"A design in six compartments arranged in two rows, each with a title. [1] 'Johnnys reception by "merry Tonkanoo at Negro Ball'. The ball is in an open shed with a negro fiddler seated high on a hogshead; most of the guests watch Johnny, the only white, and 'Tonkanoo' bowing to each other. The latter is a tall negro with huge false moustache and long wig, feathered hat, and wide-cuffed coat in imitation of English dress c. 1740, with breeches and bare legs. A negro behind Johnny disperses flies with a branch. A negro couple is dancing; the ladies are fully dressed, some with tall cylindrical hats. Behind are distant mountains. [2] 'Johnny dancing with Rosa--the Planters beautiful daughter'. At the same ball all the negroes form a background of admiring spectators while Johnny, still wearing his enormous hat, dances with a pretty English girl in conventional evening dress, holding both her hands. Tonkanoo stands with his arms extended towards them. In the foreground (left) is a little naked negro Cupid with bow, quiver, and arrows, pointing to the couple. [3] 'Johnnys Courtship and professions of Love to Rosa'. Rosa reclines on a sofa under a piece of drapery looped from a tree; Johnny (left), hat in hand, kneels at her feet while the Cupid aims his bow at him. A pet monkey sits beside Rosa, and behind her (right) stands a negro girl brushing away flies with a branch. Johnny's servant is behind (left) holding an umbrella. Two cockatoos bill on a branch. [4] 'Johnny and the fair Rosa tripping to the Altar of Hymen'. The pair run hand in hand along a path which winds to a church resembling an English village church. Negro servants run after them, one holding up a large umbrella. Before them run two little negroes; one is Cupid playing a fiddle, the other, Hymen, holds up a lighted torch. In the distance, nearing the church, are the parson and his clerk. [5] 'Nuptial ceremony of Johnny and the charming Rosa'. In a Gothic church the parson with his book stands behind a cylindrical altar on which are two hearts transfixed by an arrow. Johnny puts the ring on Rosa's finger. The congregation are delighted negroes and negresses. Against the altar sit Cupid and Hymen; Cupid wears Johnny's huge hat and plays the fiddle; Hymen blows at his torch. [6] 'Johnny and his fair Bride reveling in Jollity and festive mirth'. Johnny, tipsily jovial, his father-in-law, and Rosa, sit at table, drinking, the men smoking, many bottles of 'Sangaree' on the floor. A man fiddles, and in the background a dance is in progress. Johnny wears his planter's hat, &c., as in British Museum Satires No. 11983, and has always a swarm of flies round his head. Rosa throughout wears her ball-dress, with feathers in her hair."--British Museum online catalogue, description of an earlier state
Description:
Title etched above image., State before imprint mostly burnished from plate., Plate numbered "180" in upper right corner. Also numbered in upper left: Pl. 2., Plate from: Woodward, G.M. Caricature magazine, or Hudibrastic mirror. London : Thomas Tegg, [1808?], v. 3., Also issued separately., and "Price one shilling coloured."
Publisher:
Pubd. by Ts. Tegg
Subject (Topic):
Black people, Celebrations, Courtship, Dance, Intoxication, Marriage, and Musicians
"Spectators watch military manoeuvres in the air. The sky is covered with camps, marching men, and galloping cavalry, some are in military formation, others are single figures. There are tents and marquees with wings; a man beats a drum, three orientals wearing turbans race through the air beating cymbals. In the foreground (left) spectators on horseback look up in amazement, one horse throws its rider; geese, goslings, and pigs are under the horses' feet. On the right the King and Queen sit together on a bank; the King gazing through a small telescope, the Queen looking at him with delighted astonishment. In front of them is a gate over which two officers mounted on winged cannon are gracefully leaping, a third soars into the air."--British Museum online catalogue
Alternative Title:
Amusment for John Bul, Amusement for John Bull, and Flying camp
Description:
Title etched below image. and Watermark: Strasburg lily with initials GR below ; countermark IV.
Publisher:
Pubd. by J. Aickin [sic], No. 13 Castle Street, Leicester Fields
Subject (Geographic):
Bagshot (Surrey, England)
Subject (Name):
George III, King of Great Britain, 1738-1820, Charlotte, consort of George III, King of Great Britain, 1744-1818, and Richmond, Charles Lennox, 3d Duke of, 1735-1806
Subject (Topic):
John Bull (Symbolic character), Black people, Cannons, Military camps, Military parades & ceremonies, Musical instruments, Musicians, Spectators, and Telescopes
Two men restrain a well-dressed Black man with a carictured face as a group of men and one woman look on, the men mostly smiling but the woman with a look of horror on her face
Description:
Title from caption below image. and Publication date from local card catalog record.
In seven scenes in a design of two tiers, citizens dispute the oppressive fees imposed by a zealous tax collector who taxes bugs, pets, a bulbous nose and a runny nose, corns on a foot, and a man's skin. In the scene on the upper right, the tax collector penalizes a man whom he accuses of evading tax as he defecates in a bush
Alternative Title:
Taxes as they will be!!
Description:
Title etched below image., Attributed to Isaac Cruikshank by Krumbhaar., Publisher's advertisement following imprint: ... folios of caracatures [sic] lent out for the evening., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
Pubd. June 1st, 1796, by S.W. Fores, No. 50 Piccadilly, corner of Sackville Street ...
Subject (Geographic):
Great Britain
Subject (Topic):
Taxation, Black people, Birds, Birdcages, Cats, Defecation, Dogs, Servants, Single women, and Tax payers
Volume 2, page 73. Etchings by Henry William Bunbury, Esq. and after his designs.
Image Count:
1
Resource Type:
still image
Abstract:
"Portrait of a man wearing large-brimmed and feathered hat and carrying a rifle over his shoulder, his catch attached to his belt, which two of the six dogs grouped around him look at with interest at left; after a drawing by Henry William Bunbury."--British Museum online catalogue
Description:
Title etched below image., "First state with etched letters, before re-publication"--British Museum online catalogue, registration no.: 1873,0712.442., Sheet trimmed to plate mark., and Mounted on page 73 in volume 2 of: Etchings by Henry William Bunbury, Esq. and after his designs.
Publisher:
Publish'd January 5th, 1791, by Thos. Macklin, Poets Gallery, Fleet Street
A scene with a group of mourners in a landscape, a palm tree to the left with a monkey watching and pointing to the drama. A man standing to the right reads from a book; three other figures, another man and a woman with a child on her back weep as they watch two men lower the deceased into the grave. The man on the right says, "How precious pale he look in de face." The other man holding the other end of the stretcher says, "Aye-Aye, him be no Moor."
Description:
Title etched below image., Later state of a plate first published by Gabriel Shire Tregear in 1834, the year in which the Slavery Abolition Act came into force. The original print was one of twenty caricatures with the series title 'Tregear's Black Jokes'. The prints developed the theme of the earlier 'Life in Philadelphia' caricatures (of which Tregear published copies), lampooning the social aspirations of Philadelphia's black population. After Tregear's death, the plates for 'Tregear's Black Jokes' passed to his former shopman Thomas Crump Lewis (1808-81), whose publication line is on this later state. The three mentions of Tregear's name on the plate have either been changed to Lewis's or simply effaced., Dated 1860 by the Library of Congress, but Hickman suggests that the prints were issued before that date., "Catalogue of prints"--Etched in lower right corner., and Sheet trimmed to plate mark.
Publisher:
T.C. Lewis & Co., 96 Cheapside, London
Subject (Topic):
Black people, Death, Funeral rites & ceremonies, Graves, Shovels, Grief, Crying, and Monkeys
A satire on the "macaroni' hairstyles for women: a man seated on a bench (left) in a park stares at two women with fashionable macaroni hair pieces as they walk past him, left to right. The two women are accompanied by a lap-dog and a black page boy
Alternative Title:
Female fashionable follies
Description:
Title etched below image., First published with the title: The fashionable dresses for the year 1776., Date erased from this impression. Date from British Museum catalogue., and In the lower left corner of the print: No. 345.
Publisher:
Printed for Carington Bowles, at his Map & Print Warehouse, No. 69 in St. Pauls Church Yard, London
Subject (Geographic):
England
Subject (Topic):
Black people, Benches, Boys, Clothing & dress, Dandies, British, Hairstyles, and Servants
"A woman in an advanced stage of pregnancy stands with folded hands, laughing, close to an elderly parson (right) of Dr. Syntax type who recoils in angry horror. Behind them is a high garden wall, with a notice: 'Man Traps laid in these Grounds'. Behind the woman (left) is a hole in the wall, through which looks the grinning head of a black servant. 'Broad Grins' is a collection of coarse comic songs by Colman, 1802, cf. British Museum Satires No. 11941."--British Museum online catalogue
Alternative Title:
Black joke
Description:
Title etched below image.
Publisher:
Publd. June 4th, 1812, by Thos. Tegg, No. 111 Cheapside
Subject (Topic):
Black people, Pregnancy, Laughing, Clergy, Garden walls, Signs (Notices), Servants, and Smiling
