Full length portrait of Marquis of Graham on left standing back to back with the Earl of Buchan. Both wear Highland dress
Description:
Title from item., Probably from: A series of original portraits and caricature etchings by the late John Kay (1877)., Printmaker and title from book., Numbered in upper right of plate: 116., and Place and date of imprint conjectured from that of book.
Publisher:
publisher not identified
Subject (Geographic):
Scotland
Subject (Name):
Montrose, James Graham, Duke of, 1755-1836. and Buchan, David Stewart Erskine, Earl of, 1742-1829.
Portrait of Thomas Herring, Archbishop of Canterbury; three-quarter length, seated, to the left, looking to the front; gesturing towards viewer with left hand, his right hand holding a book; a curtain in background to the right; after Hogarth
Alternative Title:
Archbishop Herring
Description:
Title, artist, printmaker, and imprint from finished state., Sheet trimmed to plate mark., See Paulson, R. Hogarth's graphic works, p. 14., Ms. note in pencil in Steevens's hand to left of two impressions of this print: See Mr. Nichols's book, 3d. edit. p. 297., and On page 148 in volume 2. Removed in 2012 by LWL conservator.
Title from text printed on verso of previous plate in the series., Publication information from a closing plate in the series with intact imprint statement: The water doctor, or, hydropathyist., Six lines of text printed on verso of sheet: The chrysalis. The process of encasing is as in Plate 2, females have a bell in addition query, would they not prefer a Beau? ... Plate III., and Numbered 'Plt. II' in upper left corner from: The sure water cure.
A woman in bonnet and dress plays a harpsicord, the sheet music propped up on the instrument. Her music teacher, a large man with a beauty patch on his check, smiles approvingly as he points with his baton
Description:
Title devised by cataloger., Artist from Horace Walpole inscription on a companion painting: The library., One of the companion paintings is also in the Lewis Walpole Library. See Martin's "The library.", Formerly hung in the "red bed chamber" at Strawberry Hill, Twickenham, home of Horace Walpole. Sold at the 1842 London sale as one of the "Four humourous drawings, washed, perfectly unique of their kind, by Elias Martin.", and For further information, consult library staff.
Subject (Name):
Strawberry Hill (Twickenham, London, England)
Subject (Topic):
Harpsichords, Women, Music education, Music rooms, and Teachers
A scene in St. James's Park: A fashionably dressed couple stroll past a women who sits in on a bench, her head resting on her hand and a dejected look on her face
Description:
Title, numbering, and artist's signature inscribed on verso in black ink in the artist's hand: The neglected fair, no. 267, I. Cruikshank Senr. delt., Drawing signed with artist's initials within image in lower right corner., Date supplied by cataloger., and For further information, consult library staff.
Subject (Geographic):
Saint James's Park (London, England), England, and London.
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.
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.
A night scene in which Camilla is abducted by four bandits on horseback, as described by Apuleius. Three women stand in a doorway in the foreground at the right, in various poses showing their sense of alarm and distress
Description:
Title, printmaker, and imprint from Paulson., "Vol: I P: 113"--Lower left, below image., 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., A reversed copy of a print in the 1708 edition, with some changes. See Paulson., Sheet trimmed to plate mark., On page 21 in volume 1. Plate trimmed to: 14 x 7.6 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.
Fantasio is being released by the hunchbacked witch Invidiosa from the chest in which he has been hiding; a young man holds the boy's shoulders. The scene is set in a ramshackle room with broom and bundle of twigs in the foreground, fire behind. The scene just before the witch lures Fantasio to her bed and changes into a beauty
Description:
Title and imprint from Paulson., "Vol: I P: 155"--Lower left, below image., 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 x 7.6 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.