Print shows an ugly and leering elderly man, identified as the London banker Thomas Coutts, embracing the actress Harriet Mellon (later Mrs. Coutts, and subsequently Duchess of St. Albans).
Description:
Title from item.
Publisher:
Pub. 15 May, 1815, by T. Palser, Surry Side Westr. Bridge
Subject (Name):
Coutts, Thomas, 1735-1822 and St. Albans, Harriot Mellon, Duchess of, 1777?-1837
Hudibras has arrested the fiddler with a wooden leg and is leading him to prison (seen on the right) while Ralpho attaches his violin to the stocks; a ragged child with a hoop, a well-dressed woman, and two young man look on (left).
Description:
Title engraved above image., From a series of twelve prints after Hogarth and issued by Robert Sayer. Publisher name from first print in series., Date of publication based on publisher's name and address in imprint statement on the first plate in this series. 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 '4' in upper left corner., Caption below image in three columns, begins: "Ralpho dsipatch'd with speedy hast, And having ty'd Crowdero fast ... To dungeon they the wrtch commit, And the survivor of his feet.", Copy of no. 507 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. 85., and From a set of twelve prints, all with two sewing holes along left edge.
Publisher:
Robert Sayer
Subject (Geographic):
England. and Great Britain
Subject (Name):
Butler, Samuel, 1612-1680.
Subject (Topic):
Puritans, Children, Couples, Criminals, Games, Horses, People with disabilities, Violins, Women, Stocks (Punishment), and History
An old woman, the prude, is standing near a crowd of people huddled around a bonfire in Covent Garden. She is crossing Covent Garden Piazza, disapproving of the amorous scenes outside the notorious Tom King's Coffee House. The print shows the morning and is part of a series representing the progress of the day
Description:
Title engraved below image., Signed bottom left hand corner: Designed by Wm. Hogarth. Signed bottom right hand corner: Engraved by T. Cook., After Hogarth. Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 146., Plate also issued in a collection entitled Hogarth restored, first published by G.G. & J. Robinson in 1802., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2357., and Watermark: 1794 J. Whatman.
Publisher:
Published August the 1st, 1797, by G.G. & J. Robinson, Pater-noster Row, London
Subject (Geographic):
Covent Garden (London, England)
Subject (Topic):
Beggars, Children, City & town life, Couples, Crowds, Fighting, Food vendors, Kissing, Prostitutes, Quacks, Servants, Signs (Notices), Taverns (Inns), and Women
A copy of the second print in William Hogarth's series "Four Times of the Day": Set outside St Giles's-in-the-Fields. On the right an elegant crowd leaves the French Huguenot church; they are dressed in the height of French fashion. Two women kiss on the far right in the customary French way. They are contrasted with Londoners on the left. The two groups are separated by a gutter down the middle of the road; a dead cat lies in the gutter foreground. The Londoners stand outside a tavern with the sign of the Good Woman (one without a head); a woman and man in the second-storey window look surprised as the contents of her bowl are tossed out the window. In the foreground, left, under a sign with John the Baptist's head on a platter and reading "Good Eating", a black man embraces a servant girl and a small boy (evidently intended by his curly red hair to be identified as one of the Irish inhabitants of the area) cries because he has broken a pie-dish. A little girl squats as she eats the fallen pie off the ground. The clock in the steeple in the background reads 12:30.
Description:
Title engraved below image., After Hogarth. Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 147., Signed bottom left hand corner: Designed by Wm. Hogarth. Signed bottom right hand corner: Engraved by T. Cook., Plate also issued in a collection entitled Hogarth restored, first published by G.G. & J. Robinson in 1802., and Watermark: 1794 J. Whatman.
Publisher:
Published October the 1st, 1797, by G.G. & J. Robinson, Pater-noster Row, London
Subject (Geographic):
England, London., and England.
Subject (Topic):
Huguenots, Irish, Blacks, Children, City & town life, Churches, Couples, Crowds, Crying, Kissing, Servants, Signs (Notices), Taverns (Inns), and Women
A "line and dot" series of caricatures featuring scenes with stick figures (or "pin men"), both male and female, engaged in some form of public violence, arranged in two rows, each grouping individually titled. In the first row the designs are titled: "You lie, sir!", "Proceeding to blows", "Friends ending the dispute" and then a larger group of figures with the title "Dispute at cards: ending in a round game". In the second row: "In love I perceive", "Prick'd to the heart. She's gone, she's gone!", "Met to part no more", "O! Thou false wretch", "O, Sophia fairest of women", "How you teaze me Charles" and "I'll seek revenge", and a pair of designs labeled above "The effects of jealousy" and on the left "Now for the fatal blow" and "Keep your distance fellow."
Alternative Title:
Milk Street in an uproar
Description:
Title from text in upper left., Unidentified artist., Date conjectured from that of the published print of the same design., Similar to a print, published by G. Blackman in 1817, and attributed to George Cruikshank in the British Museum catalogue. Cf. Nos. 12955 and 12956 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 9., and The genre was perhaps originated by G.M. Woodward who designed two plates of acrobatic feats, &c., entitled 'Multum in Parvo, or Lilliputian Sketches shewing what may be done by lines and dots'. See Curator's note to British Museum online catalogue, Registration number: 1935,0522.10.220.b
In two columns with the title in a ribbon atop a woodcut below stanza one. Stanzas 2 and 3 below image. A sailor at a seaside tavern (Jack Ocum) dances with a young woman as he holds his tankard. The fiddle music is played by a man who stands beside a woman in the tavern doorway. In the distance on the right is a sailing ship and along the shore, two men in a row boat
Alternative Title:
Oddities. Song
Description:
Title from item., One of the songs from Charles Dibdin's 'The oddities', first presented in 1789., First line reads: A sailor's life's a life of woe., Imprint transposed from above around lower edge of image and from the bottom of the sheet., Anonymous. By Charles Dibdin., and Not in ESTC.
Publisher:
Sold by J. Pitts, Great Saint Andrew St. ; Sold by C. Sheppard, Lambert Hill, Doctors Commons
Verse begins: "Attend, ye lovers, and give an ear"., In four columns with the title and two woodcuts above the first two; the columns are separated by columns of type ornaments., The left woodcut is found in other broadsides with Bow Church Yard and Aldermary Church Yard imprints; the date range is that covering both imprints; see David Stoker, "Another look at the Dicey-Marshall publications: 1736-1806", The Library, ser. 7, v. 15:2 (June 2014), 111-157., Susan’s surname appears in other editions as either Massie or Mease., Mounted on leaf 60. Copy trimmed., and Bound in three-quarters red morocco leather with marbled boards, with spine title stamped in gold: Old English ballads, woodcuts, vol. 2.
Publisher:
publisher not identified
Subject (Topic):
Couples, Cemeteries, Tombs & sepulchral monuments, Skulls, and Staffs (Sticks)