Whitefield stands in a pulpit, his right arm slightly raised, delivering a sermon to an attentive audience, some of whom are taking notes
Description:
Title and publication date from a manuscript title in later hand below image., Sheet partially trimmed within plate mark., and Annotated on verso in contemporary hand: Fr Rufford Mad. Coll. Oxon. 1774.
Publisher:
publisher not identified
Subject (Name):
Whitefield, George, 1714-1770,
Subject (Topic):
Audience, Clergy, Churches, Preaching, and Pulpits
Musicians in a church, with vocalists singing from books in upper level and instrumentalists below, the latter labeled to indicate their nationalities, Prussia, Ger., Ital, Swiss, and on the far right Engl., possibly corresponding to caricature portrait of Dr. Arne. The bass player labeled Ger. may represent Karl Friedrich Abel. To the right the church congregation is indicated, with men in the foreground and women with the fashionable pyramidal hair styles seated in the upper gallery
Description:
Title and date of publication from British Museum catalogue., Sheet trimmed within plate mark., Title pencilled below image: The morning concert., and In laid to 30 x 34 cm.
Publisher:
publisher not identified
Subject (Geographic):
England
Subject (Name):
Abel, Karl Friedrich, 1723-1787. and Arne, Thomas Augustine, 1710-1778.
Subject (Topic):
Church musicians, Church music, Musicians, Churches, and Interiors
A view of a church, maybe the parish church of Saint Giles in Stoke Poges, also known as the Stoke Poges Church, seen in the middle distance, beyond a low picket fence and surrounded by trees
Description:
Title from local catalog card., Statement of responsibility written in pencil below image., Date assigned by curator., Watermark, trimmed: [J. What]man [...]0., and Inlaid on page 24 in an extra-illustrated copy of: Gray, T. Odes. Printed at Strawberry-Hill, for R. & J. Dodsley in Pall-Mall, 1757.
A view of a church, probably in Glouchestershire, including the churchyard with gravestones, as scene over a wall with a gate. Outside the wall, two pigs and a saddeld horse feed or drink as a dog sits on the wall looking in.
Description:
Title devised by cataloger., Date of printing based on watermark., With another untitled plate on same sheet: [Baptismal font] / drawn and engrav'd by T. Bonnor. [London] : Publish'd according to act of Parliament January 1st, 1782, By Ralph Bigland, Garter principal King of Arms, [1 January 1794?], and Bound in a volume of prints [English cathedrals and monuments]; leaf numbered '8' in mss. Label on front cover: Prints. For further information consult library staff.
Title devised by curator., Devised title and artist attribution based on Horace Walpole's notes on facing leaf: This book belonged to Mr. Pope, and the drawing is by him. Horace Walpole, 1766. It is a view of Twickenham Church from his own garden., Date of production based on artist's death date., and Drawn on front flyleaf in volume 1 of Alexander Pope's copy of: Homeri opera quae extant omnia. Amstelaedami : Ex officina Wetsteniana, MDCCVII [1707].
A scene from Horace Walpole's Gothic novel The castle of Otranto, with the characters Matilda and Theodore shown at center talking in a church, one on either side of the statue marking the tomb of Alphonso; Theodore wears full armor and Matilda wears an orange gown. Behind Matilda on the right is Manfred, who interrupts the conversation by reaching over Maltida's shoulder and stabbing her with the dagger held in his left hand. The interior of the church forms the background, with statues in alcoves along the wall on the right and a row of arched windows along the wall on the left
Description:
Title devised by curator., Unsigned; artist not identified., Date of production supplied by curator., and Mounted opposite page 228 in an extra-illustrated copy of: Walpole, H. The castle of Otranto. Parma : Printed by Bodoni, for J. Edwards, London, MDCCXCI [1791].
Subject (Name):
Walpole, Horace, 1717-1797.
Subject (Topic):
Churches, Interiors, Tombs & sepulchral monuments, and Homicides
On a street in front of a church (right), possibly referencing the one built by George Whitfield in Tottenham Court Road and a tavern (left)with a sign identifying it as "The Old Goat New Revived", a make follower of Whitefield dressed in a quasi-Puritan dress, is assailed by two women. On the right an old woman touches his arm and points to the church with a volume, unlabeled in this working proof but later lettering "Whitefield's Hymns". On the left, a pretty, young woman lures him toward the public house. He eyes the young woman as he holds up his one hand deprecatingly toward the older woman
Description:
Title and date from British Museum catalogue., Finished print lettered with title and inscriptions: "J. Collet pinxt. / J. Goldar sculpt. / London, Printed for Robt. Sayer No. 53 Fleet Street & Jno. Smith No. 35, Cheapside, as the Act directs Jan. 1. 1773.", Sheet trimmed to plate mark., No. 52 in a bound in a collection of 69 prints with a manuscript title page: A collection of drolleries., and Bound in half red morocco with marbled paper boards and spine title "Facetious" in gold lettering.
Publisher:
Robt. Sayer & Jno. Smith
Subject (Name):
Whitefield, George, 1714-1770.
Subject (Topic):
Churches, Temptation, Signs (Notices), and Taverns (Inns)
Illustration to one of the episodes added by Gildon: Young Fantasio (Apuleius's Lucian) enters an Italian church where corrupt priests and gallants are celebrating the feast of St. Theresa
Description:
Title and imprint from Paulson., "Vol: I : P : 8"--Lower left, below image., A reversed copy of a print from the 1708 edition facing p. 5, with changes to the design by Hogarth: raised lectern and figures in foreground shifted., One of seven illustrations engraved for a modernized edition of Apuleius's The golden ass: Gildon, C. New metamorphosis. London : Printed for Sam. Briscoe at the Bell-Savage on Ludgate-Hill, 1724., Sheet trimmed to plate mark., On page 21 in volume 1. Plate trimmed to: 14.1 x 7.8 cm., and Date given in Steevens's hand: 1724. With other notes by Steevens that apply to the group of seven other illustrations mounted on same sheet.
Illustration to one of the episodes added by Gildon: Young Fantasio (Apuleius's Lucian) enters an Italian church where corrupt priests and gallants are celebrating the feast of St. Theresa
Description:
Title and imprint from Paulson., "Vol: I : P : 8"--Lower left, below image., A reversed copy of a print from the 1708 edition facing p. 5, with changes to the design by Hogarth: raised lectern and figures in foreground shifted., One of seven illustrations engraved for a modernized edition of Apuleius's The golden ass: Gildon, C. New metamorphosis. London : Printed for Sam. Briscoe at the Bell-Savage on Ludgate-Hill, 1724., and Sheet trimmed to plate mark.
"A man on horseback in a street with his arms around two women, one of whom is crying at right, an old lady sat in profile in the foreground holding a bunch of flowers and a dog drinking from a fountain behind, a man watching the farewell with crossed arms at left, a church building behind a high wall before which a carriage is waiting behind; circular design, after Henry William Bunbury."--British Museum online catalogue
Description:
Title from text on later state., Artist and printmaker from text on later state: H. Bunbury Esqr. delint. ; engraved by T. Watson., Early state, before any lettering. For the final lettered state, published 28 May 1781 by Watson & Dickinson, see British Museum online catalogue, registration no.: 1872,0511.128., Sheet trimmed within plate mark., and Mounted on page 23 of: Bunbury album.
Volume 1, page 33. Etchings by Henry William Bunbury, Esq. and after his designs.
Image Count:
1
Resource Type:
still image
Abstract:
"A man on horseback in a street with his arms around two women, one of whom is crying at right, an old lady sat in profile in the foreground holding a bunch of flowers and a dog drinking from a fountain behind, a man watching the farewell with crossed arms at left, a church building behind a high wall before which a carriage is waiting behind; circular design, after Henry William Bunbury."--British Museum online catalogue
Description:
Title from text on later state., State before title and verses added below image. For the final state, see British Museum online catalogue, registration no.: 1872,0511.128., Sheet trimmed to plate mark., Mounted on page 33 in volume 1 of: Etchings by Henry William Bunbury, Esq. and after his designs., and Sheet annotated by Horace Walpole in ink below image: Departure of La Fleur from Montreuil in Sterne's Sentimental Journey.
Publisher:
Publish'd May 28th, 1781, by Watson & Dickinson, No. 158 New Bond Street
Title supplied by cataloger. Possibly also St. John Baptist in Gloucester., Date of printing based date of other similar works in collection., and Bound in a volume of prints [English cathedrals and monuments]; leaf numbered '13' in mss. Label on front cover: Prints. For further information consult library staff.
Title supplied by cataloger., Date of printing based date of other similar works in collection., and Bound in a volume of prints: English cathedrals and monuments, numbered '14' in mss. Label on front cover: Prints. For further information consult library staff.
Structural drawing of the church and chancel at Croome, in black in with scale and some additions in purple ink. Square section in upper left corner cut out
Description:
Title devised by cataloger. and Inscribed at top of page: "Section of [the] Church and Chancel for Ld. Coventry at Croome, Worchestershire."
Probably a view of a section of St. Martin-in-the-Fields submitted by Sir James Thornhill for the 1720-1721 St. Martin-in-the-Fields project
Description:
Title devised by curator., Questionable attribution to Sir James Thornhill., Formerly housed as part of the SH Contents collection., and For further information, consult library staff.
Subject (Geographic):
England and London.
Subject (Name):
St. Martin-in-the-Fields (Church : Westminster, London, England)
"Frontispiece to Joshua Kirby, Dr Brooke Taylor's Method of Perspective made easy; a rural scene with a number of absurdities caused by perspectival errors, for instance, an angler in the foreground catches a fish in the middle distance, an inn sign is partly obscured by trees that are growing on the other side of a river, a woman leans from a window to light the pipe of a man on a distant hill."--British Museum online catalogue
Alternative Title:
Whoever makes a design without the knowledge of perspective will be liable to such absurdities as are shown in this frontispiece
Description:
Title from caption engraved below image., State, publisher, and date from Paulson., Imperfect: 'W. Hogarth inv. et delin' erased from this impression. Sheet trimmed to plate mark., Etched above image: "Frontispiece.", Sheet trimmed to: 22.5 x 18 cm., and Formerly on page 168 in volume 2. Removed in 2012 by LWL conservator.
"Frontispiece to Joshua Kirby, Dr Brooke Taylor's Method of Perspective made easy; a rural scene with a number of absurdities caused by perspectival errors, for instance, an angler in the foreground catches a fish in the middle distance, an inn sign is partly obscured by trees that are growing on the other side of a river, a woman leans from a window to light the pipe of a man on a distant hill."--British Museum online catalogue
Alternative Title:
Whoever makes a design without the knowledge of perspective will be liable to such absurdities as are shown in this frontispiece
Description:
Title from caption engraved below image., State, publisher, and date from Paulson., Imperfect: 'W. Hogarth inv. et delin' erased from this impression. Sheet trimmed to plate mark., Etched above image: "Frontispiece.", Sheet trimmed to: 22.5 x 18 cm., and Formerly on page 168 in volume 2. Removed in 2012 by LWL conservator.
"Frontispiece to Joshua Kirby, Dr Brooke Taylor's Method of Perspective made easy; a rural scene with a number of absurdities caused by perspectival errors, for instance, an angler in the foreground catches a fish in the middle distance, an inn sign is partly obscured by trees that are growing on the other side of a river, a woman leans from a window to light the pipe of a man on a distant hill."--British Museum online catalogue
Alternative Title:
Whoever makes a design without the knowledge of perspective will be liable to such absurdities as are shown in this frontispiece
Description:
Title, state, publisher, and date from Paulson., Imperfect: 'W. Hogarth inv. et delin' erased from this impression. Sheet trimmed to plate mark., State with "Frontispiece" burnished from above image., and Mounted to sheet 255 x 205 mm, with single red line border.
"Frontispiece to Joshua Kirby, Dr Brooke Taylor's Method of Perspective made easy; a rural scene with a number of absurdities caused by perspectival errors, for instance, an angler in the foreground catches a fish in the middle distance, an inn sign is partly obscured by trees that are growing on the other side of a river, a woman leans from a window to light the pipe of a man on a distant hill."--British Museum online catalogue
Alternative Title:
Whoever makes a design without the knowledge of perspective will be liable to such absurdities as are shown in this frontispiece
Description:
Title from caption engraved below image., State, publisher, and date from Paulson., Imperfect: 'W. Hogarth inv. et delin' erased from this impression. Sheet trimmed to plate mark., and Etched above image: "Frontispiece."
The scene in the church after Manfred has stabbed his daughter Mathilda. She lies on a cot as Theodore holds her head in his hands; a monk with a crucifix in his hand also attends her. Behind the monk, Manfred with arms crossed against his chest looks down in anguish. In the background (right) the right arm of the statue of Alfonso the Good points down accusatorily at the scene unfolding below his tomb
Description:
Title devised by curator. and Date based on Horace Walpole's letter (dated 22 February 1796) to Bertie Greatheed's father in which he admires his son's four drawings that were inspired by his reading of The Castle of Otranto. All four drawings are bound in Horace Walpole's extra-illustrated copy of The Castle of Otranto (Lewis Walpole Library 49 3729).
Subject (Name):
Walpole, Horace, 1717-1797.
Subject (Topic):
Churches, Homicides, Monks, and Tombs & sepulchral monuments
Plate lettered in the top center 'E': Reverse copies of six details from Hogarth's "Credulity, superstition and fanaticism: a medley". Each item is numbered; 1. "Scale of vociferation"; 2, 3. A cleric with a distraught man in prayer; 4. A Jew with a beard before an altar with a Bible and a knife with 'Bloody' written on the blade; 5. A man with clasped hands singing, looking heavenward; 6. A man with a cap, shouting
Description:
Title devised by cataloger., Printmaker and date from other prints in this series in the British Museum online catalogue., Plate from: Lichtenberg's Göttinger Taschen Kalender., and Not in Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
publisher not identified
Subject (Name):
Hogarth, William, 1697-1764.
Subject (Topic):
Jews, Churches, Clegy, Praying, Scales, Singing, and Thermometers
Plate lettered in the top center 'D': Reverse copies of details from Hogarth's "Credulity, superstition and fanaticism: a medley". Each item is numbered; 1. The clerk surrounded by angel heads (2,3). The clerk holds an opened book which rests on a pulpit from which hangs a sign lettered "Only love to us be gev'n Lord we ask no other Heav'n. Hymn by G. Whitfield [sic] page 130."; 4. Another two figures below. The one on the left weeps into a cloth; the other looks up as a demon whispers in his ear
Description:
Title devised by cataloger., Printmaker and date from other prints in this series in the British Museum online catalogue., Plate from: Lichtenberg's Göttinger Taschen Kalender., and Not in Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Plate lettered in the top center 'C': Reverse copies of details from Hogarth's "Credulity, superstition and fanaticism: a medley". Each item is numbered; 1, 2. The embracing couple; 5 [i.e. 3]. A thermometer measuring emotions resting on two books, including 'Westly's Sermons'; 4. An old woman yawns; 5. "The Poor's box."
Description:
Title devised by cataloger., Printmaker and date from other prints in this series in the British Museum online catalogue., Plate from: Lichtenberg's Göttinger Taschen Kalender., and Not in Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Plate lettered in the top center 'A': Reverse copies of details from Hogarth's "Credulity, superstition and fanaticism: a medley". Each item is numbered; 1. The preacher with his wig flying off and his jester's shirt exposed under his robe. One sheet of paper behind his head reads " To St. Money-trap"; another sheet at his chest reads " I speak as a fool; 2. A cherub with a riding hat holds in his mouth one end of the paper at the preacher's head; 3. One of the preacher's puppets, a witch with a pointed hat and riding a broomstick; 4. The other puppet, a demon walks toward the right holding a gridiron
Description:
Title devised by cataloger., Date from other prints in this series in the British Museum online catalogue., Plate from: Lichtenberg's Göttinger Taschen Kalender., and Not in Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
publisher not identified
Subject (Name):
Hogarth, William, 1697-1764.
Subject (Topic):
Angels, Churches, Clegy, Demons, Preachers, Putti, and Witches
Huntsmen and hounds with mounted members of the hunt are in an enclosure flanked by corn-stacks and resembling a farmyard, except for a boiling-house with a tall chimney and joints of meat hanging from the gable-end of a building. The artist (Robert Cruikshank) sits (right) sketching; 'Blackmantle', stands beside him pointing. Behind is a large church. The Berkeley hounds, a double pack, were kept alternately during the season at Cheltenham and Gloucester. British Museum catalogue
Description:
Title, printmaker, and imprint from published state., Plate etched for: Westmacott, C.M. English spy. London : Sherwood, Jones, and Co., 1825-1826., For published state see: No. 15220 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 10., and Ms. note in pencil on front: Page 262, Vol. 2.
Title devised by curator, based on pencil annotation "Eaton-Socon" at bottom of mounting sheet., Unsigned; artist unidentified., Date supplied by cataloger., and Mounted on page 78a in an extra-illustrated copy of: Lysons, D. Magna Britannia. London : T. Cadell and W. Davies, 1813.
Subject (Geographic):
Eaton Socon (St. Neots, England)
Subject (Topic):
Buildings, structures, etc, Churches, and Cemeteries
Tom Nero, now a highwayman, has been arrested for the murder. He stands in the churchyard over the body of his pregnant lover, Ann Gill, whose throat and wrist are severed. One from the group of men who have apprehended Tom show him the knife as the others restrain him; they are armed with pitchforks, sticks, and other farm tools. Ann lies on her back on the ground, the bundle of plate that she has stolen from her mistress at Nero's request spilling out at her side. The light from the lantern in the left foreground illuminates the contents of Ann's letter to Tom telling the story of her entanglement and guilt. A box with her initials is open revealing a copy of the Book of Common Prayer and a copy of God's revenge against murder. Also on the ground near the lantern are Tom's pistol and a collection of watches that he has stolen. The clock in the church tower shows 1:00; a bat and owls circle overhead
Description:
Title, state, and series title from Paulson., Third in a series of four: The four stages of cruelty., and On page 157 in volume 2. Sheet trimmed to: 50.8 x 39.8 cm.
Publisher:
Invd. & publish'd by Wm. Hogarth
Subject (Topic):
Cemeteries, Criminals, Churches, Homicides, Pregnant women, and Rake's progress
Tom Nero, now a highwayman, has been arrested for the murder. He stands in the churchyard over the body of his pregnant lover, Ann Gill, whose throat and wrist are severed. One from the group of men who have apprehended Tom show him the knife as the others restrain him; they are armed with pitchforks, sticks, and other farm tools. Ann lies on her back on the ground, the bundle of plate that she has stolen from her mistress at Nero's request spilling out at her side. The light from the lantern in the left foreground illuminates the contents of Ann's letter to Tom telling the story of her entanglement and guilt. A box with her initials is open revealing a copy of the Book of Common Prayer and a copy of God's revenge against murder. Also on the ground near the lantern are Tom's pistol and a collection of watches that he has stolen. The clock in the church tower shows 1:00; a bat and owls circle overhead
Description:
Title, state, and series title from Paulson. and Third in a series of four: The four stages of cruelty.
Publisher:
Invd. & publish'd by Wm. Hogarth
Subject (Topic):
Cemeteries, Criminals, Churches, Homicides, Pregnant women, and Rake's progress