. See British Museum online catalogue., "Price 6d."--Lower right., Three columns of ten lines each etched below image: Not with more glory through the streets of Rome ... For such a day he sees not ev'ry year., In Steevens's hand in pencil above the print: A pretended Hogarth which nevertheless has sold for £4.4.0. See Nicholss book, 3d edit. p. 161., and On page 54 in volume 1.
Publisher:
publisher not identified
Subject (Geographic):
Covent Garden (London, England)
Subject (Name):
St. Paul's Church (Covent Garden, London, England),, Gay, John, 1685-1732,, Hall, John, active 1734,, Quin, James, 1693-1766,, Pope, Alexander, 1688-1744,, Rich, John, 1692-1761,, Ryan, Lacy, 1694?-1760,, and Walker, Thomas, 1698-1744,
Titles from text above each design., Six designs on one plate, each individually titled., Sheet trimmed within plate mark., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
From the left a well-dressed maiden pulls a length of twine from around the right stocking of a country boy who sleeps on a grassy bank under four large, leafy trees. The eight lines of Gay's poem Shepherd's week quoted on either side of the title describe her intention of joining the twine to her garter to form "a true loves knot."
Alternative Title:
Hobnelia
Description:
Title from item., Publication date following the phrase "Publish'd as the Act directs" has been burnished from plate., Numbered '506' in lower left of plate., Dated tentatively from plate number. Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 5, Appendix, p. 786-7: Key to the dates of the series of mezzotints issued by Carington Bowles., and Four lines in two columns on either side of the title: As Lubberkin once slept beneath a tree ... from the favourite Pastoral of Gay's Shepherd's work.
Publisher:
Printed for & sold by Carington Bowles, No. 69 St. Paul's Church Yard, London
"Satire on the popularity of the Beggar's Opera in the form of a medley print. At top left a print shows two oval portraits, Lavinia Fenton as Polly Peachum on the left and Thomas Walker as Macheath on the right, two short columns of verse beneath. In the centre lies a print depicting a debased Parnassus: in the foreground muses drink from a barrel, one vomiting; a woman wearing a hat hands a basket to a muse sitting in a dust-cart drawn by a Pegasus; a cornucopia lies upended on the ground: in the background, is a boxing match surrounded on two sides with a temporary stand from which flies the flag of St George and to the right of which a bull and a bear are preceded by Apollo playing a fiddle; beneath are four lines of verse describing the scene. Behind the Parnassus print another shows the ghost of Jeremy Collier rising from his grave holding the pamphlet in which he had condemned "The Immoratlities of the English Stage", four lines of verse beneath. This print is overlaid by a smaller oblong print with four verses and portraits of Caleb D'Anvers (Nicholas Amhurst) Jonathan Swift, Alexander Pope and Lavinia Fenton (as Polly Peachum). On the left is a print in which Democritus and Heraclitus examine a globe together, eight lines of verse beneath. In the centre is an engraved address 'To Polly Peachum' quoted, according to the earlier state from The Daily Journal, April 19, 1728. At lower left is a print with a stage where a Apollo descends on a cloud to judge between rival singers (Faustina and Cuzzoni) to whom a group of gentlemen with asses' ears listen without judgement, two columns of verse beneath explain the scene. On the right, a scene by a river where a balance has been set up in which the Beggar's Opera outweighs Shakespeare, Ben Jonson, Addison, Nicholas Rowe and Thomas Otway; the personification of trade collapses in the arms of George II, assisted by Queen Caroline; verses beneath claim that the popularity of the Beggar's Opera is indicative of the sorry state of the country. At bottom right is a scene in Newgate with men and women sitting round a table on which is a punch bowl and pipes; they are toasting a laureated John Gay who sits at the centre, saying 'The Beggers Opera for yr', 'G(a)y for ever', 'Let's vote him King of the Beggers' and he responds, 'Yov'e done me too great an honour but I'll -'; a small child stands beside the table; two columns of verse beneath."-- British Museum online catalogue
Description:
Title from text engraved above image., "Poet G-" refers to John Gay., Later state, lacking references to 'Daily Journal April 19th. 1728' below the verses "to the Tune of the Soldier and ye Sailor" and to 'Daily Journal April 10 1798' below those "To Polly Peacham". Cf. Compare no. 1806 in v. 2 of Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., Sheet trimmed within plate mark., and Mounted to 45 x 34 cm.
Publisher:
publisher not identified
Subject (Geographic):
Great Britain
Subject (Name):
Gay, John, 1685-1732, Gay, John, 1685-1732., Fenton, Lavinia, 1708-1760, Walker, Thomas, 1698-1744, Collier, Jeremy, 1650-1726, Bordoni, Faustina, 1697-1781., Amhurst, N. 1697-1742. (Nicholas),, George II, King of Great Britain, 1683-1760., Caroline, Queen, consort of George II, King of Great Britain, 1683-1737., Swift, Jonathan, 1667-1745., Pope, Alexander, 1688-1744., Heraclitus, of Ephesus., Democritus, approximately 460 B.C.-approximately 370 B.C., and Cuzzoni, Francesca, 1696-1778.
Subject (Topic):
Social life and customs, Anecdotes, facetiae, satire, etc, Pegasus (Greek mythology), Apollo, Muses (Greek deities), Parnassus, Mount (Greece), Prints, Prisons, and Theaters
Benefit ticket for William Milward, for his performance of Colonel Feignwell, in Centlivre's 'A Bold Stroke for a Wife' at Lincoln's Inn in 1728; illustrated with a scene from Gay's 'The Beggar's Opera' with Lockit, Lucy, Macheath, and Polly Peachum in a jail cell; illustration to Ireland's 'Graphic Illustrations of Hogarth' (1794-1799).
Alternative Title:
Benefit ticket for Milward
Description:
Title etched below image., Sheet trimmed within plate mark., and Cf. Paulson, R. Hogarth's graphic works, no. 112.
Publisher:
Publish'd 1st May 1788 by Molton & Co., 132 Pall Mall
Subject (Name):
Milward, William, 1702-1742. and Gay, John, 1685-1732.
Tracing of a benefit ticket for William Milward, for his performance of Colonel Feignwell, in Centlivre's 'A Bold Stroke for a Wife' at Lincoln's Inn in 1728; illustrated with a scene from Gay's 'The Beggar's Opera' with Lockit, Lucy, Macheath, and Polly Peachum in a jail cell
Alternative Title:
Benefit ticket for Milward
Description:
Title etched below image., Possibly a tracing by Ireland., Copy of: Paulson, R. Hogarth's graphic works, no. 112., Ms. note in pencil lower right corner of print: 66. Ms. notes in pencil above: See Nichol's Book, 3d Edit, p. 423. Ms. note in pencil below: sold for £7.7.0., and On page 6 in volume 1.
Subject (Name):
Milward, William, 1702-1742. and Gay, John, 1685-1732.
