Copy of the print after a self-portrait after the painting in the Tate Gallery (London); the artist is portrayed as if on an oval canvas resting on a pile of books; in the foreground, his dog Trump, his burin and palette. Lettered, on the palette 'The Line of Beauty', and below image, Gulielmus Hogarth
Alternative Title:
Alternative form of title
Description:
Title etched below image., Sheet trimmed to plate mark., Ms. note in pencil in Steevens's hand below print on secondary mount: An Irish copy of the first print in the first volume of this [col?]lection., and On page 234 in volume 3.
Pitt, looking terrified, stands in a barrel inscribed 'Perquisites of Office'. He is surrounded by dogs who all look up at him. On the left is a dog with the collar 'Greyhound Breed'; he says to Pitt: 'Don’t be alarmed I shall only pretend to growl - keep quiet and I'll bring you through. Next to the greyhound is 'Wy[n]dhaminian or Bull Dog Breed'. To the right of the barrel is 'Fox Breed', 'Norfolk Breed' and one other dog without an inscription on its collar
Alternative Title:
Great man badger'd!! and Great man badgered!!
Description:
Title etched below image. and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
Pubd. Feby. 1804 by W. Holland, Cockspur Street, London
Subject (Name):
Pitt, William, 1759-1806, Grey, Charles Grey, Earl, 1764-1845., Grenville, William Wyndham Grenville, Baron, 1759-1834., Windham, William, 1750-1810., and Fox, Charles James, 1749-1806.
Copy in reverse of the first state of Plate 5 of Hogarth's 'The Rake's Progress' (Paulson 136): Tom and a wealthy old woman are being married in the dilapidated church of St. Marylebone. The bride has only one eye and growths on her forehead; the IHS on the wall behind her serve as a mock halo. In contrast the old woman is attended by a beautiful young woman who has already caught Tom's eye. In the background on the left, the elderly pew opener pushes Sarah Young, carrying Tom's child in her arms, and Sarah's mother; she shakes her keys in their faces to prevent them from entering the church to stop the marriage. Two dogs in the lower left of the image mirror the courtship of Tom and his bride; the courted dog has only one eye. The clergyman is assisted at the altar by a clerk, and a charity-boy kneels at the bride's feet offering a hassock. The Poor Box on the left is covered with a cobweb; there is a crack down the center of the slab with the Commandments on the wall behind the clergyman
Alternative Title:
Rake's progress. Plate 5 and Youth to reimburse his squander'd gold
Description:
Title from text engraved above image., "Plate 5"--Lower right below design., Verses below image in three columns, four lines each: The youth to reimburse his squander'd gold, ..., 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 36.5 cm)., A reissue, with a new publication line and with ornamental borders added, of the fifth of eight prints in a series; all are copies of the first states of Hogarth's plates with new verses in the columns below the image; copies were made with Hogarth's consent in 1735. See Paulson, R. Hogarth's graphic works (3rd ed.), page 90., Original publication line: Published with the consent of Mr. William Hogarth by Tho. Bakewell according to Act of Parliament July 1735., and Ornamental borders partially obscure image on the left and last word on the right.
Publisher:
Publish'd wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill
Subject (Name):
St. Marylebone Church (Marylebone, London, England)
"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
A shield with a sable bordure, and an argent field. Dividing this is a sable chevron, with three sable mascles surrounding it; two above, one below. At the helm, atop a torse, is a fox. Fancy leafing surrounds the shield, in addition to flowers and grasses. Beneath, upon a banner, is the motto Initium Sapientiæ est Timor Domini.
Subject (Name):
Martin, Henry Charrington
Subject (Topic):
Armorial, Armorial bookplates, Dogs, Nature, Physicians, Shield, and Shields
A scene of a large room, perhaps a study, in which a large desk and chair is at the center. There is a fireplace with a large dog lying couchant in front. Several decorations and ornaments surround the room. The image itself is framed by a border of thistle flowers and leaves. In the lower right-hand corner, next to the title text, is a small shield, divided in half and counter charged—with a chevron on each side; the left surrounded by three stars; two above, one below and three garbes of wheat of the right side; two above, one below. At the helm stands a man in metal armor.
Volume 2, page 39. Etchings by Henry William Bunbury, Esq. and after his designs.
Image Count:
1
Resource Type:
still image
Abstract:
"A woman on horseback, looking down at a man standing with dogs and a spear at his side, another man with horse beside and a folly above them; after a drawing by Henry William Bunbury."--British Museum online catalogue
Description:
Title etched below image., Printmaker attribution to Dickinson from the British Museum online catalogue, registration no.: 1906,0419.123., Sheet trimmed to plate mark., Dedication etched below title: To Lady Williams Wynne, this print after an original drawing by H. Bunbury Esqr. is with the greatest respect dedicated by her Ladyships most obedient humble servant, W. Dickinson., Probably an illustration to Matthew Prior's poem 'Henry and Emma'., and Mounted on page 39 in volume 2 of: Etchings by Henry William Bunbury, Esq. and after his designs.
Publisher:
Publish'd June 26th, 1784, by W. Dickinson, engraver & printseller, No. 158 New Bond Street
Leaf 21r. Cries of Edinburgh characteristically represented.
Image Count:
1
Resource Type:
still image
Abstract:
A man, carrying a basket of pies in his right arm, walks toward the right as he rings a bell; a dog walks behind him. Behind them, a man rests on his elbows the lower half of a Dutch door
Description:
Title from verses etched below image., Publication information from that of the volume for which the plate was engraved., Plate from: Cries of Edinburgh characteristically represented : accompanied with views of several principal buildings of the city. Edinbr. : Sold by L. Scott ..., 1803., and Sheet trimmed within plate mark.
Publisher:
L. Scott
Subject (Geographic):
Scotland and Edinburgh.
Subject (Topic):
City & town life, Peddlers, Pies, Baskets, Dogs, and Bells
In avenue of trees beside a rail-fence, an old farmer's wife (right), wearing spectales and dressed in black silk hat and mantle and muslin apron, starts back in astonishment at seeing her daughter (left) dressed in the extreme fashion of 1765-1775, with high hair and hat perching on top; at the girl's feet (left) is a small lap-dog
Description:
Title etched below image., Sheet trimmed within plate mark., and Copy of a print originally published by Carington Bowles in 1770. See no. 4537 and 4538 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 5.
Publisher:
Publish'd as the Act directs, 11th October 1779 by Robert Wilkinson, at No. 58 in Cornhill
In avenue of trees, an old farmer's wife (right), dressed in black silk hat and mantle and muslin apron, starts back in astonishment at seeing her daughter (left) dressed in the extreme fashion of 1765-1775, with high hair and hat perching on top; to the left a black page boy holds the girl's lap-dog. In the distance on the left is a house with two gable windows
Description:
Title from caption below image., Sheet trimmed to plate mark., "From an original drawing by Grimm." See Stephens., Companion print of: Welladay! is this my son Tom!, Cf. "Be not amaz'd dear mother. It is indeed your daughter Anne" no. 4537 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires / F.G. Stephens, v. 4. Published by Carington Bowles in 1770., No. 6 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:
publisher not identified
Subject (Geographic):
England
Subject (Topic):
Black people, Clothing & dress, Dandies, British, Daughters, Dogs, Hairstyles, Servants, and Mothers
