A sparse interior where (G) Mary Toft lies on a curtained bed apparently in the throes of labour. She is attended by (E) her husband Joshua Toft and (F) his sister Margaret, acting as nurse. (D) Dr John Howard is receiving a dead rabbit from a butcher at the door. There are three other men in the room: (A) Nathaniel St André, (C) John Maubray or Cyriacus Ahlers, and (B) a third (Sir John Manningham or Samuel Molyneux) whose arm is thrust beneath Mary's skirts. Rabbits scamper across the floor; others lie dead; to the right is a chamber pot."--British Museum online catalogue
Alternative Title:
Wise men of Godliman in consultation
Description:
Title engraved below image., State, date, and place of publication from Paulson., According to Hogarth's early biographer John Nichols, the print was commissioned by a group of rival surgeons paying a guinea each., Sheet trimmed within plate mark., On page 42 in volume 1. Sheet trimmed to: 18.3 x 24.9 cm., and Ms. note in Steevens's hand in pencil, above this print: Modern impression.
Publisher:
Wm. Hogarth
Subject (Name):
Toft, Mary, 1703-1763, Toft, Joshua, fl. 1720-1726, Manningham, Richard, Sir, 1690-1759, St. André, Nathanael, 1680-1776, and Howard, John, fl. 1690-1720
Subject (Topic):
Births, Butchers, Chamber pots, Canopy beds, Interiors, Physicians, and Rabbits
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. In the lower right corner, an image of a cross-section of brain, labeled below frame "A Methodist's brain"
Description:
Title etched below image., 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 either side of 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 to the left of the title: 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., and Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210.
Publisher:
Published Novr. 12th, 1795 by John Ireland, No. 3 Poets Corner, Palace Yard, Wesminster
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
Reduced 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 without "Whitfield" etched on it echoes the preacher
Description:
Title etched below image., 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. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery & ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, & on the same piece of copper engraved the plate which is copied on the opposite page., 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., "Page 233"--Above image, right., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and On page 190 in volume 2.
Publisher:
Published March 1798 for John Ireland, Poets Corner, Palace Yard
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
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
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., and 1 print : etching ; plate mark 481 x 380 mm.
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
Reduced 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 without "Whitfield" etched on it echoes the preacher
Description:
Title etched above image., Legend to figures lettered or marked with asterisks in image, above imprint and below image: A. After Raphael. B. After Rubens. C. After Rembrandt. D.E.F.G.H. Are imitiations of other painters. *From sketches by Hogarth on the margins of the original prints., "Page 233"--Above image, left., Plate prepared for: Ireland, J. Supplement to Hogarth Illustrated, 1798, p. 233., Sheet trimmed to plate mark., Details from: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2425., Details form: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and On page 191 in volume 2.
Publisher:
Published by John Ireland, No. 3 Poets Corner, Palace Yard, Westminster
Subject (Name):
Toft, Mary, 1703-1763
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, and Witches
Reduced 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 without "Whitfield" etched on it echoes the preacher
Description:
Title etched above image., Legend to figures lettered or marked with asterisks in image, above imprint and below image: A. After Raphael. B. After Rubens. C. After Rembrandt. D.E.F.G.H. Are imitiations of other painters. *From sketches by Hogarth on the margins of the original prints., "Page 233"--Above image, left., Plate prepared for: Ireland, J. Supplement to Hogarth Illustrated, 1798, p. 233., Sheet trimmed to plate mark., Details from: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2425., Details form: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and On page 190 in volume 2.
Publisher:
Published by John Ireland, No. 3 Poets Corner, Palace Yard, Westminster
Subject (Name):
Toft, Mary, 1703-1763
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, and Witches
Print with twelve panels relating to the affair of Mary Toft, "the rabbit breeder": from top left, she is held aloft by two men and a Harlequin or Merry Andrew, she has a rabbit in either hand; she pursues a rabbit while working in a field; she dreams of being impregnated by rabbit, Cupid is shown on a cloud beside her bed holding a rabbit in either hand; she is seated in a chair attended by two women while the two men and Harlequin discuss the monstrous birth; Harlequin demonstrates that he can express milk from her breast; Harlequin feels "the rabbets leapin in her belly" while two men look on; she sits on the edge of a bed and Harlequin kneels to seize a rabbit that emerges from her skirts while a doctor raises his hands in surprise, wishing to anatomize the animal; Harlequin stands behind a table holding a balance in which he weighs dung removed from the rabbit explaining to two men that this will allow him to judge whether the animal had "breath'd in air"; doctors and midwives discuss the phenomenon around a table and Harlequin enters claiming that the birth must be "praeternatural"; a crowd of gentlemen are welcomed to the bagnio in Leicester Square where Toft is housed; two men spy from the door to Toft's room as another hands her a dead rabbit; Toft, weeping, is led away to Bridewell by two constables while Harlequin "sits upon Repenting stool, Cursing his fate in being made a Fool. See British Museum online catalogue
Alternative Title:
New whim wham from Guildford
Description:
Title etched above images. and Trimmed within plate mark.
Publisher:
publisher not identified
Subject (Name):
Toft, Mary, 1703-1763
Subject (Topic):
Christianity, Superstition, Demonology, Births, Brothels, Cupids, Fools & jesters, Fraud, Law enforcement, Physicians, Pregnant women, and Rabbits
Boitard, Louis-Philippe, active 1733-1770, printmaker
Published / Created:
[1767]
Call Number:
767.00.00.03+
Image Count:
1
Resource Type:
still image
Abstract:
"Satire on fashionable life described in a sub-title as "Address'd to the Professors of Driving, Dressing, Ogling, Writing, Playing, Gambling, Racing, Dancing, Duelling, Boxing, Swearing, Humming, Building, &c. &c. &c." with broad space flanked by large buildings leading down to the sea. On the left, "The Academy for the Noble Art of Boxing NB Mufflers provided for delicate Constitutions" through the windows of which a pugilist can be seen addressing a yong nobleman, and two men boxing. Beside this a theatre into which a large crowd enters via a staircase, encouraged by a zany standing on a balcony with three actresses, two actors wearing turbans and another dressed as a soldier; the sign above refers to notorious hoaxes of the earlier part of the century: "Britannia Humm'd Or the Tragedy of the Secret Expedition [presumably the Expedition on Rochefort, 1757], A Mock Tragedy to which is added a Farce call'd The Pregnant Rabit Woman [i.e., Mary Toft], Together with the Adventures of the Bottle Conjurer [see BM Satires 3022, 1868,0808.3875], and Polish Jew [Henry Simons]. As likewise the taking ye Standard at the Battle of Dittingen." The next house is built in a variety of styles; beyond, the sea the sun rises "for the Vigilant". In the foreground fashionable people are shown as described in a key below: 1. "British Nobility disguis'd", three women dressed in French style in an open carriage are bowed to by 2. a foppish young man "Return'd from the Polite Tour"; behind him 3. "Foreign Insolence [is] express'd by the French Valet de Chambre daring to Insult 4. English Bravery in Distress [an old sailor with a wooden leg], reduc'd to ask Alms in his Native Country, after having courageously lost his limbs in Defence of it on board a Privateer & unjustly kept out of his Prize-money"; next is 5. "The Optical Ogle, or polite Curiosity", a young gentleman peering at the women in the carriage through an eye-glass; 6. "An Author", a miserable gentleman with his hands tucked into the breast of his coat who is barked at by two dogs; by contrast, 7. "A Player" reclines comfortably in a sedan chair, a footman walking before him; 8. describes a scene at the door of the house on the right, "The Industrious Tradesman thrust off with Contempt, expecting a just Debt to be paid, to make room for a high Life Gambler [also in a sedan chair], politely usher'd in to receive his Debt of Honour"; behind this group is, 9. "A Feather of the Turf", a man mounted on a high gig drives two horses, and 10. "The Balance of Merit in this happy Climate for useless Exotics, [where] A French Dancing Master obtains 300£ pr. Ann. & a clear Benefit worth near 300£ more, while the Ingenious English Shipwright, tho' Assistant to the Honour Profit & Defence of his Country, by hard Labour barely obtains 40£ pr. Ann."; on the left, 11. a hearse drives into the scene with "The Corps[e] of a Blood, conveying to Interment, who boldly lost his Life in a Duel defending the Reputation of a Prostitute"; 12. is the house beside the sea, "Modern Architecture The Corinthian, Venetian, Gothic & Chinese huddled in one Front,"; 13. an old woman leaning out of an upper window calling to a woman and two men at the door represents "Modern Hospitality in the Character of Old Age, left to take care of Furniture, & answer Duns that the Family is in the Country"; 14. fishing boats at sea are reminders that "One British Buss [fishing boat] of more service to the Community than ten Italian Singers"."--British Museun online catalogue
Description:
Title etched above image., Sheet trimmed within plate mark., Eight lines of text below image: Explanation. 1 British Nobility disguis'd, 2 Return'd from the Polite Tour, 3 Foreign Insolence express'd by the French valet de chambre daring to insult 4 English Bravery in distress ..., and Mounted to 26 x 35 cm., window mounted to 29 x 41 cm.
Publisher:
Printed for John Bowles at the Black Horse in Cornhill & Carington Bowles in St. Pauls Church Yard, London
Subject (Geographic):
England
Subject (Name):
Garrick, David, 1717-1779 and Toft, Mary, 1703-1763
