"Four designs on one plate, separated by intersecting lines, each having a separate title, inscription, and border. [1] MODESTY! The Princess of Wales and Bergami seated together in an opera-box; the occupants of the pit, all men, look up at the box, shouting "Via! via! hiss hiss s s s." The pair frown angrily; Bergami holds a bottle labelled 'Bergamot' and wears braided hussar uniform. The Princess wears a Turkish turban, a very décolletée dress defines bulging contours. A cross on the wall with the inscription 'Republica Genovese' shows that the scene is Genoa. Below: "Her Modest looks a Cottage might adorn, Sweet as the primrose peeps beneath the thorn" ... [2] DIGNITY! A scene in the Captain's cabin; the Princess and Bergami sit close together at a round table laid for dinner. She wears the same Turkish dress, which is now seen to have trousers. Both frown angrily at a naval officer who stands before them, hat in hand, saying: "I can recognize no power in you to enoble any one--and I shall not degrade myself & the Service by sitting at the table with such a fellow as that." Another officer stands by, and a midshipman walks off (right), exclaiming, "What will the larboard birth say to this?!!" "Grace was in all her steps, Heaven in her eye, In all her actions [sic] dignity"--[Milton on Eve.] ... [3] CHASTITY!-- The Princess, seated on a couch, embraces Bergami; both are dressed as before. Below: "-- Chaste as the Icecle, That's curded by the frost from purest snow, And hangs on Dian's Temple -- " ['Coriolanus', v. 3.] [4] NATIONAL LOVE!-- A scene in the palace of Murat (Joachim, King of Naples), with Vesuvius seen through a window (right). The Princess, in her Turkish costume, walks with Pauline Borghese, their arms interlaced. She places a wreath on the bonnet rouge which decorates a bust of 'Murat' (left), which has grotesquely long moustaches. Pauline (as in British Museum Satires No. 10072) has the patched face which indicates a damaged reputation, and wears a dress of transparent gauze; she turns to take a letter addressed 'Principessa Paulina' from a leering Italian. Bergami stands close behind the Princess of Wales; behind, couples waltz. Below: "the loyalty, well held to fools, does make our faith mere folly"-- ..."--British Museum online catalogue
Description:
Title etched at bottom of plate, below the four images., Imperfect; sheet cut into four pieces with partial loss of title. Description based on impression in the British Museum, registration no.: 1893,0612.216., Mounted on page 14 of: George Humphrey shop album., 1 print : etching on wove paper, hand-colored ; sheets appoximately 13.5 x 19.5 cm., and Plate cut into quarters, resulting in each of the four designs occupying a separate sheet. Beginning of the word "honnetes" in title has been trimmed away but was partially restored in manuscript. The four designs are mounted together with four other prints on one page; the designs are out of order from how they occur on the intact plate, with 'Chastity!' and "National love!' in the upper left and right respectively and 'Dignity!' and 'Modesty!' in the lower left and right respectively.
Publisher:
Pubd. June 15th, 1820, by G. Humphrey, 27 St. James's Street
Subject (Name):
Caroline, Queen, consort of George IV, King of Great Britain, 1768-1821, Bergami, Bartolomeo Bergami, Baron, Bonaparte, Paolina, 1780-1825, and Joachim Murat, King of Naples, 1767-1815.
Subject (Topic):
Adultery, Interiors, Opera houses, Dining tables, Military officers, Couches, Hugging, Sculpture, Volcanoes, and Liberty cap
"Four designs on one plate, separated by intersecting lines, each having a separate title, inscription, and border. [1] MODESTY! The Princess of Wales and Bergami seated together in an opera-box; the occupants of the pit, all men, look up at the box, shouting "Via! via! hiss hiss s s s." The pair frown angrily; Bergami holds a bottle labelled 'Bergamot' and wears braided hussar uniform. The Princess wears a Turkish turban, a very décolletée dress defines bulging contours. A cross on the wall with the inscription 'Republica Genovese' shows that the scene is Genoa. Below: "Her Modest looks a Cottage might adorn, Sweet as the primrose peeps beneath the thorn" ... [2] DIGNITY! A scene in the Captain's cabin; the Princess and Bergami sit close together at a round table laid for dinner. She wears the same Turkish dress, which is now seen to have trousers. Both frown angrily at a naval officer who stands before them, hat in hand, saying: "I can recognize no power in you to enoble any one--and I shall not degrade myself & the Service by sitting at the table with such a fellow as that." Another officer stands by, and a midshipman walks off (right), exclaiming, "What will the larboard birth say to this?!!" "Grace was in all her steps, Heaven in her eye, In all her actions [sic] dignity"--[Milton on Eve.] ... [3] CHASTITY!-- The Princess, seated on a couch, embraces Bergami; both are dressed as before. Below: "-- Chaste as the Icecle, That's curded by the frost from purest snow, And hangs on Dian's Temple -- " ['Coriolanus', v. 3.] [4] NATIONAL LOVE!-- A scene in the palace of Murat (Joachim, King of Naples), with Vesuvius seen through a window (right). The Princess, in her Turkish costume, walks with Pauline Borghese, their arms interlaced. She places a wreath on the bonnet rouge which decorates a bust of 'Murat' (left), which has grotesquely long moustaches. Pauline (as in British Museum Satires No. 10072) has the patched face which indicates a damaged reputation, and wears a dress of transparent gauze; she turns to take a letter addressed 'Principessa Paulina' from a leering Italian. Bergami stands close behind the Princess of Wales; behind, couples waltz. Below: "the loyalty, well held to fools, does make our faith mere folly"-- ..."--British Museum online catalogue
Description:
Title etched at bottom of plate, below the four images., Imperfect; sheet cut into four pieces with partial loss of title. Description based on impression in the British Museum, registration no.: 1893,0612.216., Mounted on page 14 of: George Humphrey shop album., 1 print : etching on wove paper, hand-colored ; sheets appoximately 13.5 x 19.5 cm., and Plate cut into quarters, resulting in each of the four designs occupying a separate sheet. Beginning of the word "honnetes" in title has been trimmed away but was partially restored in manuscript. The four designs are mounted together with four other prints on one page; the designs are out of order from how they occur on the intact plate, with 'Chastity!' and "National love!' in the upper left and right respectively and 'Dignity!' and 'Modesty!' in the lower left and right respectively.
Publisher:
Pubd. June 15th, 1820, by G. Humphrey, 27 St. James's Street
Subject (Name):
Caroline, Queen, consort of George IV, King of Great Britain, 1768-1821, Bergami, Bartolomeo Bergami, Baron, Bonaparte, Paolina, 1780-1825, and Joachim Murat, King of Naples, 1767-1815.
Subject (Topic):
Adultery, Interiors, Opera houses, Dining tables, Military officers, Couches, Hugging, Sculpture, Volcanoes, and Liberty cap
"Four designs on one plate, separated by intersecting lines, each having a separate title, inscription, and border. [1] MODESTY! The Princess of Wales and Bergami seated together in an opera-box; the occupants of the pit, all men, look up at the box, shouting "Via! via! hiss hiss s s s." The pair frown angrily; Bergami holds a bottle labelled 'Bergamot' and wears braided hussar uniform. The Princess wears a Turkish turban, a very décolletée dress defines bulging contours. A cross on the wall with the inscription 'Republica Genovese' shows that the scene is Genoa. Below: "Her Modest looks a Cottage might adorn, Sweet as the primrose peeps beneath the thorn" ... [2] DIGNITY! A scene in the Captain's cabin; the Princess and Bergami sit close together at a round table laid for dinner. She wears the same Turkish dress, which is now seen to have trousers. Both frown angrily at a naval officer who stands before them, hat in hand, saying: "I can recognize no power in you to enoble any one--and I shall not degrade myself & the Service by sitting at the table with such a fellow as that." Another officer stands by, and a midshipman walks off (right), exclaiming, "What will the larboard birth say to this?!!" "Grace was in all her steps, Heaven in her eye, In all her actions [sic] dignity"--[Milton on Eve.] ... [3] CHASTITY!-- The Princess, seated on a couch, embraces Bergami; both are dressed as before. Below: "-- Chaste as the Icecle, That's curded by the frost from purest snow, And hangs on Dian's Temple -- " ['Coriolanus', v. 3.] [4] NATIONAL LOVE!-- A scene in the palace of Murat (Joachim, King of Naples), with Vesuvius seen through a window (right). The Princess, in her Turkish costume, walks with Pauline Borghese, their arms interlaced. She places a wreath on the bonnet rouge which decorates a bust of 'Murat' (left), which has grotesquely long moustaches. Pauline (as in British Museum Satires No. 10072) has the patched face which indicates a damaged reputation, and wears a dress of transparent gauze; she turns to take a letter addressed 'Principessa Paulina' from a leering Italian. Bergami stands close behind the Princess of Wales; behind, couples waltz. Below: "the loyalty, well held to fools, does make our faith mere folly"-- ..."--British Museum online catalogue
Description:
Title etched at bottom of plate, below the four images., Imperfect; sheet cut into four pieces with partial loss of title. Description based on impression in the British Museum, registration no.: 1893,0612.216., Mounted on page 14 of: George Humphrey shop album., 1 print : etching on wove paper, hand-colored ; sheets appoximately 13.5 x 19.5 cm., and Plate cut into quarters, resulting in each of the four designs occupying a separate sheet. Beginning of the word "honnetes" in title has been trimmed away but was partially restored in manuscript. The four designs are mounted together with four other prints on one page; the designs are out of order from how they occur on the intact plate, with 'Chastity!' and "National love!' in the upper left and right respectively and 'Dignity!' and 'Modesty!' in the lower left and right respectively.
Publisher:
Pubd. June 15th, 1820, by G. Humphrey, 27 St. James's Street
Subject (Name):
Caroline, Queen, consort of George IV, King of Great Britain, 1768-1821, Bergami, Bartolomeo Bergami, Baron, Bonaparte, Paolina, 1780-1825, and Joachim Murat, King of Naples, 1767-1815.
Subject (Topic):
Adultery, Interiors, Opera houses, Dining tables, Military officers, Couches, Hugging, Sculpture, Volcanoes, and Liberty cap
"Four designs on one plate, separated by intersecting lines, each having a separate title, inscription, and border. [1] MODESTY! The Princess of Wales and Bergami seated together in an opera-box; the occupants of the pit, all men, look up at the box, shouting "Via! via! hiss hiss s s s." The pair frown angrily; Bergami holds a bottle labelled 'Bergamot' and wears braided hussar uniform. The Princess wears a Turkish turban, a very décolletée dress defines bulging contours. A cross on the wall with the inscription 'Republica Genovese' shows that the scene is Genoa. Below: "Her Modest looks a Cottage might adorn, Sweet as the primrose peeps beneath the thorn" ... [2] DIGNITY! A scene in the Captain's cabin; the Princess and Bergami sit close together at a round table laid for dinner. She wears the same Turkish dress, which is now seen to have trousers. Both frown angrily at a naval officer who stands before them, hat in hand, saying: "I can recognize no power in you to enoble any one--and I shall not degrade myself & the Service by sitting at the table with such a fellow as that." Another officer stands by, and a midshipman walks off (right), exclaiming, "What will the larboard birth say to this?!!" "Grace was in all her steps, Heaven in her eye, In all her actions [sic] dignity"--[Milton on Eve.] ... [3] CHASTITY!-- The Princess, seated on a couch, embraces Bergami; both are dressed as before. Below: "-- Chaste as the Icecle, That's curded by the frost from purest snow, And hangs on Dian's Temple -- " ['Coriolanus', v. 3.] [4] NATIONAL LOVE!-- A scene in the palace of Murat (Joachim, King of Naples), with Vesuvius seen through a window (right). The Princess, in her Turkish costume, walks with Pauline Borghese, their arms interlaced. She places a wreath on the bonnet rouge which decorates a bust of 'Murat' (left), which has grotesquely long moustaches. Pauline (as in British Museum Satires No. 10072) has the patched face which indicates a damaged reputation, and wears a dress of transparent gauze; she turns to take a letter addressed 'Principessa Paulina' from a leering Italian. Bergami stands close behind the Princess of Wales; behind, couples waltz. Below: "the loyalty, well held to fools, does make our faith mere folly"-- ..."--British Museum online catalogue
Description:
Title etched at bottom of plate, below the four images., Imperfect; sheet cut into four pieces with partial loss of title. Description based on impression in the British Museum, registration no.: 1893,0612.216., Mounted on page 14 of: George Humphrey shop album., 1 print : etching on wove paper, hand-colored ; sheets appoximately 13.5 x 19.5 cm., and Plate cut into quarters, resulting in each of the four designs occupying a separate sheet. Beginning of the word "honnetes" in title has been trimmed away but was partially restored in manuscript. The four designs are mounted together with four other prints on one page; the designs are out of order from how they occur on the intact plate, with 'Chastity!' and "National love!' in the upper left and right respectively and 'Dignity!' and 'Modesty!' in the lower left and right respectively.
Publisher:
Pubd. June 15th, 1820, by G. Humphrey, 27 St. James's Street
Subject (Name):
Caroline, Queen, consort of George IV, King of Great Britain, 1768-1821, Bergami, Bartolomeo Bergami, Baron, Bonaparte, Paolina, 1780-1825, and Joachim Murat, King of Naples, 1767-1815.
Subject (Topic):
Adultery, Interiors, Opera houses, Dining tables, Military officers, Couches, Hugging, Sculpture, Volcanoes, and Liberty cap
"A French petit-maître stands 'chapeau-bras' (left), in profile to the left, bending forward, his left hand in his breeches pocket, his right hand raised. Behind him are five ladies on their knees, making gestures of supplication. He wears bag-wig, laced suit, and sword. The ladies, who are young and pretty, wear feathered hats or feathers in their hair. He says, "parblue Mesdames vous n'y viendrez pas." Beneath the title is etched: 'With clasped hands and bended knees, They humbly sought the Count to please, And beg'd admission to his house, Not that for him they care'd a louse, But wish'd within his walls to shine, And shew those charms they think divine, His Ex beheld these Belles unmov'd, His A------e their impudence reproved, Cannaille he said shoud ne'er come there & rumped them with a pet en l'air'."--British Museum online catalogue
Alternative Title:
English ladies petition to His Excellency the Mushroom Ambassador and Politesse franc̦aise
Description:
Title etched below image., Printmaker from British Museum catalogue., Temporary local subject terms: French petit-maître -- Male costume: French, 1784 -- Ambassadors, 'Mushroom' -- Swords -- Supplication., and Watermark upper right corner: J. Whatman.
Publisher:
Pubd. May 4th, 1784, by H. Humphrey, Bond Street
Subject (Name):
Adhémar, Jean-Balthazar d'Azemar de Montfalcon, comte d', 1731-1791
"The Englishman, grossly obese, walks from the door of the inn (left) supporting his paunch on a wheelbarrow which the cook of British Museum satire no. 12361 helps to drag, exhausted by the effort, and mopping his face with his cap. A plank leads from the quayside to a packet-boat, the stern of which appears below, empty except for one expectant sailor. Another sailor's hand appears by the plank, ready to assist the embarkation. The sign of the inn is not depicted, the window flap hangs down. The second cook stands in the courtyard, offering food to a gorged cat on the roof."--British Museum online catalogue
Description:
Title etched below image., Dimensions 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 12 Novemberr 1814, before its pendant 'L'Arrivée' (1868,0808.7249) which logically precedes it. Martinet's name is not actually lettered on the plate., and Sheet trimmed within plate mark, with loss of text at lower left; corners trimmed: 19 x 23.3 cm.
Publisher:
Chez Martinet
Subject (Geographic):
France and France.
Subject (Topic):
History, Foreign public opinion, National characteristics, English, National characteristics, French, Cats, Cooks, Eating & drinking, Ethnic stereotypes, Gluttony, Mail steamers, and Obesity
Title from item., Two stanzas of verse in French in the lower left of plate: Le Roy Iacque. Ceste d'ecente me fait peur ..., Two stanzas of verse in Dutch in the lower right of plate: De Konink Iacobus spreeckt. Soo niemant met syn raat my heeden comt verkwikken ..., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Temporary local subject terms: Naval battles: La Houge, 17 May 1692 -- Medical: truss -- Male costume, 1692 -- Plots: reference to plot against James II by Lord Preston, William Penn, et al. -- Forts: Saint Vaast (headquarters of James II in Normandy) -- Jacques Moreau, 1647-1729.
Publisher:
publisher not identified
Subject (Name):
James II, King of England, 1633-1701 and Penn, William, 1644-1718
"A broadside satirising the share mania in Paris; with an etching after a French broadside by Humblot showing a street scene in the rue Quinquempoix with a crowd of people holding various papers, in the right foreground some people fighting; with engraved Dutch title, inscriptions, and verses in three columns."--British Museum online catalogue and "During the Mississippi Bubble’s heyday, trading took place on the rue Quincampoix in Paris. This print, from The Great Mirror of Folly, is based on an engraving by Antoine Humblot commemorating the street as a hub of chaos, lust, and criminality, as well as of unprecedented social mixing. The Dutch version includes foreboding rope nooses, along with placards indicating various commercial schemes as well as the emotional states of those investing in them. At right, a man is apprehended by the police, even as he passes a purloined object to his companion; at center, a woman flirts with a man while appearing to steal his wallet. From a window at left, John Law himself eyes the mayhem. The chiming bell above announces a dealer’s intention to sell."--New York Public Library website
Alternative Title:
Regte Afbeelding der Wind Negotie Gehouden in de Straat van Quinquempoix tot Parys
Description:
Title engraved in cartouche below image; subtitle in French and Dutch., Translation of the Dutch title in British Museum catalogue: A true picture of the wind trade of the rue Quinquempoix, Paris., According to Van Stolk, there is one state of this plate using Dutch verses. There are, however, other versions of this print with German and French text., and Three columns of verse in Dutch below title: Waar eertÿds 't Grieks Atheen 'vermaard ...
Publisher:
Chez G. Duchange, graveur du Roÿ, rue St. Jacques
Subject (Name):
Law, John, 1671-1729
Subject (Topic):
Economics, Swindlers and swindling, South Sea Bubble, Great Britain, 1720, City & town life, Crowds, Fighting, and People with disabilities
"By the efforts of Pitt, who directs Addington, and of a jester wearing cap and bells, an earthenware jug representing George III is lowered into the sea and fatally damaged by striking a rock inscribed 'Malte'. 'Addington' is a man of straw (his body formed of a bundle of straw), a puppet attached to a pole placarded with his name; Pitt (left) pulls threads attached to the dangling arms and legs, but looks round horrified at the disaster resulting from his machinations. The jester crouches on a rock (right); under his foot is a document: 'Traité d'Amiens' [see British Musueum Satires No. 9852, &c.]; he holds in both hands the rope, lowering the royal pitcher, but the other end of the rope is round Addington's hand and thus is manipulated by Pitt. Malta is a small castellated island with a church and a sharp rock which has gashed the pitcher just where it is decorated with a dog-like lion from whose head a crown falls. The mouth of the pitcher is a profile portrait of George III crowned, and looking down with angry dismay at the fatal rock."--British Museum online catalogue
Description:
Title etched below image. and Date of publication from British Museum catalogue.
Publisher:
Chez Martinet, Rue du Coq, Saint Honoré
Subject (Name):
George III, King of Great Britain, 1738-1820, Pitt, William, 1759-1806, Sidmouth, Henry Addington, Viscount, 1757-1844, and Napoleon I, Emperor of the French, 1769-1821.