"Caricature of the Holy Alliance (the rulers of Russia, Spain, Austria and Britain) seated round a table plotting to restore Ferdiand of Spain to his throne"--British Museum online catalogue and Satire depicting the The Quintuple Alliance (Tsar Alexander I of Russia, Napoleon Bonaparte, Francis I, Emperor of Austria, Louis Antoine de Bourbon, duc d’Angoulême and the Duke of Wellington) debating the question of the Spanish succession and French intervention in Spain at the 1822 Congress of Verona. Losers in the negotiation are depicted as tiny doll-like figures trampled under the table. Masks are scattered on the floor and animal symbolism includes a bear, a monkey and a pair of bulldogs
Description:
Title from text above image., Print signed within lower left corner of image., Not in the Catalogue of prints and drawings in the British Museum., and Manuscript number "65" in upper right corner of sheet.
Publisher:
Published Feb. 1823 by J. Dickinson, 114 New Bond St.
Subject (Name):
Napoleon I, Emperor of the French, 1769-1821, Alexander I, Emperor of Russia, 1777-1825, Wellington, Arthur Wellesley, Duke of, 1769-1852, Francis I, Emperor of Austria, 1768-1835, Angoulême, Louis-Antoine d'Artois, duc d', 1775-1844, Ferdinand VII, King of Spain, 1784-1833., and Congress of Verona
Subject (Topic):
Bulldogs, Monkeys, Bears, Masks, Flags, and Globes
Hudibras is beaten with clubs by two masked men dressed as devils; a third man with mask in hand gestures to the young widow in the doorway on the left. A fourth, smaller masked man holds a large torch as he lights the way in the room. Ralpho hides behind a curtain on the far left. The room is decorated with a large wardrobe, an oval portrait, and large mirror; a footstool and urn in the right corner partially seen in the right corner
Description:
Title engraved above image., From a series of twelve prints after Hogarth and issued by Robert Sayer. Publisher name from first print in series., Date of publication based on publisher's name and address in imprint statement on the first plate in this series. Robert Sayer moved to 53 Fleet Street in 1760, and from 1777 onward he formed partnerships that caused him to trade under different names (Sayer & Bennett, Sayer & Co., etc.); see British Museum online catalogue. He acquired the Hogarth plates from Overton and re-issued them and copies in 1768. See Paulson., Numbered "9" in upper left corner., Eighteen lines of verse in three columns, below image: No sooner was the come t' himslef But on his neck a sturdy elf ... And that which was proved true before Prove false again? Two hundred more., Copy of no. 512 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 1., See Paulson, R. Hogarth's graphic works (3rd ed.), no. 90., and From a set of twelve prints, all with two sewing holes along left edge.
Title from item., Artist's name and date at upper right., Published in Life Magazine, February 3, 1947, to illustrate the article "Psychoanalysis " by Francis Sill Wickware., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
Time Inc.
Subject (Topic):
Neuroses, Mental states, Anxiety, Anger, Fruit, Masks, and Demons
Shown before the gate of a castle, Hamlet is supported by two men as the ghost of his father, dressed in armour the knees of which are etched with the masks of Comedy and Tragedy, appears before him
Description:
Title etched below image., Two lines from Shakespeare Hamlet quoted below title: "Still I am called .. unhand me gentlemens [sic]. By heaven I'll make a ghost of him that lets me"., Date based on publisher's address. See Maxted, I. The London book trades, 1775-1800., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Watermark: Pro patria.
Title etched below image., Date of publication from that of the periodical in which the plate appeared., Text above image: Engrav'd for the Oxford Magazine., Imperfect; sheet trimmed within plate mark with loss of text above image. Missing text supplied from impression in the British Museum., Plate from: The Oxford magazine or, Universal museum ... London : Printed for the authors, v. 4 (1770), p. 64., Temporary local subject terms: Emblems: cap of liberty -- Emblems: staff of liberty -- Weapons -- Masks: bull's head -- Britannia's shield., and Mounted to 20 x 14 cm.
Publisher:
publisher not identified
Subject (Name):
Grafton, Augustus Henry Fitzroy, Duke of, 1735-1811, Norton, Fletcher, 1716-1789, Pitt, William, Earl of Chatham, 1708-1778, Rockingham, Charles Watson-Wentworth, Marquis of, 1730-1782, Temple, Richard Grenville-Temple, Earl, 1711-1779, and Mansfield, William Murray, Earl of, 1705-1793
Subject (Topic):
Britannia (Symbolic character), Liberty cap, Petitions, Daggers & swords, Axes, Shields, and Masks
Title from item., Sheet trimmed within plate mark., "Price. 6d.", Dickinson Imprint from earlier state in lower left corner, blacked out on plate but partially legible., Three columns of verse below image: Here, may the wand'ring eye with pleasure see both knaves and fools in borrow'd shapes agree ..., Copy, with English verse only, of No. 1635 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 2., Temporary local subject terms: Court manners: bowing -- Spring Gardens., and Mounted to 29 x 45 cm.
Publisher:
Printed for & sold by Geo. Foster at the White Horse opposite the north gate in St. Paul's Church Yard, London
"Satire based on a novel of the same title on the cruel and hypocritical behaviour of a female former convict with four scenes enclosed within rococo scrolls. The scene on the left shows Polly Haycock, visibly pregnant, standing on a quay chained with a group of other convicts, guarded by a turnkey as they await transportration; above a mask holds a ribbon in its mouth lettered "With Child by the under turnkey, put on board a Lighter, from thence into a Transport Ship bound for Virginia". In the centre are two scenes, the lower one showing a coach travelling through a town being approached by two robbers, one of whom stands at the coach door raising his hands towards the woman sitting inside who wears a watch. Beneath this scene is written "Rob Theif. Or the Lady of ye Gold Watch Polly Haycock". In the scene above this a nearly naked woman is kneeling on a stone, her hands tied behind her back, being whipped by a black man; in the background on the left a man can be seen through a window sitting eating while on the right a man on horseback raises his hands. Written above is "Whipp'd during dinner her master boasting that no Monarch upon earth had so fine Musick as he fancied her Cries. In the Intreim [sic] the Justice Releasing and takes her home". In the fourth scene on the right she stands in a fashionable dress in a grand room holding a stick, a girl lies at her feet in evident distress, her skirt pulled up; a fashionably black page-boy stands on the left and three female servants stand in the background on the right. Above the scene a mask holds a ribbon in its mouth lettered "Her usage to her Free-born English Servants is as they do Negroes and Felons in the Plantations tho' she felt the Mesery herself". Beneath is written Remember Mrs. Branch & her daughter (a reference to the notorious case of Elizabeth Branch who murdered her servant in 1740)."--British Museum online catalogue
Description:
Title from item., Print made by: George Bickham the Younger. See British Museum online catalogue., Four designs enclosed by scrolls, each with its own inscription., Temporary local subject terms: Boats: lighter -- Plates -- Dishes: tankard -- Food: cooked fowl -- Furniture: table -- Chair -- Mantel -- Female servant -- Female dress: gold watch -- Sticks -- Transports -- Architectural details: Virginia planter's house., and Watermark.
Publisher:
publisher not identified
Subject (Name):
Branch, Elizabeth and Haycock, Mary, active 1741
Subject (Topic):
Black people, Carriages & coaches, Criminals, Dogs, Horses, Masks, Prison laborers, Servants, Enslaved people, and Whips
Wilson, James, approximately 1735-approximately 1786, printmaker
Published / Created:
published as the act directs 1780.
Call Number:
780.00.00.94+
Image Count:
1
Alternative Title:
Fair nun unmasked
Description:
Title engraved below image., Printmaker identified by Chaloner Smith from Sayer edition in the same year., Sheet trimmed within plate mark., and Reversed copy of the print originally published by Carington Bowles in 1769.
Title devised by curator., Publication date from an unverified card catalog record. Possibly later than 1760, based on use of wove paper., Sheet trimmed within plate mark including rounding corners that results in partial loss of design., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Mounted to 27 x 31 cm.
Publisher:
publisher not identified
Subject (Topic):
Lyres, Masks, Musical instruments, and Picture puzzles
"From the stage of a theatre, two figures address the audience: Charles Fox (left) with a fox's head, holds under his left arm a tray in which are two doll-like infants in swaddling bands; in his right hand is a paper inscribed, "Norton & Fox Sponsors". He is saying: "Discovered by the Secret Committee". In the centre is another man with a wide open mouth, whose head is perhaps intended for that of a dolphin. He holds a paper inscribed "The Child of the People". On the right. of the stage is part of a fountain supported by a satyr. On each side of the stage are two tiers of boxes; in the lower box on the right. Punch is talking to a lady."--British Museum online catalogue
Alternative Title:
Legacy for the House of Commons
Description:
Title etched above image., Dated in the British Museum catalogue from a report in the Oxford magazine, v. 6 (1771), p. 157., and Temporary local subject terms: Theater: boxes -- Architectural details: fountain -- Satyrs (Greek mythology) -- Punch, as member of audience -- Masks: ass's head -- Dolphin's head -- Children: infant foundlings -- Lighting -- Boots: one spurred, one Roman -- Reference to the House of Commons' Secret Committee, April 1771.
Publisher:
publisher not identified
Subject (Name):
Fox, Charles James, 1749-1806 and Norton, Fletcher, 1716-1789
Volume 2, page 22. Etchings by Henry William Bunbury, Esq. and after his designs.
Image Count:
1
Resource Type:
still image
Abstract:
"[1] 'H. Bunbury Esqr del.' Punch (left) points to a large butt or tun inscribed 'WYNNSTAY', from the top of which hang comic masks which encircle its upper circumference; in his right hand is a stick with an ass's head. On the right side of the butt are three figures: Mother Shipton, humpbacked with a profile like Punch's; a demon or satyr, who looks from behind the cask; and a small man or boy, perhaps Tom Thumb. [2] 'View of the Theatre at Wynnstay. I. Evans Esqr del.' A view of the theatre is framed by a curtain held up (left) by Comedy and right by Tragedy. The façade has the date '1782'. [3] 'Wynnstay. H. Bunbury Esqr del.' Amateur actors and actresses dance in a circle round a high pedestal supporting a bust of (?) Shakespeare. They include a Falstaff leering at a lady in Elizabethan dress, a man wearing a tall leek in his hat (? Fluellen), and a French military officer with long queue and cavalier's boots."--British Museum online catalogue
Description:
Title from text above images., Three designs arranged in a vertical strip, each with its own title and artist's signature., Sheet trimmed to plate mark leaving thread margins., Plate from: The European magazine, and London Review, v. 9 (February 1786), page 71., Temporary local subject terms: Buildings: Theatre at Wynnstay., 1 print : etching with engraving on laid paper ; sheet 25.8 x 14.9 cm., and Imperfect; sheet trimmed within plate mark on top edge with loss of title.
Publisher:
Publishd. Feby. 1, 1786, by I. Sewell, Cornhill
Subject (Geographic):
Great Britain
Subject (Name):
Shipton, Mother approximately 1488-1561 (Ursula), and Wynnstay Theatre,
Subject (Topic):
Theater, Masks, Barrels, Demons, Theaters, and Pedestals
"Political satire; under a sinking sun in which is drawn a crown, with the words "Obscured, not lost", a masked figure with a crow-bar labelled "Begum Sophistry" and the Prince Regent with a broken axe labelled "Presumptive Rights" try to break down the door of the Treasury, while another picks the lock, labelled "G R" with keys labelled "Tropes"; behind them stands a man in black with a lantern labelled "Loyalty", a belt labelled "Truth" and a clapper labelled "Vox Populi"; from the window of the Treasury, Pitt attacks the house-breakers with a blunderbuss labelled "Constitution"."--British Museum online catalogue
Alternative Title:
Housebreaking before sunset
Description:
Title etched below image., "Pr. 1s."--Below image, lower right., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., Temporary local subject terms: Pick axes -- Padlocks -- Swords -- Masks -- Guns -- Setting sun -- Watchman's lanterns -- Emblems: King's monogram on the padlock., Watermark: Fleur de lis on crowned shield, with initials G R below., and Mounted to 44 x 29 cm.
Publisher:
Published Jany. 6t 1789 by R. Butters, 79 Fleet Stt
Subject (Name):
Burke, Edmund, 1729-1797, Fox, Charles James, 1749-1806, Pitt, William, 1759-1806, Sheridan, Richard Brinsley, 1751-1816, Thurlow, Edward Thurlow, Baron, 1731-1806, and George III, King of Great Britain, 1738-1820.
Framed in an oval, the writer George Saville Carey is shown looking to his left while holding a mirror up in his extended right arm and holding a theater mask in his left arm, bent at the elbow
Description:
Title devised by cataloger. and For further information, consult library staff.
Wilson, James, approximately 1735-approximately 1786, printmaker
Published / Created:
publish'd as the act directs, A.D. 1769.
Call Number:
769.00.00.01+
Image Count:
1
Resource Type:
still image
Abstract:
In an oval frame, a half-length portrait of woman with a black veil over her head looks left. In her right hand she holds a mask; around her neck is cross. She wears pearl earrings, pearls in her hair, and a strand hangs from the jeweled rose at her breast
Alternative Title:
Fair nun unmasked
Description:
Title engraved below image., Printmaker identified in Chaloner Smith who based his description on the 1780 copy published by Sayer., Sheet trimmed to plate mark., Plate numbered '8' in lower left corner., Two lines of verse below title: On her white breast a sparkling cross she wore ... Pope., Reversed copy of this print was published in 1780., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., Temporary local subject terms: Female costume: masquerade dress -- Allusion to 'The Fair Nun' -- Literature: quotation from The rape of the lock, canto ii.7, by Alexander Pope, 1688-1744., and Watermark.
Publisher:
Printed for Carington Bowles, Map & Printseller, No. 69 in St. Pauls Church Yard, London
Subject (Topic):
Accessories (Clothing & dress), Dancers, Jewelry, Masks, and Masquerades
"A pretty and elegant young woman kneels on a bed supporting her elbows on the pillow. A woman stands beside her raising the girl's skirt in order to birch her, but finds her posterior covered by a life-sized mask which is a close portrait of herself. She says: "Oh ma foi! dot is mine own Head in t'oder place.""--British Museum online catalogue
Alternative Title:
Governess outwitted
Description:
Title etched below image., Attributed to Charles Williams in the British Museum catalogue., A close copy in reverse of print published by Holland in 1799: The governess delineated, or, A pretty face spoiled. Note from Andrew Edmunds April 2019., Sheet trimmed within plate mark., and Mounted on brown paper backing to 31 x 39 cm.
Publisher:
Pubd. Jany. 1817 by S.W. Fores, 50 Piccadilly
Subject (Topic):
Governesses, Child discipline, Beds, Masks, and Young adults
Harding, G. P. (George Perfect), 1780-1853, artist
Published / Created:
[not after 1824]
Call Number:
Folio 33 30 Copy 4
Image Count:
1
Resource Type:
still image
Abstract:
Wash drawing depicting a boy with in a scenic mask. This image, on an antique red stone set in gold, was kept by Horace Walpole in the Tribune at Strawberry Hill
Description:
Title devised by curator., Unsigned; questionable attribution to George Perfect Harding from local card catalog record., Date based on date of William Bawtree's death., and Mounted on page 158 of William Bawtree's extra-illustrated copy of: Horace Walpole's A description of the villa of Mr. Horace Walpole (Strawberry Hill : Printed by Thomas Kirgate, 1784). See A.T. Hazen's Bibliography of the Strawberry Hill Press (1973 ed.), no. 30, copy 11.
Hudibras is beaten with clubs by two masked men dressed as devils; a third man with mask in hand gestures to the young widow in the doorway on the left. A fourth, smaller masked man holds a large torch as he lights the way in the room. Ralpho hides behind a curtain on the far left. The room is decorated with a large wardrobe, an oval portrait, and large mirror; a footstool and urn in the right corner partially seen in the right corner
Alternative Title:
Hudibras catechized
Description:
Title engraved below image., After Hogarth., Caption on either side of title begins: "No sooner was he come t' himself, but on his neck a sturdy Elf ... And that which was prov'd true before prove false again two hundred more.", Copy of no. 512 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 1., and See Paulson, R. Hogarth's graphic works (3rd ed.), no. 90.
Mary Hackabout, now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist's moral message
Description:
Title, state and date from Paulson., Second state of the second plate in the series A harlot's progress, as described by Paulson, with black Latin cross in the center below design., "Plate 2"--Lower left corner., Sheet trimmed within plate mark., and Touched in sepia ink around the Harlot's and Jew's faces, and the Harlot's dress and foot; the foot of the blackamoor is extended down to meet the pile of cloth.
Publisher:
Wm. Hogarth
Subject (Geographic):
London (England)
Subject (Topic):
Social life and customs, Prostitution, Biblical events, Ethnic stereotypes, Blacks, Boudoirs, Jews, Masks, Monkeys, Paintings, Prostitutes, Relations between the sexes, Servants, Tea, and Rake's progress
A copy in reverse of William Hogarth's Plate 2 of A harlot's progress: Mary Hackabout (left), now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist's moral message
Alternative Title:
Harlot's progress. Plate 2, In high keeping by a Jew, and Juif l'entretien somptueusement
Description:
Title in English and French engraved below image., Date of publication based on the series of Rake's progress by Henry Parker dated 25 March 1768 in which these same engraved border pieces are used, here visibly more worn, and reversed on the page., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.7 x 36.3 cm)., Copy of Hogarth's original plate, engraved in reverse as per the piracy published by Elisha Kirkall in 1732., Overprinted with left and right border pieces., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2047., and Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 122.
Publisher:
publisher not identified
Subject (Topic):
Black people, Jews, Boudoirs, Biblical events, Masks, Monkeys, Clegy, Horses, Lust, Rake's progress, Prostitutes, Relations between the sexes, Servants, and Young adults
Volume 2, page 24. Etchings by Henry William Bunbury, Esq. and after his designs.
Image Count:
1
Resource Type:
still image
Abstract:
"Admission ticket for the theatre at Wynnstay, the private theatre of Sir Watkin Williams Wynn. ... A full length woman standing in a field in front of the theatre, holding a dramatic mask, others at her feet, in oval frame of laurel with 'Wynnstay' on ribbon at bottom."--British Museum online catalogue
Description:
Title from item., Artist attribution to Bunbury based on the inclusion of an impression of this print, mounted alongside the original drawing, in Horace Walpole's bound collection of Henry William Bunbury's works. See Lewis Walpole Library call no.: 49 3563., Date of publication from unverified data in local card catalog record., Sheet trimmed within plate mark., and Mounted on page 24 in volume 2 of: Etchings by Henry William Bunbury, Esq. and after his designs.
Volume 2, page 22. Etchings by Henry William Bunbury, Esq. and after his designs.
Image Count:
1
Resource Type:
still image
Abstract:
"[1] 'H. Bunbury Esqr del.' Punch (left) points to a large butt or tun inscribed 'WYNNSTAY', from the top of which hang comic masks which encircle its upper circumference; in his right hand is a stick with an ass's head. On the right side of the butt are three figures: Mother Shipton, humpbacked with a profile like Punch's; a demon or satyr, who looks from behind the cask; and a small man or boy, perhaps Tom Thumb. [2] 'View of the Theatre at Wynnstay. I. Evans Esqr del.' A view of the theatre is framed by a curtain held up (left) by Comedy and right by Tragedy. The façade has the date '1782'. [3] 'Wynnstay. H. Bunbury Esqr del.' Amateur actors and actresses dance in a circle round a high pedestal supporting a bust of (?) Shakespeare. They include a Falstaff leering at a lady in Elizabethan dress, a man wearing a tall leek in his hat (? Fluellen), and a French military officer with long queue and cavalier's boots."--British Museum online catalogue
Description:
Title from text above images., Three designs arranged in a vertical strip, each with its own title and artist's signature., Sheet trimmed to plate mark leaving thread margins., Plate from: The European magazine, and London Review, v. 9 (February 1786), page 71., Temporary local subject terms: Buildings: Theatre at Wynnstay., and Mounted on page 22 in volume 2 of: Etchings by Henry William Bunbury, Esq. and after his designs.
Publisher:
Publishd. Feby. 1, 1786, by I. Sewell, Cornhill
Subject (Geographic):
Great Britain
Subject (Name):
Shipton, Mother approximately 1488-1561 (Ursula), and Wynnstay Theatre,
Subject (Topic):
Theater, Masks, Barrels, Demons, Theaters, and Pedestals
Volume 2, page 24. Etchings by Henry William Bunbury, Esq. and after his designs.
Image Count:
1
Resource Type:
still image
Abstract:
A woman, shown full-length, stands in a field in front of a theater, holding a dramatic mask; other masks are at her feet. Surrounding the scene is an oval frame of laurel with 'Wynnstay' on the ribbon at the bottom. A design for an admission ticket for the theater at Wynnstay, the private theater of Sir Watkin Williams Wynn
Description:
Title from inscription in ink at bottom of image., Attribution to Bunbury based on inclusion of the drawing in a volume of the artist's work., Date from local card catalog record., Mounted alongside the print made after this drawing, as well as with another related drawing, on page 24 in volume 2 of: Etchings by Henry William Bunbury, Esq. and after his designs., and Original design for a print in the British Museum; see British Museum online catalogue, registration no.: C,3.149.
Mary Hackabout, now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist's moral message
Description:
Title devised by cataloger., Title, state, and date from Paulson., State before addition of black Latin cross in the center below design, "Plate 2."--Lower left corner., and Sheet trimmed within plate mark.
Publisher:
Wm. Hogarth
Subject (Topic):
Prostitution, Biblical events, Blacks, Boudoirs, Jews, Masks, Monkeys, Paintings, Prostitutes, Rake's progress, Relations between the sexes, Servants, and Tea
Plate 3. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
Mary Hackabout, now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist's moral message
Alternative Title:
Harlot's progress. Plate 2
Description:
Title devised by cataloger., Series title, state, and date from Paulson., Fourth state with black Latin cross in the center below design (from 2nd state) and extended shading of table leg. See Paulson., 1 print : etching and engraving on laid paper ; plate mark 31.2 x 37.9 cm, on sheet 46 x 59 cm., and Plate 3 in the album: Queen Charlotte's collection of Hogarth works.
Publisher:
Wm. Hogarth
Subject (Topic):
Prostitution, Biblical events, Blacks, Boudoirs, Ethnic stereotypes, Jews, Masks, Monkeys, Paintings, Prostitutes, Relations between the sexes, Servants, Tea, and Rake's progress
Mary Hackabout, now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist's moral message
Description:
Title devised by cataloger., Title, state, and date from Paulson., State before addition of black Latin cross in the center below design, "Plate 2."--Lower left corner., Sheet trimmed within plate mark., 1 print : etching with engraving on laid paper ; plate mark 31.2 x 37.9 cm, on sheet 45 x 56 cm., and Leaf 3 in: Album of William Hogarth prints.
Publisher:
Wm. Hogarth
Subject (Topic):
Prostitution, Biblical events, Blacks, Boudoirs, Jews, Masks, Monkeys, Paintings, Prostitutes, Rake's progress, Relations between the sexes, Servants, and Tea
Plate 3. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
Mary Hackabout, now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist's moral message
Alternative Title:
Harlot's progress. Plate 2
Description:
Title devised by cataloger., Series title, state, and date from Paulson., and Fourth state with black Latin cross in the center below design (from 2nd state) and extended shading of table leg. See Paulson.
Publisher:
Wm. Hogarth
Subject (Topic):
Prostitution, Biblical events, Blacks, Boudoirs, Ethnic stereotypes, Jews, Masks, Monkeys, Paintings, Prostitutes, Relations between the sexes, Servants, Tea, and Rake's progress
Full face mask combined from faces of Charles Fox on the left and Lord North on the right. Fox's dark hair, squinted eye and self-assured smile are countered by North's powdered wig, puzzled frown and straight mouth. Inscribed above, "Fronti nulla fides."
Alternative Title:
Fronti nulla fides
Description:
Title engraved below image., Signed with the monogram of James Sayers., "Although lettered 'H Bretherton', no such person is known, and it must be an error for James or possibly Charles."--British Museum online catalogue., 1 print : stipple engraving on laid paper ; plate mark 26.7 x 18.9 cm, on sheet 29 x 20.8 cm., and Mounted on leaf 15 of James Sayers's Folio album of 144 caricatures.
Publisher:
Published 21st May 1783 by H. [sic] Bretherton, New Bond Street
Subject (Geographic):
Great Britain
Subject (Name):
Fox, Charles James, 1749-1806 and North, Frederick, Lord, 1732-1792
Full face mask combined from faces of Charles Fox on the left and Lord North on the right. Fox's dark hair, squinted eye and self-assured smile are countered by North's powdered wig, puzzled frown and straight mouth. Inscribed above, "Fronti nulla fides."
Alternative Title:
Fronti nulla fides
Description:
Title engraved below image., Signed with the monogram of James Sayers., and "Although lettered 'H Bretherton', no such person is known, and it must be an error for James or possibly Charles."--British Museum online catalogue.
Publisher:
Published 21st May 1783 by H. [sic] Bretherton, New Bond Street
Subject (Geographic):
Great Britain
Subject (Name):
Fox, Charles James, 1749-1806 and North, Frederick, Lord, 1732-1792
Full face mask combined from faces of Charles Fox on the left and Lord North on the right. Fox's dark hair, squinted eye and self-assured smile are countered by North's powdered wig, puzzled frown and straight mouth. Inscribed above, "Fronti nulla fides."
Alternative Title:
Fronti nulla fides
Description:
Title engraved below image., Signed with the monogram of James Sayers., "Although lettered 'H Bretherton', no such person is known, and it must be an error for James or possibly Charles."--British Museum online catalogue., and Mounted on page 25 with one other print.
Publisher:
Published 21st May 1783 by H. [sic] Bretherton, New Bond Street
Subject (Geographic):
Great Britain
Subject (Name):
Fox, Charles James, 1749-1806 and North, Frederick, Lord, 1732-1792
Plate 3. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
Mary Hackabout, now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist's moral message
Alternative Title:
Harlot's progress. Plate 2
Description:
Title devised by cataloger., Series title, state, and date from Paulson., Fourth state with black Latin cross in the center below design (from 2nd state) and extended shading of table leg. See Paulson., 1 print : etching and engraving on laid paper ; plate mark 31.2 x 37.9 cm, on sheet 46 x 59 cm., and Plate 3 in the album: Queen Charlotte's collection of Hogarth works.
Publisher:
Wm. Hogarth
Subject (Topic):
Prostitution, Biblical events, Blacks, Boudoirs, Ethnic stereotypes, Jews, Masks, Monkeys, Paintings, Prostitutes, Relations between the sexes, Servants, Tea, and Rake's progress
Hudibras is beaten with clubs by two masked men dressed as devils; a third man with mask in hand gestures to the young widow in the doorway on the left. A fourth, smaller masked man holds a large torch as he lights the way in the room. Ralpho hides behind a curtain on the far left. The room is decorated with a large wardrobe, an oval portrait, and large mirror; a footstool and urn in the right corner partially seen in the right corner
Alternative Title:
Hudibras catechized
Description:
Title engraved below image., State, publisher, and date from Paulson., Numbered "4"--Upper right corner., Number 9 in the series. See Paulson., One of twelve large illustrations for Samuel Butler's Hudibras, 1725/6., and Caption on either side of title begins: "No sooner was he come t' himself, But on his Neck a sturdy Elf ..."
Plate 3. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
Mary Hackabout, now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist's moral message
Alternative Title:
Harlot's progress. Plate 2
Description:
Title devised by cataloger., Series title, state, and date from Paulson., Fourth state with black Latin cross in the center below design (from 2nd state) and extended shading of table leg. See Paulson., and On page 59 in volume 1. With a ms. note in Steevens hand above print: 2nd Impression. Plate trimmed to: 31 x 37.8 cm.
Publisher:
Wm. Hogarth
Subject (Topic):
Prostitution, Biblical events, Blacks, Boudoirs, Ethnic stereotypes, Jews, Masks, Monkeys, Paintings, Prostitutes, Relations between the sexes, Servants, Tea, and Rake's progress
Hudibras is beaten with clubs by two masked men dressed as devils; a third man with mask in hand gestures to the young widow in the doorway on the left. A fourth, smaller masked man holds a large torch as he lights the way in the room. Ralpho hides behind a curtain on the far left. The room is decorated with a large wardrobe, an oval portrait, and large mirror; a footstool and urn in the right corner partially seen in the right corner
Alternative Title:
Hudibras catechized
Description:
Title engraved below image., State, publisher, and date from Paulson., Numbered "4"--Upper right corner., Number 9 in the series. See Paulson., One of twelve large illustrations for Samuel Butler's Hudibras, 1725/6., Caption on either side of title begins: "No sooner was he come t' himself, But on his Neck a sturdy Elf ...", and On page 36 in volume 1. Plate trimmed to: 26.6 x 35 cm.
"A view of the left side of the stage, including part of a stage box on the extreme left. From this leans a figure of Folly wearing a fool's cap with ass's ears, clapping his hands. Within the shadow of the box is the head of a staring owl (cf. British Museum Satires No. 5363). A frieze of dancing dogs (cf. British Museum Satires No. 16715) decorates the lower part of the box; above is a grinning mask flanked by dogs' heads. The capital of the Corinthian pilaster that flanks the stage is formed of dogs' heads. At its foot is a figure of Thalia covering her face with her hands. At the base of her pedestal is an open book: 'The Caravan or the Driver and his Dog a Farce.' This lies on and obscures another: 'The Critic or Tragedy rehearsed'. The front of the stage is filled with a large pool; in this a dog swims, his collar inscribed 'Carlo'; he holds the head of Sheridan above the water by his hair, saying: "------methinks it were an easy Leap" To dive into the bottom of the Deep" And pluck up drowned honour by ye Locks." ['1 Henry IV', I. iii.] Water gushes into the pool from left and right; on the righ from a mound of stone slabs on which is poised a wheeled dog-kennel. By the roof of the kennel are the heads of two enormous and camel-like dogs, muzzled (or bridled), and peering at Carlo; one partly obscures a notice-board on a post in the pool: 'Humane Socie[ty for] recovering drowning persons] It is recommended That Dog Kennels [should be] stationed at all Ho[uses of] public Entertainment for the Benefit of drowning persons.' The scenery is a water-side castle."--British Museum online catalogue
Alternative Title:
New way to keep one's head above water
Description:
Title etched in lower right corner image., Signed with the monogram of James Sayers., Text below title: Motto for the farce, And Folly clappd. his hands and Wisdom star'd. Churchill., Temporary local subject terms: Carlo -- Thalia -- Dancing Dog -- Folly -- Drury Lane., and Mounted to 33 x 41 cm.
Publisher:
Pubd. 17th Decr. 1803 by H. Humphrey, St. James's Str
Subject (Name):
Sheridan, Richard Brinsley, 1751-1816
Subject (Topic):
Stages (Platforms), Dogs, Owls, Fools' caps, and Masks
"A view of the left side of the stage, including part of a stage box on the extreme left. From this leans a figure of Folly wearing a fool's cap with ass's ears, clapping his hands. Within the shadow of the box is the head of a staring owl (cf. British Museum Satires No. 5363). A frieze of dancing dogs (cf. British Museum Satires No. 16715) decorates the lower part of the box; above is a grinning mask flanked by dogs' heads. The capital of the Corinthian pilaster that flanks the stage is formed of dogs' heads. At its foot is a figure of Thalia covering her face with her hands. At the base of her pedestal is an open book: 'The Caravan or the Driver and his Dog a Farce.' This lies on and obscures another: 'The Critic or Tragedy rehearsed'. The front of the stage is filled with a large pool; in this a dog swims, his collar inscribed 'Carlo'; he holds the head of Sheridan above the water by his hair, saying: "------methinks it were an easy Leap" To dive into the bottom of the Deep" And pluck up drowned honour by ye Locks." ['1 Henry IV', I. iii.] Water gushes into the pool from left and right; on the righ from a mound of stone slabs on which is poised a wheeled dog-kennel. By the roof of the kennel are the heads of two enormous and camel-like dogs, muzzled (or bridled), and peering at Carlo; one partly obscures a notice-board on a post in the pool: 'Humane Socie[ty for] recovering drowning persons] It is recommended That Dog Kennels [should be] stationed at all Ho[uses of] public Entertainment for the Benefit of drowning persons.' The scenery is a water-side castle."--British Museum online catalogue
Alternative Title:
New way to keep one's head above water
Description:
Title etched in lower right corner image., Signed with the monogram of James Sayers., Text below title: Motto for the farce, And Folly clappd. his hands and Wisdom star'd. Churchill., Temporary local subject terms: Carlo -- Thalia -- Dancing Dog -- Folly -- Drury Lane., 1 print : aquatint and etching on wove paper ; plate mark 25.1 x 31.4 cm, on sheet 26.6 x 32.6 cm., and Mounted on leaf 83 of James Sayers's Folio album of 144 caricatures.
Publisher:
Pubd. 17th Decr. 1803 by H. Humphrey, St. James's Str
Subject (Name):
Sheridan, Richard Brinsley, 1751-1816
Subject (Topic):
Stages (Platforms), Dogs, Owls, Fools' caps, and Masks
"A view of the left side of the stage, including part of a stage box on the extreme left. From this leans a figure of Folly wearing a fool's cap with ass's ears, clapping his hands. Within the shadow of the box is the head of a staring owl (cf. British Museum Satires No. 5363). A frieze of dancing dogs (cf. British Museum Satires No. 16715) decorates the lower part of the box; above is a grinning mask flanked by dogs' heads. The capital of the Corinthian pilaster that flanks the stage is formed of dogs' heads. At its foot is a figure of Thalia covering her face with her hands. At the base of her pedestal is an open book: 'The Caravan or the Driver and his Dog a Farce.' This lies on and obscures another: 'The Critic or Tragedy rehearsed'. The front of the stage is filled with a large pool; in this a dog swims, his collar inscribed 'Carlo'; he holds the head of Sheridan above the water by his hair, saying: "------methinks it were an easy Leap" To dive into the bottom of the Deep" And pluck up drowned honour by ye Locks." ['1 Henry IV', I. iii.] Water gushes into the pool from left and right; on the righ from a mound of stone slabs on which is poised a wheeled dog-kennel. By the roof of the kennel are the heads of two enormous and camel-like dogs, muzzled (or bridled), and peering at Carlo; one partly obscures a notice-board on a post in the pool: 'Humane Socie[ty for] recovering drowning persons] It is recommended That Dog Kennels [should be] stationed at all Ho[uses of] public Entertainment for the Benefit of drowning persons.' The scenery is a water-side castle."--British Museum online catalogue
Alternative Title:
New way to keep one's head above water
Description:
Title etched in lower right corner image., Signed with the monogram of James Sayers., Text below title: Motto for the farce, And Folly clappd. his hands and Wisdom star'd. Churchill., Temporary local subject terms: Carlo -- Thalia -- Dancing Dog -- Folly -- Drury Lane., and Mounted on page 101.
Publisher:
Pubd. 17th Decr. 1803 by H. Humphrey, St. James's Str
Subject (Name):
Sheridan, Richard Brinsley, 1751-1816
Subject (Topic):
Stages (Platforms), Dogs, Owls, Fools' caps, and Masks
Mary Hackabout, now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist's moral message
Description:
Title devised by cataloger., Title, state, and date from Paulson., State before addition of black Latin cross in the center below design, "Plate 2."--Lower left corner., Sheet trimmed within plate mark., and On page 59 in volume 1. With pencilled ms. note in Steevens hand above print: 1st Impression. Plate trimmed to: 31.1 x 37.7 cm.
Publisher:
Wm. Hogarth
Subject (Topic):
Prostitution, Biblical events, Blacks, Boudoirs, Jews, Masks, Monkeys, Paintings, Prostitutes, Rake's progress, Relations between the sexes, Servants, and Tea
"The Princess of Wales, squat and fat, wearing a short transparent dress, adjusts her hair at a large glass above a console table on which lies her black mask. Bergami stands beside her, holding a scarf and a box of 'Essence Bergamy'; he wears orders (see British Museum Satires No. 13810, &c.). She asks: "Comment me trouves tu Mon cour" [sic]? He answers: "Je t'aime mieux comme" / "cela, mon Ange". Through a window reaching to the floor (right) is seen Vesuvius."--British Museum online catalogue
Alternative Title:
Dressing for a masked ball at Naples
Description:
Title etched below image., Attributed to Theodore Lane in the British Museum online catalogue., and Mounted on page 4 of: George Humphrey shop album.
Publisher:
Pubd. October 1820 by G. Humphrey, St. James St.
Subject (Name):
Caroline, Queen, consort of George IV, King of Great Britain, 1768-1821 and Bergami, Bartolomeo Bergami, Baron
Subject (Topic):
Adultery, Obesity, Mirrors, Grooming, Masks, and Volcanoes
"A scene in the House of Commons, showing the Ministerial benches, with the Speaker's Chair and the Table partly cut off by the right margin. The Speaker (Manners Sutton) and one of the Clerks are just within the design. Castlereagh is speaking; he stands in profile to the right, hat in hand, with the Pope on his shoulders. The Pope holds crosier and keys, and wears an odd tiara. A demon crouches on his shoulders dressed as an acolyte, but displaying a cloven hoof; a mask with bland features (a device deriving from Gillray, cf. British Museum Satires No. 11384) is tied in front of his black horned head; he holds up a lighted candle, and clutches the Pope's hair. Castlereagh, with a blandly disingenuous smile: "I have the authority of the Head of the Catholic Church, for saying that there is no solidity in the objection taken on the other side: thus I am legislating with the Pope at my back!!!" The benches behind Castlereagh are crowded; the members listening intently; all wear hats, except Peel who sits immediately behind Castlereagh's empty seat, on the corner of which he has put a hat, inscribed 'Peel'. He looks up to say: "I hope that when the noble Lord observed that [he was legislating with the Pope at his back] he had no allusion to me, even if the noble Lord were willing to put the Popedom in Commission, I should not be willing to accept the office of one of the Commissioners." Men look down from the gallery. On the floor is a paper: 'St Steevens March 28 1821'."--British Museum online catalogue
Alternative Title:
Whatever is, is right. Pope! and Weighty argument in favour of the Catholic Emancipation
Description:
Title etched below image. and Watermark: J. Whatman 1820.
Publisher:
Pubd. April 1821 by G. Humphrey, 27 St. Jamess Street, London
Subject (Geographic):
Great Britain.
Subject (Name):
Castlereagh, Robert Stewart, Viscount, 1769-1822, Canterbury, Charles Manners-Sutton, Viscount, 1780-1845, Pius VII, Pope, 1742-1823, Peel, Robert, 1788-1850, and Great Britain. Parliament. House of Commons,
Subject (Topic):
Catholic emancipation, Legislative bodies, Politicians, Public speaking, Popes, Crosiers, Keys (Hardware), Demons, Masks, and Candles