Satirical drawing on the professions of medicine, law and the church. Three practitioners stand in a well furnished interior; each wears the dress of his profession. The lawyer holds a sealed document, the clergyman a book, and the physician a phial. Pictures on the wall show men rushing to separate two fighting dogs, men and women bringing tithes to a clergyman, and two doctors quarreling at a bedside
Description:
Title from that of the print likely engraved after this drawing., Signed by the artist in ink on verso., Date of production based on that assigned to the print with the same image in reverse by Louis Philippe Boitard. See online record for no. 1775 in the British Museum online catalogue., Formerly laid in at page 207 in an album containing 402 pages, bound in red morocco leather with single gilt ruled line; spine stamped in gold "Drawings." Now disassembled and matted separately: Bull, R. Scrapbook of drawings. [England], [not after 1806]., Matted to 49 x 37 cm., and Original case shelved separately.
Subject (Topic):
Clergy, Interiors, Lawyers, Pictures, Physicians, and Quarreling
Satirical drawing on the professions of medicine, law and the church. Three practitioners stand in a well furnished interior; each wears the dress of his profession. The lawyer holds a sealed document, the clergyman a book, and the physician a phial. Pictures on the wall show men rushing to separate two fighting dogs, men and women bringing tithes to a clergyman, and two doctors quarreling at a bedside
Description:
Title from that of the print likely engraved after this drawing., Signed by the artist in ink on verso., Date of production based on that assigned to the print with the same image in reverse by Louis Philippe Boitard. See online record for no. 1775 in the British Museum online catalogue., Formerly laid in at page 207 in an album containing 402 pages, bound in red morocco leather with single gilt ruled line; spine stamped in gold "Drawings." Now disassembled and matted separately: Bull, R. Scrapbook of drawings. [England], [not after 1806]., Matted to 49 x 37 cm., and Original case shelved separately.
Subject (Topic):
Clergy, Interiors, Lawyers, Pictures, Physicians, and Quarreling
Sixteen men are seated at an oval table in Windsor arm-chairs smoking long-stemmed tobacco pipes, drinking from glasses and tankards, and engaging in conversation. The figures include Lord George Gordon, William Holland, William Lloyd, Thomas Townley Macan, James Ridgway, Henry Delahay, Charles Pigott, Daniel Holt, Daniel Isaac Eaton, William Williams, Doctor Watson, and Joseph Gerald. On the far right a female servant brings in fresh tobacco pipes and a bottle and the walls include various prints and pictures including landscapes, 'three witches addressing Macbeth', and satires
Description:
Title and date based on Newton's aquatint print after this image. and Later published aquatint described in Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 7, no. 8339.
Subject (Name):
Gordon, George, 1741-1779, Holland, William, active 1782-1817, Macan, T. T. (Thomas Townley), Ridgway, James, Symonds, H. D. (Henry Delahoy), Pigott, Charles, -1794, Holt, Daniel, and Eaton, Daniel Isaac, -1814
Drawings B87 no. 30 Framed, shelved in Object Room Bin 5
Image Count:
1
Abstract:
A game of billiards is being played on a table, one corner of which only is visible, so curiously elongated that it gives the impression of a triangular table. The two players stand by the corner of the table, the one who is about to make a stroke appears from his leanness, frogged coat, and long pigtail queue to be a Frenchman; he leans over the table in profile to the left, wearing pince-nez. His opponent watches him, standing on top-toe, his cue held over his left shoulder, his face screwed up in anxiety; he wears a bag-wig. A number of spectators look on with expressions of amusement or concern: on the right two men stand together grinning; on the left a man watches open-mouthed; behind the table a man watches with an expression of alarm, another takes cover behind him with a grin; a small boy stands beside them. In the foreground are two dogs, one, a greyhound, stands between the player's legs. On the wall behind the table is a rack of cues and two clock-faced scoring boards both pointing to the figure X. On the right is a door, on the left a small casement window. Pictures and prints decorate the wall (left to right): a print of Wilkes (bust) with two caps of liberty; a print of a nymph and satyr; a print of a man seated, three quarter length; a print of a man and woman whole-length; two framed landscapes
Description:
Title from local card catalogue. and Published stipple engraving: no. 5803 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 5.
"A game of billiards is being played on a table, one corner of which only is visible, so curiously elongated that it gives the impression of a triangular table. The two players stand by the corner of the table, the one who is about to make a stroke appears from his leanness, frogged coat, and long pigtail queue to be a Frenchman; he leans over the table in profile to the left, wearing pince-nez. His opponent watches him, standing on top-toe, his cue held over his left shoulder, his face screwed up in anxiety; he wears a bag-wig. A number of spectators look on with expressions of amusement or concern: on the right two men stand together grinning; on the left a man watches open-mouthed; behind the table a man watches with an expression of alarm, another takes cover behind him with a grin; a small boy stands beside them. In the foreground are two dogs, one, a greyhound, stands between the player's legs. On the wall behind the table is a rack of cues and two clock-faced scoring boards both pointing to the figure X. On the right is a door, on the left a small casement window. Pictures and prints decorate the wall (left to right): a print of Wilkes (bust) with two caps of liberty; a print of a nymph and satyr; a print of a man seated, three quarter length; a print of a man and woman whole-length; two framed landscapes."--British Museum online catalogue
Description:
Title from later state., Printmaker from unverified data in local card catalog record., State before title added. See Caricatures. [London] : [Publisher not identified], [1836?], p. 82., Date of publication based on that of the volume in which the later state was published., Sheet trimmed within plate mark., A reduced copy of no. 5913 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 5., Shading added in pencil to lower part of design, mostly obscuring artist's signature in lower left corner., and Titled in pencil below image: Billiards.
Page 121.20. Description of the villa of Horace Walpole ...
Image Count:
1
Resource Type:
still image
Alternative Title:
Window side
Description:
Beginning of title from first drawing in the series, found on page 121.18 in the same volume; remainder of title written at top of image., Unsigned; artist unidentified., Date based on death date of Horace Walpole, who assembled the extra-illustrated volume in which this drawing is mounted., With a numbered key at bottom of image that identifies the pictures that hung on the depicted wall. Below key is written: The windows were painted by Peckitt of York., Fourth in a series of four drawings showing the layout of the walls of the Gallery at Strawberry Hill, with the number "3" written in upper right corner of sheet., and Tipped in as page 121.20 in Horace Walpole's extra-illustrated copy of: Walpole, H. A description of the villa of Horace Walpole ... Strawberry Hill : Printed by Thomas Kirgate, MDCCLXXIV [1774-1786]. See Hazen, A.T. Bibliography of the Strawberry Hill Press (1973 ed.), no. 22, copy 3.
Subject (Name):
Walpole, Horace, 1717-1797 and Strawberry Hill (Twickenham, London, England)
Page 121.19. Description of the villa of Horace Walpole ...
Image Count:
1
Resource Type:
still image
Alternative Title:
Chimney side
Description:
Beginning of title from first drawing in the series, found on page 121.18 in the same volume; remainder of title written at top of image., Unsigned; artist unidentified., Date based on death date of Horace Walpole, who assembled the extra-illustrated volume in which this drawing is mounted., With a numbered key at bottom of image that identifies the pictures that hung on the depicted wall., Third in a series of four drawings showing the layout of the walls of the Gallery at Strawberry Hill, with the number "2" written in upper right corner of sheet. On verso are the first and second drawings in the series: Catalogue of pictures in the Gallery : the end. And where the great door is., and Tipped in as page 121.19 in Horace Walpole's extra-illustrated copy of: Walpole, H. A description of the villa of Horace Walpole ... Strawberry Hill : Printed by Thomas Kirgate, MDCCLXXIV [1774-1786]. See Hazen, A.T. Bibliography of the Strawberry Hill Press (1973 ed.), no. 22, copy 3.
Subject (Name):
Walpole, Horace, 1717-1797 and Strawberry Hill (Twickenham, London, England)
Subject (Topic):
Homes and haunts, Pictures, Doors & doorways, and Chimneypieces
Page 121.6. Description of the villa of Horace Walpole ...
Image Count:
1
Resource Type:
still image
Alternative Title:
Side where the cabinet of ivories is
Description:
Beginning of title from first drawing in the series, found on verso of sheet; remainder of title written at top of image., Unsigned; artist unidentified., Date based on death date of Horace Walpole, who assembled the extra-illustrated volume in which this drawing is mounted., With a numbered key at bottom of image that identifies the pictures that hung on the depicted wall., Second in a series of four drawings showing the layout of the walls of the Tribune at Strawberry Hill, with the number "2" written in upper right corner of sheet. On verso is the first drawing in the series: Catalogue of pictures in the Cabinet : side fronting the door., and Mounted on page 121.6 in Horace Walpole's extra-illustrated copy of: Walpole, H. A description of the villa of Horace Walpole ... Strawberry Hill : Printed by Thomas Kirgate, MDCCLXXIV [1774-1786]. See Hazen, A.T. Bibliography of the Strawberry Hill Press (1973 ed.), no. 22, copy 3.
Subject (Name):
Walpole, Horace, 1717-1797 and Strawberry Hill (Twickenham, London, England)
Subject (Topic):
Homes and haunts, Pictures, and Cabinets (Case furniture)
Page 121.17. Description of the villa of Horace Walpole ...
Image Count:
1
Resource Type:
still image
Alternative Title:
Side fronting the cabinet of ivories
Description:
Beginning of title from first drawing in the series, found on page 121.7 in the same volume; remainder of title written at top of image., Unsigned; artist unidentified., Date based on death date of Horace Walpole, who assembled the extra-illustrated volume in which this drawing is mounted., With a numbered key at bottom of image that identifies the pictures that hung on the depicted wall., Third in a series of four drawings showing the layout of the walls of the Tribune at Strawberry Hill, with the number "3" likely trimmed away from corner of sheet. On verso is the fourth drawing in the series: [Catalogue of pictures in the Cabinet] : door side., and Mounted on page 121.17 in Horace Walpole's extra-illustrated copy of: Walpole, H. A description of the villa of Horace Walpole ... Strawberry Hill : Printed by Thomas Kirgate, MDCCLXXIV [1774-1786]. See Hazen, A.T. Bibliography of the Strawberry Hill Press (1973 ed.), no. 22, copy 3.
Subject (Name):
Walpole, Horace, 1717-1797 and Strawberry Hill (Twickenham, London, England)
Page 121.16. Description of the villa of Horace Walpole ...
Image Count:
1
Resource Type:
still image
Alternative Title:
Door side
Description:
Beginning of title from first drawing in the series, found on page 121.7 in the same volume; remainder of title written at top of image., Unsigned; artist unidentified., Date based on death date of Horace Walpole, who assembled the extra-illustrated volume in which this drawing is mounted., With a numbered key at bottom of image that identifies the pictures that hung on the depicted wall., Fourth in a series of four drawings showing the layout of the walls of the Tribune at Strawberry Hill, with the number "4" written in upper right corner of sheet. On verso is the third drawing in the series: [Catalogue of pictures in the Cabinet] : side fronting the cabinet of ivories., and Mounted on page 121.16 in Horace Walpole's extra-illustrated copy of: Walpole, H. A description of the villa of Horace Walpole ... Strawberry Hill : Printed by Thomas Kirgate, MDCCLXXIV [1774-1786]. See Hazen, A.T. Bibliography of the Strawberry Hill Press (1973 ed.), no. 22, copy 3.
Subject (Name):
Walpole, Horace, 1717-1797 and Strawberry Hill (Twickenham, London, England)
"A stage scene showing part of an empty stage box on the extreme right. A burlesque of F. Reynolds's 'Werter', adapted from Goethe's romance. The persons and objects on the stage have letters referring to an 'Explanation' below the design. Werter ('A') kneels before Charlotte ('B'), who is seated on a settee on the extreme left; he raises her petticoat with a passionate gesture. At Werter's feet is an open book, 'Ossian' (which he has been reading to Charlotte); she protests with raised hands (pp. 35-6 of the 1802 edition). Behind (right), Albert ('C'), in regimentals, stands with his face to the wall, his hands clasped behind his back. Two pictures ('E E') hang on the wall representing scenes from the play. In one (left) Albert lies prone; Charlotte, seated beside him, raises her arms in despair; the other is suspended from one corner, hanging crookedly; it represents Charlotte and Albert embracing. In the front of the stage (right), her back to the actors, a nude woman ('F') is seated on a low step holding a pistol to each ear. She wears a hat tied under her chin and is weeping. Above her head is an urn inscribed 'Sacred to Suicide' and a weeping willow. Across the top of the design is a scroll 'H': "To raise the Genius and to mend the Heart"."--British Museum online catalogue and "'Werter', Reynolds's first play, was acted on 14 March 1786 at Covent Garden for Miss Brunton's benefit, having been already played at Bath; Holman played Werter, Farren played Albert. According to Baker, 'Biog. Dram.', it had little success in London. According to Reynolds, 'Werter's metropolitan, was equal, if not superior, to his rural success'. He describes the tears and fainting-fits of the first night at Covent Garden (perhaps responsible for the empty stage box). 'Life and Times of Frederick Reynolds by himself', i. 304 ff.'"--Curator's comments, British Museum online catalogue
Description:
Title etched below image., Signed with the monogram of James Sayers., Five lines of text below title: Explanation, A. Werter making a very improper request to Charlotte -- B. Charlotte resenting it very properly -- C. Albert her husband very civilly taking himself off ..., 1 print : etching with aquatint and drypoint wove paper ; plate mark 20.2 x 23.8 cm, on sheet 22 x 25 cm., and Mounted on verso of leaf 33 of James Sayers's Folio album of 144 caricatures.
"A stage scene showing part of an empty stage box on the extreme right. A burlesque of F. Reynolds's 'Werter', adapted from Goethe's romance. The persons and objects on the stage have letters referring to an 'Explanation' below the design. Werter ('A') kneels before Charlotte ('B'), who is seated on a settee on the extreme left; he raises her petticoat with a passionate gesture. At Werter's feet is an open book, 'Ossian' (which he has been reading to Charlotte); she protests with raised hands (pp. 35-6 of the 1802 edition). Behind (right), Albert ('C'), in regimentals, stands with his face to the wall, his hands clasped behind his back. Two pictures ('E E') hang on the wall representing scenes from the play. In one (left) Albert lies prone; Charlotte, seated beside him, raises her arms in despair; the other is suspended from one corner, hanging crookedly; it represents Charlotte and Albert embracing. In the front of the stage (right), her back to the actors, a nude woman ('F') is seated on a low step holding a pistol to each ear. She wears a hat tied under her chin and is weeping. Above her head is an urn inscribed 'Sacred to Suicide' and a weeping willow. Across the top of the design is a scroll 'H': "To raise the Genius and to mend the Heart"."--British Museum online catalogue and "'Werter', Reynolds's first play, was acted on 14 March 1786 at Covent Garden for Miss Brunton's benefit, having been already played at Bath; Holman played Werter, Farren played Albert. According to Baker, 'Biog. Dram.', it had little success in London. According to Reynolds, 'Werter's metropolitan, was equal, if not superior, to his rural success'. He describes the tears and fainting-fits of the first night at Covent Garden (perhaps responsible for the empty stage box). 'Life and Times of Frederick Reynolds by himself', i. 304 ff.'"--Curator's comments, British Museum online catalogue
Description:
Title etched below image., Signed with the monogram of James Sayers., Five lines of text below title: Explanation, A. Werter making a very improper request to Charlotte -- B. Charlotte resenting it very properly -- C. Albert her husband very civilly taking himself off ..., and Mounted on page 48 with one other print.
"A stage scene showing part of an empty stage box on the extreme right. A burlesque of F. Reynolds's 'Werter', adapted from Goethe's romance. The persons and objects on the stage have letters referring to an 'Explanation' below the design. Werter ('A') kneels before Charlotte ('B'), who is seated on a settee on the extreme left; he raises her petticoat with a passionate gesture. At Werter's feet is an open book, 'Ossian' (which he has been reading to Charlotte); she protests with raised hands (pp. 35-6 of the 1802 edition). Behind (right), Albert ('C'), in regimentals, stands with his face to the wall, his hands clasped behind his back. Two pictures ('E E') hang on the wall representing scenes from the play. In one (left) Albert lies prone; Charlotte, seated beside him, raises her arms in despair; the other is suspended from one corner, hanging crookedly; it represents Charlotte and Albert embracing. In the front of the stage (right), her back to the actors, a nude woman ('F') is seated on a low step holding a pistol to each ear. She wears a hat tied under her chin and is weeping. Above her head is an urn inscribed 'Sacred to Suicide' and a weeping willow. Across the top of the design is a scroll 'H': "To raise the Genius and to mend the Heart"."--British Museum online catalogue and "'Werter', Reynolds's first play, was acted on 14 March 1786 at Covent Garden for Miss Brunton's benefit, having been already played at Bath; Holman played Werter, Farren played Albert. According to Baker, 'Biog. Dram.', it had little success in London. According to Reynolds, 'Werter's metropolitan, was equal, if not superior, to his rural success'. He describes the tears and fainting-fits of the first night at Covent Garden (perhaps responsible for the empty stage box). 'Life and Times of Frederick Reynolds by himself', i. 304 ff.'"--Curator's comments, British Museum online catalogue
Description:
Title etched below image., Signed with the monogram of James Sayers., Five lines of text below title: Explanation, A. Werter making a very improper request to Charlotte -- B. Charlotte resenting it very properly -- C. Albert her husband very civilly taking himself off ..., Watermark., and Mounted to 26.5 x 35 cm.
Bretherton, Charles, approximately 1760-1783, printmaker
Published / Created:
date.
Call Number:
Folio 75 B87 770 (Oversize)
Collection Title:
Page 83. Bunbury album.
Image Count:
1
Resource Type:
still image
Abstract:
"Satire: the interior of a barber who has covered his client with soap; prints and wigs are hanging on the wall."--British Museum online catalogue
Description:
Title from text below image., Initial letters of artist's name in signature form a monogram., Second state, with shading added to the floor and to other parts of the image. See British Museum catalogue., Sheet trimmed to plate mark., and Mounted on page 83 of: Bunbury album.
Publisher:
Publish'd as the act directs, April 1772, by J. Bretherton, No. 134 New Bond Street
Subject (Topic):
Interiors, Barbershops, Barbers, Shaving, Wigs, and Pictures
"On the floor of a room are six pieces of blue Delft china in the shape of men and women. Descriptions are etched beneath the design, headed "Scene Delft. Dramatis Personae", the first (left) being, "Mynheer Van Vase of an Ancient Etruscan Family long since broken to pieces by ye vile Visigoths in deep love with Miss Cruet but discarded by her". On the walls are pictures in the Dutch manner, two portraits, a still life and a landscape, and in the back wall is a casement window. Across the ceiling is etched, "Collateral branch of the Heidelbergh Family"."--British Museum online catalogue
Description:
Title from text within image., Sheet trimmed to plate mark on bottom edge leaving thread margin., Mounted on page 77 of: Bunbury album., 1 print : etching on laid paper ; sheet 27.6 x 37.7 cm., and Sheet trimmed to plate mark.
"On the floor of a room are six pieces of blue Delft china in the shape of men and women. Descriptions are etched beneath the design, headed "Scene Delft. Dramatis Personae", the first (left) being, "Mynheer Van Vase of an Ancient Etruscan Family long since broken to pieces by ye vile Visigoths in deep love with Miss Cruet but discarded by her". On the walls are pictures in the Dutch manner, two portraits, a still life and a landscape, and in the back wall is a casement window. Across the ceiling is etched, "Collateral branch of the Heidelbergh Family"."--British Museum online catalogue
Description:
Title from text within image. and Sheet trimmed to plate mark on bottom edge leaving thread margin.
Title engraved below image., Numbered '137' in lower left corner., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Watermark in lower right corner, partially obscured by design.
Publisher:
Printed for Robert Sayer, No. 253 Fleet Street as the act directs
"Mrs. Abington stands facing three quarters to the right dressed as Scrub in Farquhar's 'Beaux' Stratagem', with her hair in tightly curled ringlets (resembling the wig worn by Weston in the part). Her hand is in the pocket of a long, old-fashioned coat worn over an apron. On the wall behind her head is a bust of Farquhar, scowling down at her, disgusted to see a woman play the part. On each side is a picture: on the left the head and shoulders of a man calling "Murder Murder", the frame is inscribed, "Mr Weston in ye part of Scrub". On the right a woman emerges from the funnel of a bottle, as the Bottle Imp. She is of meretricious appearance, holds up a purse in her right hand, a mask in the left; the frame is inscribed, 'For the Benefit of Thalia For this Night only The Pit laid into the Boxes."--British Museum online catalogue
Description:
Title etched below image., Signed with the monogram of James Sayers., Sheet trimmed within plate mark on right and left sides., 1 print : etching with engraving and stipple on wove paper ; plate mark 27.8 x 20.2 cm, on sheet 29.4 x 21.2 cm., and Mounted on leaf 33 of James Sayers's Folio album of 144 caricatures.
Publisher:
Publd. 15th Febry. 1786 by Thos. Cornell, Bruton Street
Subject (Name):
Abington, Mrs., 1737-1815 (Frances Barton), and Farquhar, George, 1677?-1707.
"Mrs. Abington stands facing three quarters to the right dressed as Scrub in Farquhar's 'Beaux' Stratagem', with her hair in tightly curled ringlets (resembling the wig worn by Weston in the part). Her hand is in the pocket of a long, old-fashioned coat worn over an apron. On the wall behind her head is a bust of Farquhar, scowling down at her, disgusted to see a woman play the part. On each side is a picture: on the left the head and shoulders of a man calling "Murder Murder", the frame is inscribed, "Mr Weston in ye part of Scrub". On the right a woman emerges from the funnel of a bottle, as the Bottle Imp. She is of meretricious appearance, holds up a purse in her right hand, a mask in the left; the frame is inscribed, 'For the Benefit of Thalia For this Night only The Pit laid into the Boxes."--British Museum online catalogue
Description:
Title etched below image., Signed with the monogram of James Sayers., Sheet trimmed within plate mark on right and left sides., and Mounted on page 49 with one other print.
Publisher:
Publd. 15th Febry. 1786 by Thos. Cornell, Bruton Street
Subject (Name):
Abington, Mrs., 1737-1815 (Frances Barton), and Farquhar, George, 1677?-1707.