"A stage scene showing part of an empty stage box on the extreme right. A burlesque of F. Reynolds's 'Werter', adapted from Goethe's romance. The persons and objects on the stage have letters referring to an 'Explanation' below the design. Werter ('A') kneels before Charlotte ('B'), who is seated on a settee on the extreme left; he raises her petticoat with a passionate gesture. At Werter's feet is an open book, 'Ossian' (which he has been reading to Charlotte); she protests with raised hands (pp. 35-6 of the 1802 edition). Behind (right), Albert ('C'), in regimentals, stands with his face to the wall, his hands clasped behind his back. Two pictures ('E E') hang on the wall representing scenes from the play. In one (left) Albert lies prone; Charlotte, seated beside him, raises her arms in despair; the other is suspended from one corner, hanging crookedly; it represents Charlotte and Albert embracing. In the front of the stage (right), her back to the actors, a nude woman ('F') is seated on a low step holding a pistol to each ear. She wears a hat tied under her chin and is weeping. Above her head is an urn inscribed 'Sacred to Suicide' and a weeping willow. Across the top of the design is a scroll 'H': "To raise the Genius and to mend the Heart"."--British Museum online catalogue and "'Werter', Reynolds's first play, was acted on 14 March 1786 at Covent Garden for Miss Brunton's benefit, having been already played at Bath; Holman played Werter, Farren played Albert. According to Baker, 'Biog. Dram.', it had little success in London. According to Reynolds, 'Werter's metropolitan, was equal, if not superior, to his rural success'. He describes the tears and fainting-fits of the first night at Covent Garden (perhaps responsible for the empty stage box). 'Life and Times of Frederick Reynolds by himself', i. 304 ff.'"--Curator's comments, British Museum online catalogue
Description:
Title etched below image., Signed with the monogram of James Sayers., Five lines of text below title: Explanation, A. Werter making a very improper request to Charlotte -- B. Charlotte resenting it very properly -- C. Albert her husband very civilly taking himself off ..., Watermark., and Mounted to 26.5 x 35 cm.
Satire on Hogarth's plate of 'The Times', attacking him as an apologist for Lord Bute, showing the gatehouse of St. James's Palace
Alternative Title:
Butifyer
Description:
Title etched above image., Attributed to Paul Sandby. See British Museum catalogue., "With what judgement ye judge, ye shall be judged. Matt. Chap. 7.2"--Centered immediately below image., "Mr. Hogarth, In justice to [blank space] the engraver of this plate: declares to the publick, he took the hint of the B**utifyer, from a print of Mr. Pope White washing Lord Burlingtons Gate, at the same time bespatring the rest of the nobility.", "Price 1s"--Lower right edge., and Sheet trimmed within plate mark.
Publisher:
publisher not identified
Subject (Name):
Bute, John Stuart, Earl of, 1713-1792, Hogarth, William, 1697-1764, Murphy, Arthur, 1727-1805, Newcastle, Henry Fiennes Pelham-Clinton, Duke of, 1720-1794., Pitt, William, 1759-1806, Temple, Richard Grenville-Temple, Earl, 1711-1779, and Smollett, T. 1721-1771 (Tobias),
"Eight elderly topers with pipes and glasses surround a small oblong table, on which are punch-bowl, wine-glasses, tobacco, &c. All are much caricatured; some sing, a parson sleeps, a dog howls. The room is lit by a chandelier; a bracket-clock points to 3.40, on it is carved a Bacchanalian figure of Time astride a cask. A bust portrait of Anacreon holding pen and paper is on the wall (left)."--British Museum online catalogue
Description:
Title etched below image., One line of quoted text above image: "Whilst, snug in our club-room, we jovially 'twine the myrtle of Wenus with Bacchus's wine.", Watermark: Turkey Mills J. Whatman., and Mounted on leaf 62 of volume 10 of 12.
Publisher:
Publish'd Decr. 1st, 1801, by H. Humphrey, 27 St. James's Street
Two works in two separate hands, recording the orders and rules of a fictitious noble order created for ladies' amusement, presumably by someone well acquainted with the customs and using her knowledge to arrange a masque for the amusement of her circle of friends in the months leading to the coronation of George III, possibily at her home in Yorkshire. The first work entitled "The Order for the installation of one of the Ladies of the most noble Order of the Needle instituted in 1761" (pages 2-4) is followed by "The Rules of the most Noble Order of the Needle Instituted on July 25th 1761" (pages 4-8), both written in black ink
Description:
Miss Frankland remains unidentified but is likely a descendant of the family of Lady Elizabeth Russell Frankland (1666-1733), the granddaughter of Oliver Cromwell, and her husband Sir Thomas Frankland (1665-1726) of Thirkleby Park, North Yorkshire. Lady Frankland was the sister of John Russell (-1735), the stepfather of Mary Joanna Russell., Mary Joanna Cutts Revett Russell (1707-1764) was the daughter of Colonel Edmund Revett (-1709) and Joanna Thurlbarne Revett (-1764), the step-daughter of John Russell (-1735), and the wife of Lieutenant Colonel Charles Russell (1701-1754). The Russell family acquired Chequers, their family home in Buckinghamshire, through John Russell's 1715 marriage to Joanna Revett., In English., Titles from captions at the head of each of the two works., "By Miss F-nkl-d" on first page, upper right corner, suggests the author of the first manuscript, "The Order for the installation," as a member of the Frankland family., The second work is attributed to Mary Joanna Russell based on a manuscript also entitled "The rules of the most Noble Order of the Needle" in the British Library (Add MS 69390). The online record for that copy states that it was drawn up by Mrs. Russell for her daughter and nieces and their friends., One signature, sewn and unbound, with watermarked laid paper, horizontal chainlines; crowned watermark with lion rampant, countermark 'EH'. Pages with text are unnumbered; final 8 pages are blank., and For further information, consult library staff.
Subject (Geographic):
England.
Subject (Name):
George III, King of Great Britain, 1738-1820
Subject (Topic):
Coronation, Amateur theater, Masques, and Satire, English
Engraving of William Hogarth’s 1748 painting ‘O the Roast Beef of Old England’ (London, Tate Britain), which he had himself published as a print. The scene is set at the Gate of Calais (after the painting in the Tate Gallery) with a fat monk prodding a large sirloin of beef carried by a cook, on either side are two French soldiers, one of whom spills his bowl of thin soup as he gazes in amazement at the beef; on the left, three market women with crosses hanging from their necks admire a skate in a basket of fish; on the right, two ragged men carry a large pot of soup while another drinks from a bowl, and a Scottish soldier cowers beneath an archway; in the middle distance, to left, Hogarth himself is seen sketching at the moment when a soldier’s hand takes him by the shoulder; beyond, through the gate, is a religious procession
Alternative Title:
Gate of Calais
Description:
Title engraved below image., Date of publication based on publisher's street address; Sayer's premises in Fleet Street were not numbered until ca. 1766. See British Museum online catalogue., Text of Theodosius Forrest’s cantata 'The Roast Beef of Old England' printed in letterpress beneath image in two columns., Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 180., and Watermark.
Publisher:
Printed for Robt. Sayer, No. 53 Fleet Street
Subject (Geographic):
England
Subject (Name):
Hogarth, William, 1697-1764.
Subject (Topic):
Foreign public opinion, French, Artists, Clergy, Eating & drinking, Ethnic stereotypes, and Religious processions
A depiction, in three rows, of some 20 fanciful designs for spritely demons, ranging from the buxom to the bizarre, probably meant to mock the contemporary early-Romantic interest in 'fairy painting' by such artists as Henry Fuseli (1774-1825) and William Blake (1757-1827), especially their well-known interpretations of Shakespeares A Midsummer Night's Dream and Fuseli's highly sexualized depictions of nightmares
Description:
Title etched at bottom of plate., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Formerly mounted on blue sheet, with residue remaining.
Publisher:
Pub. by W. Holland, No. 50 Oxford Street
Subject (Name):
Fuseli, Henry, 1741-1825 and Blake, William, 1757-1827
"Eight elderly topers with pipes and glasses surround a small oblong table, on which are punch-bowl, wine-glasses, tobacco, &c. All are much caricatured; some sing, a parson sleeps, a dog howls. The room is lit by a chandelier; a bracket-clock points to 3.40, on it is carved a Bacchanalian figure of Time astride a cask. A bust portrait of Anacreon holding pen and paper is on the wall (left)."--British Museum online catalogue
Description:
Title etched below image., One line of quoted text above image: "Whilst, snug in our club-room, we jovially 'twine the myrtle of Wenus with Bacchus's wine.", Numbered in black ink lower right in an unknown hand: 505. Remnants of former blue mounting on verso., and 1 print : etching and aquatint on wove paper, hand-colored ; plate mark 24.5 x 31.4 cm, on sheet 32.9 x 34.9 cm.
Publisher:
Publish'd Decr. 1st, 1801, by H. Humphrey, 27 St. James's Street
[approximately 20 April 1784] and [approximately 1868?]
Call Number:
Folio 724 836C (Oversize)
Collection Title:
Leaf 48. Caricatures drawn & etched by those celebrated artists Gillray, Rowlandson, Cruikshanks
Image Count:
1
Resource Type:
still image
Abstract:
A parody of The Nightmare by Henry Fuseli in which Fox lies prone on a bed with a demon on his chest. Behind them a horse with bulging eyes pokes his head through the bedcurtains. On a table in the foreground are a pair of dice and dice-box
Alternative Title:
Covent Garden nightmare
Description:
Title etched below image., Attributed to Rowlandson in the British Museum catalogue., Restrike; design has been altered with the addition of a covering over Fox's naked legs, and the erroneous signature "Gillray" has been added in lower left. For original issue of the plate, see no. 6543 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 6., Plate from: Caricatures drawn & etched by those celebrated artists Gillray, Rowlandson, Cruikshanks, &c. [London] : [Field & Tuer], [ca. 1868?], Plate originally published ca. 20 April 1784; see British Museum catalogue., Cf. Grego, J. Rowlandson the caricaturist, v. 1, page 129., Temporary local subject terms: Prudery., and On leaf 48 of: Caricatures drawn & etched by those celebrated artists Gillray, Rowlandson, Cruikshanks, &c.
Publisher:
Pubd. by W. Humphrey, No. 227 Strand [i.e. Field & Tuer] and Field & Tuer
Subject (Name):
Fuseli, Henry, 1741-1825., Fox, Charles James, 1749-1806, Great Britain. Parliament, 1783-1784., and Great Britain. Parliament
Subject (Topic):
Elections, 1784, Beds, Sleeping, Nightmares, Draperies, Demons, and Horses
"Lady Hertford, seated regally on a small sofa, cuts locks from the head of the Regent who reclines against her knees, asleep. The locks already cut are on the ground inscribed respectively 'Sheridan', 'Norfolk', 'Moira', 'Holland', 'Erskine'. She is about to shear off one inscribed 'Grenville'; the last, 'Grey', is still on his head. The Prince, who is conventionally handsome, and wears uniform, holds a paper signed '[Gren]ville / Grey'; his garter, inscribed 'Honi so . . .', is loose, and his left hand hides the star on his breast. Lord Yarmouth (right) stands holding a guttering candle; he points to the uncut lock, saying, "Don't forget that lock laying [on] the shoulder its Grey dy'ye see!" In his pocket is a pamphlet: 'Art of Milling' [see British Museum Satires No. 11842]. To leave no doubt as to his identity, a basket of fish is beside him inscribed '[Y]armouth Herrings'. Lady Hertford is heavily handsome; a small crown, which might pass as a tiara decorates her head; one foot rests regally on a footstool. A pillar and drapery behind her suggest regal state. On the sofa beside her is a rolled document headed 'Road to Hertford from Pall Mall'. On the ground (left) are empty wine-bottles; on a book by the Prince's feet, 'Economy of Human Life', lies a broken bottle from which wine pours. Behind (left) stands Perceval in his Chancellor of the Exchequer's gown, watching from behind a curtain which he holds aside; Castlereagh stands behind him, saying, "By Jasus, but she's as pretty a Barber as ever I clap't my eyes upon." Perceval answers: "Hush! Hush! you'l wake him before they are all cut."."--British Museum online catalogue
Alternative Title:
Delilah depriving Sampson of those locks in which consisted his strength
Description:
Title etched below image., Attributed to Charles Williams in the British Museum catalogue., Sheet trimmed., and Album paper pasted over edge of plate at top.
Publisher:
Pubd. Feby. 1812 by Walker and Knight, No. 7 Cornhill
Subject (Name):
George IV, King of Great Britain, 1762-1830, Hertford, Isabella Anne Ingram-Seymour-Conway, Marchioness of, 1760-1834, Hertford, Francis Charles Seymour-Conway, Marquess of, 1777-1842, Castlereagh, Robert Stewart, Viscount, 1769-1822, Perceval, Spencer, 1762-1812, Erskine, Thomas Erskine, Baron, 1750-1823., Grey, Charles Grey, Earl, 1764-1845., Sheridan, Richard Brinsley, 1751-1816., Grenville, William Wyndham Grenville, Baron, 1759-1834., Norfolk, Charles Howard, Duke of, 1746-1815., Holland, Henry Richard Vassall, Baron, 1773-1840., Hastings, Francis Rawdon-Hastings, Marquess of, 1754-1826., Samson (Biblical judge), and Delilah (Biblical figure)
Grant, C. J. (Charles Jameson), active 1830-1852, printmaker
Published / Created:
[approximately 1830?]
Call Number:
830.00.00.169
Image Count:
1
Resource Type:
still image
Abstract:
Two asses on a bare patch of ground, with the first line of Shakespeare's 'Macbeth' below. The play begins with three witches in a storm deciding when to meet next ('When the hurlyburly's done, / When the battle's lost and won'). That there are only two asses in this parody presumably means that the dedicatee of the print, whose name is withheld, is the third
Description:
Title from text below image., Signed with the initials of Charles Jameson Grant., Imprint lacking, but text "See Tregear's catalogue" beneath title suggests G.S. Tregear as publisher., Date of publication from dealer's description., and Not in the Catalogue of prints and drawings in the British Museum.
