Mr. Harley, with a very large belly and a shirt with lace trim, standing full-length in profile to right wearing on his head a cuckold's horns from which hangs a sign "A room to lett unfurnish'd". From his mouth a bubble reading, "I am one of the heads of the city." In his left hand a book open to pages that read, "The city poll dedicated to the Cheese mongers, trunk makers, etc. From his right pocket a letter, "At the court of C.C., it was carried NEM-CON that he was realy & not politically ill."
Alternative Title:
Figure that appeared in a Mazarine gown
Description:
Title etched above image., Publication date in British Museum catalogue: October 10, 1768, the date of the masquerade., Plate from: The Oxford magazine or, Universal museum ... London : Printed for the authors, v. 1 (1768), p. 148., and Mounted to 30 x 36 cm.
Publisher:
Oxford Magazine
Subject (Geographic):
England and Great Britain.
Subject (Name):
Harley, Thomas, 1730-1804
Subject (Topic):
Clothing & dress, City council members, Horns (Anatomy), Masquerades, and Obesity
Title etched below image., Sheet trimmed within plate mark., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
Published 4th April 1795 by Laurie & Whittle, 53 Fleet Street, London
Subject (Topic):
Black people, Punch and Judy, Falstaff, John, Turks, Devil, and Masquerades
"A circular building (the Rotunda) in the background and a Chinese structure on a lake reached by a bridge"--British Museum online catalogue
Alternative Title:
Vüe du canal, du bâtiment, Chinois, de la Rotunda, &c. des Jardins de Ranelagh, un jour de masquarade
Description:
Title from caption below image., Terminal date of publication based on printseller's street address. See British Museum online catalogue., Later reissue of a print published in 1752. See British Museum online catalogue., "Publish'd according to act of Parliament"--Below image., and Plate numbered "74" in upper right corner.
Publisher:
Printed for & sold by Robt. Sayer at the Golden Buck, opposite Fetter Lane, Fleet Street
A view of Ranelagh Gardens during a masquarade, with the revellers wearing masks. After a design by Canaletto. For an engraving of the same scene in reverse, published by Robert Sayer in 1752, see British Museum online catalogue, registration no.: 1880,1113.2450
Alternative Title:
View of the canal, Chinese building, rotunda, &c. in Ranelagh Gardens, with masquerade, Vüe du canal, du batiment chinois, de la rotunda, &c. des Jardins de Ranelagh, un jour de masquarade, and Masquerade angloise
Description:
Title etched below image., Additional title "Masquerade angloise" at top of plate, etched as a mirror image., Signed in lower right corner with an illegible printmaker's signature., Date of publication from dealer's description., Sheet trimmed within plate mark on right and left sides., A 'vuë d'optique', designed to be viewed through an optical viewer that gives a sense of depth perspective; the scene is reversed, as is the additional title at top., Manuscript number "9" written in ink at bottom of sheet, centered., Mounted on board., and Windows of the rotunda in image cut out by hand and inset with hand-painted multi-color inserts, which appear illuminated when a light is held from behind.
Title from item., Publication place and date from book in which this print was published., Two columns of verse in English on left below image: Here, may the wand[e]ring eye with pleasure see Both knaves and foolls [sic] in borrow[e]d shapes agree ..., Two columns of verse in Dutch on right below image: Hier kan 't Nieuwsgierig oog met Lust en ruymte weyen ..., Plate 14 from: Het groote tafereel der dwaasheid ... , v. 2., Temporary local subject terms: Architecture: assembly room., and Watermark in the right part of sheet.
The eighth drawing in a series of twelve that follow a tradition of producing a series on modern morals, a tradition established earlier in the 18th century by artists such as William Hogarth. In this series, twin brothers are bestowed an equal fortune. One brother, Edward, husbands his wealth and on his death, passes on his fortune; whilst the other brother, Charles, squanders his, leaving his family destitute and In this eighth drawing, Charles is dressed in costume at a crowded masquerade with other elaborately dressed party goers in an elegant ballroom
Description:
Title from pencil notation below title., Signed "Dodd" in lower left and numbered '8' in ink in the upper right., Date range based on artist's active dates., and For further information, consult library staff.
Subject (Topic):
Allegorical drawings, Ballrooms, Costumes, Masquerades, and Parables
"Satire on John Heidegger and the taste for the masquerades which he promoted. A London street scene in the foreground of which Heidegger sprawls on the ground, his watch and coins falling from his pocket, as he begs mercy of Hercules. Hercules, clad in a lion skin, raises his club threateningly; with his right hand he holds a chain encircling a large group of masqueraders, some of whom have their hands tied behind their backs, their props or accessories are scattered on the ground; other masqueraders climb out of the windows of the building behind. On the left, Piety, Wisdom and Britannia emerge from a church followed by clergymen; beggars ask for alms, one holds a dog on a lead who rushes towards Heidegger. Mercury flies overhead holding a scroll lettered, "The Masquerade destroyt".
Description:
Title etched below image., Artist unidentified., Date 1727 by Paulson, R. Hogarth's graphic works, (3rd ed.), p. 48. Dated "ca. 1724" in the British Museum catalogue., According to John Nicholls in his Biographical anecdotes of William Hogarth (1785, p.134), this print inspired Hogarth's "Masquerades and Operas" (British Museum satires no. 1742), but the reverse may be the case., "Price 1 shilling"--Lower left., Sheet trimmed to plate mark., On page 26 in volume 1., and Ms. note in Steevens's hand above: An anonymous print to which Hogarth was indebted. See the following print.
Publisher:
publisher not identified
Subject (Name):
Heidegger, John James, 1659?-1748. and Hercules (Roman mythological character),
Subject (Topic):
Britannia (Symbolic character), City & town life, Clergy, Costumes, Dogs, and Masquerades
Opposite page 15. Trial of Elizabeth duchess dowager of Kingston for bigamy, before the Right
Image Count:
1
Resource Type:
still image
Abstract:
An engraving, showing a scene from the Venetian Ambassadors Masquerade in which Miss Chudleigh appears wearing stockings, shoes, and a tunic, the last covering only a very small portion of her person, and taking off her mask on being seized round the waist by a gentleman. "Punch", "Judy", and another masquerader, George II?, are behind
Description:
Title from text below image., Attributed to Charles Moseley in the British Museum online catalogue, registration no.: 1868,0808.3894., Date of publication from the British Museum catalogue., Sheet trimmed within plate mark on three sides., "Price 6 d."--Lower right corner of plate., and Bound in opposite page 15 in an extra-illustrated copy of: The trial of Elizabeth duchess dowager of Kingston for bigamy, before the Right Honourable the House of Peers ... London : Printed for Charles Bathurst, in Fleet-Street, MDCCLXXVI [1776].
Publisher:
publisher not identified
Subject (Geographic):
England and England.
Subject (Name):
Bristol, Elizabeth Chudleigh, Countess of, 1720-1788 and Bristol, Elizabeth Chudleigh, Countess of, 1720-1788.
Plate 20. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 5
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.4 x 46.6 cm, on sheet 46 x 59 cm., and Plate 20 in the album: Queen Charlotte's collection of Hogarth works.
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 4
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., and Formerly on page 118 in volume 2. Removed in 2012 by LWL conservator.
