This playbill records a performance at the Theatre Royal in Covent Garden of The constant couple by George Farquhar (1676-1707) on 22 May 1755 in which Margaret Woffington (1720?-1760) played the leading part of Sir Harry Wildair - one of the roles for which she was most celebrated. The part of Lady Lurewell was performed by Esther Hamilton (d. 1787). Other actors in the cast include Theophilus Cibber (1703-1758) and John Arthur (1708?-1772), actor and stage designer -- it is likely that he was responsible for devising the “machinery” mentioned in a note at the foot of the sheet: “as any obstruction in the movement of the machinery will greatly prejudice the performance of the entertainment, it is hoped no persons will be displeased as their being refus'd admittance behind the scene.”
Description:
A playbill. and For further information, consult library staff.
Publisher:
publisher not identified
Subject (Geographic):
England and London.
Subject (Name):
Farquhar, George, 1677?-1707., Woffington, Margaret, -1760., and Covent Garden Theatre.
Frontispeice to the celebrated lecture on heads and Frontispiece to the celebrated lecture on heads
Description:
Title from item., From: Stevens, G. Lecture on heads. London: J. Pridden, 1765., Date, printmaker, publisher, and place of publication taken from volume for which this is the frontispiece., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
John Pridden
Subject (Topic):
Theater, Phrenology, Physiognomy, Coats of arms, and Heads (Anatomy)
Title from item., Date supplied by curator., Abel Drugger is a character in the play The Alchemist, by Ben Jonson., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
Published by Messrs. Colnaghi & Co. Pall Mall, East, March Cheapside
Subject (Name):
Garrick, David, 1717-1779.
Subject (Topic):
Alchemy, Actors, Theater, Pharmacists, Skulls, Books, and Specimens
A satire on the theatre; an aspiring actor is shown in eight separate scenes
Description:
Title from item., Statement of responsibility and dimensions from impression in the British Museum online catalog (Registration no. 1948,0214.339)., Description based on imperfect impression; individual images and title trimmed, rearranged and remounted, with loss of printmaker signature and portion of imprint., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
Pub. by W. Holland Feb. 11, 1793 No. 50 Oxford Street
An allegorical representation of the nationalistic riot occasioned by a troupe of French comedians in London. This satirical print refers to the controversy and protest surrounding a French theatrical company, nicknamed the 'French Strollers', who applied for and were granted a licence to perform at the Haymarket in the winter of 1749. Their arrival occasioned much discontent; as the Scots Magazine reported, they were 'bitterly pelted in the news-papers'. Asserting their right to perform, they persisted in a show on 14 November, but were met by an audience intent on sabotage. An eyewitness account of the incident appeared in the Monthly Review some years later (July 1761): 'People went early to the Theatre, as a crouded House was certain ... I soon perceived that we were visited by two Westminster Justices, Deveil and Manning. The Leaders, that had the conduct of the Opposition, were known to be there; one of whom called aloud for the song in praise of English roast beef, which was accordingly sung in the gallery, by a person prepared for that purpose; and the whole house besides joining in the chorus, saluted the close with three huzzas! This, Justice Deveil was pleased to say, was a riot'. Despite the Justice's assertions that the play was licensed by the King's command, the crowd had come prepared to produce disruption. They were equipped with instruments which they played discordantly as an accompaniment to their jeers, catcalls, and Francophobic songs: 'as an attempt at speaking was ridiculous, the Actors retired, and opened instead with a grand dance of twelve men and twelve women; but even that was prepared for, and they were directly saluted with a bushel or two of peas, which made their capering very unsafe'. Unable even to dance, and following another abortive attempt by the magistrates to assert the King's authority, the curtain fell for the final time. The eyewitness evidently relished the outcome, venturing 'that at no battle gained over the French, by the immortal Marlborough, the shoutings could be more joyous than on this occasion'. The print embodies similar sentiments; the French strollers attack British theatrical establishment--represented by an affronted Britannia--who stands between them and British theatre-goers. In the foreground stands a perplexed Othello, lamenting the loss of his occupation, and an injured man a man lies on the floor 'Almost kill'd for not understanding French'.
Alternative Title:
Modern cramers
Description:
Title etched below image., Date of publication based on date of the depicted event., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
publisher not identified
Subject (Geographic):
Great Britain, England, and London.
Subject (Topic):
Britannia (Symbolic character), Foreign public opinion, French, Theater, Actors, Actresses, Fighting, and Riots
Volume 2, page 22. Etchings by Henry William Bunbury, Esq. and after his designs.
Image Count:
1
Resource Type:
still image
Abstract:
"[1] 'H. Bunbury Esqr del.' Punch (left) points to a large butt or tun inscribed 'WYNNSTAY', from the top of which hang comic masks which encircle its upper circumference; in his right hand is a stick with an ass's head. On the right side of the butt are three figures: Mother Shipton, humpbacked with a profile like Punch's; a demon or satyr, who looks from behind the cask; and a small man or boy, perhaps Tom Thumb. [2] 'View of the Theatre at Wynnstay. I. Evans Esqr del.' A view of the theatre is framed by a curtain held up (left) by Comedy and right by Tragedy. The façade has the date '1782'. [3] 'Wynnstay. H. Bunbury Esqr del.' Amateur actors and actresses dance in a circle round a high pedestal supporting a bust of (?) Shakespeare. They include a Falstaff leering at a lady in Elizabethan dress, a man wearing a tall leek in his hat (? Fluellen), and a French military officer with long queue and cavalier's boots."--British Museum online catalogue
Description:
Title from text above images., Three designs arranged in a vertical strip, each with its own title and artist's signature., Sheet trimmed to plate mark leaving thread margins., Plate from: The European magazine, and London Review, v. 9 (February 1786), page 71., Temporary local subject terms: Buildings: Theatre at Wynnstay., and Mounted on page 22 in volume 2 of: Etchings by Henry William Bunbury, Esq. and after his designs.
Publisher:
Publishd. Feby. 1, 1786, by I. Sewell, Cornhill
Subject (Geographic):
Great Britain
Subject (Name):
Shipton, Mother approximately 1488-1561 (Ursula), and Wynnstay Theatre,
Subject (Topic):
Theater, Masks, Barrels, Demons, Theaters, and Pedestals
Volume 2, page 22. Etchings by Henry William Bunbury, Esq. and after his designs.
Image Count:
1
Resource Type:
still image
Abstract:
"[1] 'H. Bunbury Esqr del.' Punch (left) points to a large butt or tun inscribed 'WYNNSTAY', from the top of which hang comic masks which encircle its upper circumference; in his right hand is a stick with an ass's head. On the right side of the butt are three figures: Mother Shipton, humpbacked with a profile like Punch's; a demon or satyr, who looks from behind the cask; and a small man or boy, perhaps Tom Thumb. [2] 'View of the Theatre at Wynnstay. I. Evans Esqr del.' A view of the theatre is framed by a curtain held up (left) by Comedy and right by Tragedy. The façade has the date '1782'. [3] 'Wynnstay. H. Bunbury Esqr del.' Amateur actors and actresses dance in a circle round a high pedestal supporting a bust of (?) Shakespeare. They include a Falstaff leering at a lady in Elizabethan dress, a man wearing a tall leek in his hat (? Fluellen), and a French military officer with long queue and cavalier's boots."--British Museum online catalogue
Description:
Title from text above images., Three designs arranged in a vertical strip, each with its own title and artist's signature., Sheet trimmed to plate mark leaving thread margins., Plate from: The European magazine, and London Review, v. 9 (February 1786), page 71., Temporary local subject terms: Buildings: Theatre at Wynnstay., 1 print : etching with engraving on laid paper ; sheet 25.8 x 14.9 cm., and Imperfect; sheet trimmed within plate mark on top edge with loss of title.
Publisher:
Publishd. Feby. 1, 1786, by I. Sewell, Cornhill
Subject (Geographic):
Great Britain
Subject (Name):
Shipton, Mother approximately 1488-1561 (Ursula), and Wynnstay Theatre,
Subject (Topic):
Theater, Masks, Barrels, Demons, Theaters, and Pedestals
Volume 2, page 24. Etchings by Henry William Bunbury, Esq. and after his designs.
Image Count:
1
Resource Type:
still image
Abstract:
"Admission ticket for the theatre at Wynnstay, the private theatre of Sir Watkin Williams Wynn. ... A full length woman standing in a field in front of the theatre, holding a dramatic mask, others at her feet, in oval frame of laurel with 'Wynnstay' on ribbon at bottom."--British Museum online catalogue
Description:
Title from item., Artist attribution to Bunbury based on the inclusion of an impression of this print, mounted alongside the original drawing, in Horace Walpole's bound collection of Henry William Bunbury's works. See Lewis Walpole Library call no.: 49 3563., Date of publication from unverified data in local card catalog record., Sheet trimmed within plate mark., and Mounted on page 24 in volume 2 of: Etchings by Henry William Bunbury, Esq. and after his designs.
An oversized John Bull with a carbuncled-faced sits at a round table across from a very young looking William Betty and his father, both handsome and not caricatured. John Bull toasts the two, full wine glass in hand: "Youngster, heres to you I'm glad to see you in town. Old Master Roscius your health, and may you get such another boy every New Year's Day for the benifit [sic] of the English stage." Behind them pinned to the wall are two prints: the one a profile portrait of Mrs. Siddons, hangs from one corner only, and the other a portrait of J.P. Kemble. The three ostrich feathers on the back of Master Betty's chair may indicate the patronage of the Prince of Wales
Description:
Title etched below image., Printseller's stamp in lower right corner: S.W.F., and Description from British Museum catalogue of "Young Roscius and Don John" mounted on verso.
Publisher:
Pubd January 4, 1805, by S.W. Fores, No. 50 Piccadilly
Subject (Geographic):
Great Britain
Subject (Name):
Betty, William Hen. West 1791-1874. (William Henry West),, Siddons, Sarah, 1755-1831, and Kemble, John Philip, 1757-1823
Subject (Topic):
John Bull (Symbolic character), Theater, Actors, British, and Child actors