Title devised by curator., Printmaker identified by Horace Walpole in his copy of Gray's Odes in The Lewis Walpole Library., Publication information from book in which this plate was published., Plate from: Designs by Mr. R. Bentley for six poems by Mr. T. Gray. London : Printed for R. Dodsley, 1753., Mounted on page 86 of Horace Walpole's extra-illustrated copy of his: A description of the villa of Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Kirgate, 1784. See Hazen, A.T. Bibliography of the Strawberry Hill Press (1973 ed.), no. 30, copy 12., 1 print : etching and engraving on laid paper ; sheet 27 x 20.7 cm., and Sheet trimmed to plate mark.
Frontispiece to Joshua Kirby's 'Perspective of Architecture' (1761); landscape, with river, domed temple and city, in foreground the upper part of a column, its capital bearing emblems of the Prince of Wales, a cupid with a book inscribed " Palladio's Architect[ure]", a paper with geometrical figures struck by a ray from the rising sun
Alternative Title:
Frontispiece
Description:
Paulson's title: Frontispiece to Kirby's Perspective of architecture., State and publication information from Paulson., Original drawing in the British Museum., Sheet trimmed to plate mark., Ms. note in pencil in Steevens's hand above print: Original., Ms. note in pencil in Steevens's hand below print: Brook Taylor's Perspective. See Nichols's book, 3d edit. p. 371., and On page 185 in volume 2.
A lady (a Muse?), with a cello and open book with musical notations at her feet, addresses, on behalf of Leveridge's songs, Venus and Bacchus, shown in clouds above; Cupid stands at his mother's side presumably helping to persuade her
Description:
Title, printmaker and artist, state, and date from Paulson, With: Engraved title page for "A collection of songs with the musick by Mr. Leveridge. In two volumes. London : Engrav'd and printed for the author in Tavistock-Street, Covent-Garden, 1727.", "The ornaments around the title page many also be by Hogarth, but I see no very good reason to thinks so"--Paulson, p. 71., Sheet trimmed to plate mark., and Frontispiece only.
A lady (a Muse?), with a cello and open book with musical notations at her feet, addresses, on behalf of Leveridge's songs, Venus and Bacchus, shown in clouds above; Cupid stands at his mother's side presumably helping to persuade her
Description:
Title, printmaker and artist, state, and date from Paulson, With: Engraved title page for "A collection of songs with the musick by Mr. Leveridge. In two volumes. London : Engrav'd and printed for the author in Tavistock-Street, Covent-Garden, 1727.", "The ornaments around the title page many also be by Hogarth, but I see no very good reason to thinks so"--Paulson, p. 71., Sheet trimmed to plate mark., Ms. note in Steevens's hand above print: Not inserted by Mr. Nichols., and On page 47 in volume 1. Plate mark 9.6 x 24.8 cm, on sheet 17.3 x 10 cm.
Title devised by curator., Publication information from book in which this plate was published., Plate from: Designs by Mr. R. Bentley for six poems by Mr. T. Gray. London : Printed for R. Dodsley, 1753., Mounted on page 80 of Horace Walpole's extra-illustrated copy of his: A description of the villa of Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Kirgate, 1784. See Hazen, A.T. Bibliography of the Strawberry Hill Press (1973 ed.), no. 30, copy 12., 1 print : etching and engraving on laid paper ; sheet 30.4 x 21.4 cm., and Sheet trimmed to plate mark leaving thread margins.
"A short and broad Corinthian column standing on grass is almost covered by little scenes emblematical of social classes, from high to low. Across the centre, enclosed in a garland, the three heroes carouse, Corinthian Tom and his country cousin Jerry Hawthorne raise their glasses; Bob Logic (1.), more dandified, sprawls in his chair. Broken bottles are on the ground. The capital, Corinthian Capital, is covered with a scene at Court: George IV on the throne, lords and ladies in court dress. Inscriptions: Roses Pinks, and Tulips, and The Flowers \ of Society. Two figures flank the column immediately below the capital: Noble, a peer wearing a star, and Respectable, a stout citizen with a pen behind his ear. Between these and above the central circle, a blood drives a woman in a curricle; they are Ups and, the corresponding group below the circle and at the base of the column being Downs \ of \ Life in London: a thin, ragged, and desperate man sits on a stone between a beggar-boy and an old basket-woman. Two flanking scenes on projecting slabs are (1.) Mechanical, a knock-kneed artisan holding a frothing tankard and a hammer and (r.) Tag Rag & Bob tail, a scarecrow figure with bare legs hideously splayed, bawling a Last Dying Speech. Between these four single figures are projections from each side of the circle: (1.) Ins &, a man looking from a prison window, and (r.) Outs, a man just released and waving his hat. On the plinth: (The Base), is a tiny scene in a cellar, dimly lit by a fire; a woman smoking a pipe sits on a truckle bed; a ragged man seated on a stool smokes and drinks. Over the hearth is a gibbet broadside. On the r. a man sieves rubbish; sacks, one inscribed G C, and a spade lean against the wall. Below: Bunches of Turn-ups [turnips = ruined persons]-Vegetables, Strings of Ing-ens [onions]. The base of the whole is a slab inscribed: Here are we met three merry Boys,/Three merry boys, I trow are we,/And mony a night we've merry been,/And mony mae we hope to be. Burns. Bound in the 1821 edition of Pierce Egan's Life in London, printed for Sherwood, Neely and Jones. (See 1864,0611.376-412. 184.c.7)"--British Museum online catalogue
Description:
Title and publication information from British Museum catalogue., Four lines of verse in lower portion of image: Here are we met three merry boys, three merry boys I trow are we ..., Sheet trimmed within plate mark., and Lacking imprint statement. For intact imprint statement cf. no. 14320 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 10.
In an auditorium with seats around the perimeter, a stout college dignitary holding out a piece of paper stands on the right observing a scuffle between students on the left. The only word left on the torn piece of paper is "terrae".
Description:
Title, publisher, and date from Paulson., Frontispiece to Vol. 1 of Nicholas Amhurst's Terra-Filius, or The secret history of the University's of Oxford. London : R. Francklin, 1726., Sheet trimmed within plate mark., Ms. note in Steevens's hand above: Original. Below this print: See Nichols's book, 3d edit. p. 169., and On page 47 in volume 1. Plate trimmed to: 13.9 x 8.6 cm.
In an auditorium with seats around the perimeter, a stout college dignitary holding out a piece of paper stands on the right observing a scuffle between students on the left. The only word left on the torn piece of paper is "terrae".
Description:
Title from Paulson., Original designed as the Frontispiece to vol. 1 of Nicholas Amhurst's Terra-Filius, or The secret history of the University's of Oxford. London : R. Francklin, 1726., Sheet trimmed within plate mark., Copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 2, 1727., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 101., On page 47 in volume 1., and Ms. note in Steevens's hand above: Copy.
In an auditorium with seats around the perimeter, a stout college dignitary holding out a piece of paper stands on the right observing a scuffle between students on the left. The only word left on the torn piece of paper is "terrae".
Description:
Title, publisher, and date from Paulson., Frontispiece to Vol. 1 of Nicholas Amhurst's Terra-Filius, or The secret history of the University's of Oxford. London : R. Francklin, 1726., and Sheet trimmed within plate mark.