The citizens of Alexandria, Virginia, are ridiculed in this scene for their lack of serious resistance against the British seizure of the city in 1814. At left two frightened gentlemen kneel with hands folded, pleading, "Pray Mr. Bull don't be too hard with us -- You know we were always friendly, even in the time of our Embargo!" In the center stands a bull in English seaman's clothes, holding out a long list of "Terms of Capitulation" to the Alexandrians. He says, "I must have all your Flour -- All your Tobacco -- All your Provisions -- All your Ships -- All your Merchandize -- every thing except your Porter and Perry -- keep them out of my sight, I've had enough of them already." His allusion is to American Commodore Oliver Hazard Perry and Captain David Porter. At right, a soldier and sailor carry off spirits, saying: "Push on Jack, the yankeys are not all so Cowardly as these Fellows here -- let's make the best of our time." and "Huzza boys!!! More Rum more Tobacco!"
Description:
Title from item., The print may have been a companion piece to Charles's "John Bull and the Baltimoreans" (no. 1814-4). Both prints were deposited for copyright on October 21, 1814 at the Library of Congress. Cf. http://www.loc.gov/pictures/item/2002708985/., and Sheet trimmed within plate mark on left and top edges: 25.4 x 35.3 cm.
Publisher:
Pubd. and sold wholesale by Wm. Charles
Subject (Geographic):
Alexandria (Va.), United States, United States., Virginia, and Alexandria.
Subject (Name):
Porter, David, 1780-1843., Perry, Oliver Hazard, 1785-1819., Capture of Alexandria by the British (Virginia : 1814), and War of 1812.
Subject (Topic):
John Bull (Symbolic character), Animals in human situations, and History
Verse begins: "You brave loyal churchmen,"., Date suggested by cataloger., In this edition, the "C" of "Charles" in the title is above the "ne" in "Tune" in the second line; line 5 of the next-to-last stanza ends "haunt". In another edition with very similar typography (ESTC T29439), the "C" is above the space before "Tune; line 5 of the next-to-last stanza ends "cant"., Not in Foxon., Mounted on leaf 65. Copy trimmed., and Bound in three-quarters red morocco leather with marbled boards, with spine title stamped in gold: Old English ballads, woodcuts, vol. 1.
"Joseph Bonaparate, the newly crowned King of Spain, stands at centre wearing doublet, slashed breeches, crown, medallion and cloak, and turned in beseeching attitude to left, where four Spaniards are standing; Joseph says, 'For this kind and flattering reception much thanks. behold the Brother of the great Napolean come to reign over you for your goods.' One of the Spanish men, with a long sword, says to another whose hand is on his dagger, 'yes Comrade and for our Chattels too if I guess right.'; behind them, a woman holding a dagger says to another, 'He was bred an Attorney and w'eel soon eject him from Spain'. Behind Joseph at right stand his French supporters, one holding a flag lettered 'Vive le Roi' over Joseph's head, and angrily crying, 'Will no one Huzza - - will no one ring the Bells - if you dont make a noise you shall all fall by the Royal Bayonet.', a cry of 'Vive le Roy Huzza' arising from a pike-carrying crowd behind."--British Museum online catalogue
Description:
Title etched below image., Year of publication precedes publisher's statement in imprint., Plate numbered "53" in upper left corner, with the digit "3" etched backwards., A pair to "King Joes retreat from Madrid, published on the same date with the same plate number. See Curator's comments in the British Museum online catalogue., Sheet trimmed to plate mark., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Paper damaged with loss to the word "flattering" in King Joe's speech bubble, upper left. Mounted to 28 x 38.1 cm.
History of the caliphs, Preceded by 3 leaves of notes, and Copied in Sanʻa, Yemen, in A.H. 1024 (A.D. 1615).
Alternative Title:
Tārīkh al-khulafāʼ 880-02, Taʼrīkh al-khulafāʼ, تاريخ الخلفاء 240-02/r, and تأريخ الخلفاء
Description:
Available on microfilm, Incipit: "Bismillāh al-Raḥmān. Ammā baʻd ḥamd Allāh alladhī waʻada fa-wafá wa-awʻada fa-ʻafā ...", Good Yemenite naskhī, in red and black; ʻunwān in gold and colors on leaf 1 verso., Occasional marginalia., Islamic binding, in brown, with flap., No. 1 of 3 titles bound together., Colophon: "Wāfaqa al-farāgh min raqm hādhā al-taʼrīkh ... yawm al-Jumʻah, ghurrat shahr Ramaḍān ... ʻām arbaʻ wa-ʻishrīn baʻda al-alf ... bi-maḥrūs madīnat Ṣanʻāʼ al-Yaman ... bi-rasm ... Aḥmad ibn Muḥammad al-Khazrajī ... bi-yad ... Muḥammad ibn ʻAlī ibn ʻUfayr [?] ...", and Translation of the colophon: "This history book was completed ... on Friday, the beginning of the month of Ramaḍan ... of the year 1024 [of the Hijrah = 31 January 1615] ... in the protected city of Ṣanʻāʼ of Yemen ... for ... Aḥmad ibn Muḥammad al-Khazrajī ... by the hand of ... Muḥammad ibn ʻAlī ibn ʻUfayr [?] ..."
Manuscript of Honore Bonet, L'Arbre des Batailles. With Diego de Valera, Espejo de verdadera nobleza, translated into French by Hugues de Salve; and other treatises on arms
Description:
In French., Script: Written in formal batarde script. Folios 7r-9r, also in formal batarde, but in a different hand., The fine miniatures, by the Master of Bruges of 1482, are in arched frames composed of thin gold and pink bands. Between ff. 147r and 152r there are sixty-three painted armorial bearings, perhaps a later addition (16th century?) as indicated by the type of pigment, the occasional lack of correspondence with the original preparatory drawings, and the fact that some drawings were never overpainted. 5-, 4-, 3-, and 2-line initials, gold, edged in black, against irregular blue and red grounds with white highlights. 1-line initials in the table of contents, red and blue, with guide-letters to illuminator; ff. 7r-9r (the section for the L'Arbre des batailles) in darker shades and without notes, suggesting, as does the change of hand, that this section of the table as well as the portion of the text to which it refers were added to the manuscript in a second stage of its production. Paragraph marks, 1-line, red and blue. Pages foliated in red, upper right recto. Headings in red throughout., and Binding: Nineteenth century. Edges gilt. Purple goatskin case with brilliant gold tooling and elaborate doublures.
Subject (Geographic):
Connecticut, New Haven., Burgundy (France), and France
Subject (Name):
Bonet, Honoré, fl. 1378-1398.
Subject (Topic):
Chivalry, Heraldry, Illumination of books and manuscripts, Medieval, Manuscripts, Medieval, and History
A companion plate to Le Départ (British Museum satire no. 12362), satirizing the haste of the English to visit France in 1814 and their gluttony and bad dressing. The Frenchman who cooks a cat is a subject of English caricatures on the favourite theme of the beggarly Frenchman and well-fed Englishman. In this print. "A lean Englishman strides on to the quayside from an (invisible) gangway leading to the deck of a packet, which is seen below (right), covered with the heads of passengers, looking eagerly upwards. The furled sails and rigging are on the extreme right; a dove holding an olive-branch sits on a spar. A jovial French cook leads the Englishman, who grasps his left wrist; he points to a doorway on the extreme left, below the sign 'Au Bien Venu'. He holds the white cotton night-cap which was the cap of the French cook, but is not foppish as in English caricature, but manly and sturdy. The traveller is a grotesque figure wearing a hat shaped like a flower-pot, [this hat appears in almost all satires on English costumes in Paris, c. 1814; it is worn by a man dressed à l'Anglais in No. 53 of the 'Bon Genre Series' (? 1813): 'Cheveux à Cherubin. Chapeau en pot à fleurs. Redingote en Robe de Chambre'; cf. J.-P. de Bérenger, 'Les Boxeurs', 1814: Quoique leurs chapeaux sont bien laids / Goddam! moi j'aime les Anglais] long tail-coat, wrinkled breeches, and long ill-fitting gaiters on very thin legs. His profile has an absurdly heavy chin (cf. British Museum no. 12364), and he registers eager expectation. On a flap projecting from a window beside the door are peaches, grapes, pears, &c. Within a courtyard a second cook leans from an attic window, knife in hand, to catch a cat by the tail, one of several scampering from the ridge-pole."--British Museum online catalogue
Description:
Title from caption below image., Description from impression in the British Museum catalogue., Lettered "Déposé" below image left., Attributed to printmaker Godisart de Cari and publisher Martinet. See British Museum catalogue., This plate was deposited by Martinet on 1 February 1815, although his name is not actually lettered on the plate. It is a pair to 'Le départ' (British Museum number 1868,0822.7249)., and Sheet trimmed within plate mark, with loss of text at lower left and portions of the image at the corners: irregular sheet 18.8 x 23 cm.
Publisher:
Chez Martinet
Subject (Geographic):
France and France.
Subject (Topic):
History, Foreign public opinion, National characteristics, English, National characteristics, French, Cats, Cooks, Doves, Eating & drinking, Ethnic stereotypes, Gluttony, and Mail steamers
