Title from item., Sheet trimmed within plate mark., Plate numbered '32' in upper left corner., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Temporary local subject terms: Burkes' Justice -- Begging.
Publisher:
Pubd. Decmr. 1st, 1807, by Thos. Tegg, 111 Cheapside
Satirical portrait of Adoniram Byfield, with the Devil at his shoulder blowing at a child's toy windmill fixed on Byfield's hat; the vanes are labelled "Hypocrisy", "Lust", "Pride" and "Covetousness". Lettered with speech ribbons: the Devil saying, "He do's my business bravely"; Byfield, "Needs must when the Devil drives."
Description:
Title from caption below image. and Date of publication based on active dates of the Baldwyns.
Publisher:
Published by Charles & Henry Baldwyn, Newgate Street
"Triple portrait of the daughters of William Montgomery as the Graces, Barbara kneeling to left, reaching with right hand into a basket of flowers on the ground, left hand holding the end of a wreath, Elizabeth, with right knee on a stool, reaching out right arm and looking to left towards her sister, holding the wreath up with left hand, Anne standing to right, holding the wreath over her head with both hands, looking to left, a statue of Hymen behind her to left, in a landscape with trees, opening to fields to left. "-- from similar print in British Museum online catalogue
Description:
Title from caption below image., Date of publication from similar print from the British Museum online catalogue., Place of publication from printmaker's known place of activity., and Sheet trimmed within plate mark with possible loss of text.
Portrait of Adriaen Hanneman (c.1604-1671), Dutch portrait painter, who lived in London from 1626 until around 1640 when he returned to The Hague. He had a long career painting portraits of exiled English royalists and the Dutch court as well as other wealthy residents of The Hague
Description:
Title from inscription in ink, in 18th century hand, lower left: Adrian Hanneman Pictor, Drawing that was later used for an engraving published in : Anecdotes of painting in England / by Mr. Horace Walpole. [Strawberry-Hill] : Printed by Thomas Farmer at Strawberry-Hill, MDCCLXII [1762], v. 2, opp. p. 120., and George Vertue, English artist, 1684-1756.
Portrait of Adriaen van Diest (1655-1704), born in The Hague, immigrated to England when he was 17 and remained there, active as a landscape painter of views of England in the western parts landscapes, chiefly in the Italian manner
Description:
Drawing that was later used for an engraving published in : Anecdotes of painting in England, with some account of the principal artists / by Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Farmer, 1762, v. 3, opp. p. 129., Title from item., Signed in ink, lower right: ob. 1704 Aeta '49. G.V., Inscription in ink, in 18th century hand, lower right below monogram: poss. Mr. Dahl pict., Inscription in ink, in 18th century hand, lower left: se ipse pinx., and George Vertue, English artist, 1684-1756.
"George IV, crowned, and with orb and sceptre, sits on a coronation chair in Westminster Abbey (right). The Archbishop, well characterized, stands beside him, holding his mitre, his right hand on the chair. On the King's right hand stands Londonderry (Castlereagh) in Garter robes; other peers stand behind him. All watch the antics of Canning, dressed in parti-coloured clothes as a merry-andrew or buffoon. He kneels on the dais at the King's feet, arms flung wide; at his feet is a high-crowned hat with a peacock's feather; on the back of his tunic are the letters M P and P C. He declaims: The delight of the Nation at the Celebration of your Majesty's Coronation, the Exultation throughout the Creation exceeds all Imagination. the Expectation to which the Anticipation of this Consumation has given occasion is beyond Contemplation; we offer the Oblation of our Congratulation, without Hesitation or Trepidation; no Tribulation can effect a Cessation of the Sensation which pervades every Station; no Situation in whatever Deprivation will utter an Execration for the Association are in Preparation to effect an Extirpation of all Defamation. We hope the Expectation of a Decollation will produce Annihilation of all Deviation from strict Regulation; we submit to Subjugation without Hesitation, and we offer our Oration with gratefull Adoration upon this Jollification. The King composedly touches (or kicks) Canning's chin with his toe. Peeresses stand in a gallery across the north transept, holding their coronets. Above them is a second and more crowded gallery."--British Museum online catalogue
Alternative Title:
Adulation, or, A coronation oration by the George Pudding of the nation, Coronation oration by the Jack Pudding of the nation, and Coronation oration by the George Pudding of the nation
Description:
Title etched below image; the name "George" is scored through and replaced by "Jack" written above., Attributed to Charles Williams in the British Museum catalogue., and Sheet trimmed within plate mark.
Publisher:
Pubd. July 1821 by S.W. Fores, Piccadilly
Subject (Name):
George IV, King of Great Britain, 1762-1830, Castlereagh, Robert Stewart, Viscount, 1769-1822, and Canning, George, 1770-1827
"An enormously fat lady flings up arms, legs, and tea-cup in terror, as her flimsy gown catches fire from a red-hot poker falling from the grate (left). She, a stiff military officer, and a young woman sit at a round tea-table. The man sits paralysed, alarmed and helpless, spilling his tea; the girl has added to the calamity by knocking over the tea-table so that urn and tea-pot spill their scalding contents, and crockery slides towards the floor. A loutish footman enters (right) but has stopped dead, dropping a dish of muffins. A frightened cat scampers from the hearth-rug. Over the chimney-piece is a picture of Vesuvius in eruption. The woman is a monstrous creature with bare arms and elaborately dressed hair (or wig), a patterned carpet completes the design."--British Museum online catalogue
Description:
Title etched below image. and Text following title: Dedicated to the serious attention of the fashionable ladies of Great Britain.
Publisher:
Publish'd Feby. 15th, 1802, by H. Humphrey, 27 St. James's Street
Subject (Geographic):
England
Subject (Topic):
Cats, Clothing & dress, Parlors, Tea, and Tea tables (Tables)
Hudibras and Ralpho encounter a mob armed with sticks; in the foreground, a one-legged fiddler, a butcher and a dancing bear with his leader. On the left, a woman reaches out her arms
Alternative Title:
Hudibras's first adventure
Description:
Title engraved above image., After Hogarth., From a series of twelve prints issued by Robert Sayer., Date of publication based on publisher's name and address in imprint statement. Robert Sayer moved to 53 Fleet Street in 1760, and from 1777 onward he formed partnerships that caused him to trade under different names (Sayer & Bennett, Sayer & Co., etc.); see British Museum online catalogue. He acquired the Hogarth plates from Overton and re-issued them and copies in 1768. See Paulson., Numbered '3' in upper left corner; "Part 1 Canto 1 l. 1." in upper right corner above image., Verse in three columns below image: "The Catalogue and Character of th' enemies best men of war Whom in a bold Harangue the Knight Defies and challenges to fight; H' encounters Talgol routs the bear, And takes the fidler prisoner; Conveys him to enchanted castle There shuts him fast in wooden bastile.", Copy of no. 506 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 1., See Paulson, R. Hogarth's graphic works (3rd ed.), no. 84., and From a set of twelve prints, all with two sewing holes along left edge.
Publisher:
Printed & sold by Robt. Sayer, map & printseller at No. 53 in Fleet Street
Subject (Geographic):
Great Britain
Subject (Name):
Butler, Samuel, 1612-1680.
Subject (Topic):
History, Bears, Crowds, Butchers, Musicians, People with disabilities, Puritans, Riots, and Trained animals
Title from caption below image., Date of publication from other prints in series., Sheet trimmed within plate mark., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., The Lewis Walpole Library: Multiple pen and pencil sketches on verso., and Temporary local subject terms: Courtrooms.
"A design in six compartments arranged in two rows, each with a title. [1] 'Johnnys reception by "merry Tonkanoo at Negro Ball'. The ball is in an open shed with a negro fiddler seated high on a hogshead; most of the guests watch Johnny, the only white, and 'Tonkanoo' bowing to each other. The latter is a tall negro with huge false moustache and long wig, feathered hat, and wide-cuffed coat in imitation of English dress c. 1740, with breeches and bare legs. A negro behind Johnny disperses flies with a branch. A negro couple is dancing; the ladies are fully dressed, some with tall cylindrical hats. Behind are distant mountains. [2] 'Johnny dancing with Rosa--the Planters beautiful daughter'. At the same ball all the negroes form a background of admiring spectators while Johnny, still wearing his enormous hat, dances with a pretty English girl in conventional evening dress, holding both her hands. Tonkanoo stands with his arms extended towards them. In the foreground (left) is a little naked negro Cupid with bow, quiver, and arrows, pointing to the couple. [3] 'Johnnys Courtship and professions of Love to Rosa'. Rosa reclines on a sofa under a piece of drapery looped from a tree; Johnny (left), hat in hand, kneels at her feet while the Cupid aims his bow at him. A pet monkey sits beside Rosa, and behind her (right) stands a negro girl brushing away flies with a branch. Johnny's servant is behind (left) holding an umbrella. Two cockatoos bill on a branch. [4] 'Johnny and the fair Rosa tripping to the Altar of Hymen'. The pair run hand in hand along a path which winds to a church resembling an English village church. Negro servants run after them, one holding up a large umbrella. Before them run two little negroes; one is Cupid playing a fiddle, the other, Hymen, holds up a lighted torch. In the distance, nearing the church, are the parson and his clerk. [5] 'Nuptial ceremony of Johnny and the charming Rosa'. In a Gothic church the parson with his book stands behind a cylindrical altar on which are two hearts transfixed by an arrow. Johnny puts the ring on Rosa's finger. The congregation are delighted negroes and negresses. Against the altar sit Cupid and Hymen; Cupid wears Johnny's huge hat and plays the fiddle; Hymen blows at his torch. [6] 'Johnny and his fair Bride reveling in Jollity and festive mirth'. Johnny, tipsily jovial, his father-in-law, and Rosa, sit at table, drinking, the men smoking, many bottles of 'Sangaree' on the floor. A man fiddles, and in the background a dance is in progress. Johnny wears his planter's hat, &c., as in British Museum Satires No. 11983, and has always a swarm of flies round his head. Rosa throughout wears her ball-dress, with feathers in her hair."--British Museum online catalogue, description of an earlier state
Description:
Title etched above image., State before imprint mostly burnished from plate., Plate numbered "180" in upper right corner. Also numbered in upper left: Pl. 2., Plate from: Woodward, G.M. Caricature magazine, or Hudibrastic mirror. London : Thomas Tegg, [1808?], v. 3., Also issued separately., and "Price one shilling coloured."
Publisher:
Pubd. by Ts. Tegg
Subject (Topic):
Black people, Celebrations, Courtship, Dance, Intoxication, Marriage, and Musicians