In a kitchen, Sir Watkin Williams-Wynn is shown on a spit being basted by bills, petitions, etc
Alternative Title:
Welch Knight roasted and baisted and Welsh Knight roasted and basted
Description:
Title etched above image., Sheet trimmed within plate mark., Publication date from the British Museum catalogue., and With spine title: Caricatures anglaise 1740.
Title from item., Publication date from British Museum catalogue., Six lines of verse below the figures in the image: At length old O----d [i.e., Orford] must depart, helped on by medicinal art ..., Temporary local subject terms: Medicine: prescriptions -- Canes: gold-headed cane -- Broad Bottoms -- Animals: ass with human head -- Reference to quackery -- Whips -- Letters, and Watermark: countermark IV.
Publisher:
publisher not identified
Subject (Name):
Walpole, Robert, Earl of Orford, 1676-1745, Carteret, John, Earl Granville, 1690-1763, Bath, William Pulteney, Earl of, 1684-1764, Mead, Richard, 1673-1754, Newcastle, Thomas Pelham-Holles, Duke of, 1693-1768, and Cotton, John Hynde, Sir, 1686-1752
Title from item., Publication date from British Museum catalogue., Six lines of verse below the figures in the image: At length old O----d [i.e., Orford] must depart, helped on by medicinal art ..., Temporary local subject terms: Medicine: prescriptions -- Canes: gold-headed cane -- Broad Bottoms -- Animals: ass with human head -- Reference to quackery -- Whips -- Letters, and With spine title: Caricatures anglaise 1740.
Publisher:
publisher not identified
Subject (Name):
Walpole, Robert, Earl of Orford, 1676-1745, Carteret, John, Earl Granville, 1690-1763, Bath, William Pulteney, Earl of, 1684-1764, Mead, Richard, 1673-1754, Newcastle, Thomas Pelham-Holles, Duke of, 1693-1768, and Cotton, John Hynde, Sir, 1686-1752
Policy for the Three-thumb Assurance Office of St. Anne's, Westminster
Description:
Title from item., Publication date from an unverified card catalog record. Dated in British Museum catalogue: ca. 1770., Twelve lines of verse below image: A significant justice, a burgess and stump, their sap-sculls together had lay'd ..., Temporary local subject terms: Elections: St. Anne's Parish, Westminster -- St. Anne's Parish, Westminster: allusion to insurance and its disposition -- Thumbs: tyrannical thumbs of the City Companies -- Gallows -- City Companies: Barbers -- City Companies: Pewterers -- City Companies: Carpenters -- Emblems: thumbs as City Companies tyranny -- Allusion to assurance offices -- Poll-books -- Poll-clerks -- Allusion to voters' freedom -- Tools: barbers' implements -- Tools: pewterers' implements -- Tools: carpenters' implements -- Hallmarks: pewterer's 'touch'., and Watermark: Pro patria.
April 26, 1745, publish'd according to act of Parliament.
Call Number:
745.04.26.01+
Image Count:
1
Resource Type:
still image
Abstract:
A satire on Admirals Thomas Mathews and Richard Lestock and other officers who had been engaged in the fight off Toulon, and who subsequently became subjects of a Court Martial. A street scene, on the left a portico, from which a goup of persons is led by the figure of Britannia towards a dockyard; with letterpress inscriptions, verses in four columns
Description:
Title from item., Four columns of verse below image begins: Shall British glory rise again, and wipe the degen'rate stain ..., Later state, with publisher's name burnished from plate. Cf. No. 2682 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3., Temporary local subject terms: Buildings: portico of the Admiralty's Building -- Admiralty: satire on admiralty inscribed on portico -- British Lion -- Personifications: Justice -- Trade -- Symbols: Hand of Providence -- Lightning bolts -- Reference to the Battle of Toulon, 1744 -- Reference to the War of the Austrian Succession, 1740-1748 -- Court martial -- Emblems: laurel wreath -- Balance -- Weapons: sticks as cudgels -- Architectural details: busts -- Naval uniforms -- Gates: dockyard at Deptford -- Reference to Bremen and Verden., and Watermark: countermark IV.
Publisher:
publisher not identified
Subject (Name):
Torrington, George Byng, Viscount, 1663-1733, Blake, Robert, 1599-1657, Mathews, Thomas, 1676-1751, Lestock, Richard, 1679?-1746, and Norris, John, Sir, 1660?-1749
Title etched above image., Sixteen lines of verse in four columns below image: I Perkin young and bold, my father me has sent here ..., Temporary local subject terms: Military -- Weapons: espontoons -- Military uniforms -- Cardinal -- Playing cards: Nine of Diamonds (Curse of Scotland)., and Watermark: countermark IV.
Publisher:
publisher not identified
Subject (Geographic):
Tweed River (Scotland and England),
Subject (Name):
Charles Edward, Prince, grandson of James II, King of England, 1720-1788, Tencin, Pierre Guérin de, 1679-1758, and Edinburgh Castle (Edinburgh, Scotland),
Subject (Topic):
Britannia (Symbolic character), Neptune, Jacobite Rebellion, 1745-1746, Bulls, Devil, and Clergy
Satirical frontispiece to a tract entitled "An Address of Thanks to the Broad-Bottoms, for the Good Things they have done, and the Evil Things they have not done, Since their Elevation . ." on the coalition government, called broad-bottomed because it included Tories as well as opposition Whigs, and its failure to keep promises made in opposition to reduce taxes. The bare bottoms of members of the government are shown from the rear piled on top of one another over a pointed arch facing the rising sun. In the centre of the group Sir John Hynde Cotton is recognisable from his profile and his size. The members are defecating on to a group of asses beneath. Each ass carries a load labelled with the name of a tax: salt, land, soap, malt, candles, wine and tea. The burden on one ass is lettered "Septan", i.e. "Septennial", referring to Opposition promises to reduce the years between elections from seven to three. Another ass carries "Lottery" and "Annuities", and another includes in its pack "Black Act" (which created the capital offence of blackening the face, as a disguise, when committing a crime).--British Museum online catalogue
Description:
Title from item., Publication information from the book for which this plate was printed., Frontispiece from: An address of thanks to the Broad-Bottoms ... . London : Printed for M. Cooper, at the Globe in Pater-Noster Row, MDCCXLV [1745]., Two lines of verse below image: Believing, we lifted [the] up among the mighty, yet our drivers have join'd, increasing our loads., "Jeffrey Broadbottom" was a pseudonym of William Guthrie, pamphleteer in the Pelham interest., and Not by Hogarth, as has been claimed. Cf. Felbrigg, p. 122, ref. to Nichols, 3rd edition, p. 449 "a palpable imposition" (to call it by Hogarth).
Publisher:
M. Cooper
Subject (Geographic):
Great Britain
Subject (Name):
Cotton, John Hynde, Sir, 1686-1752, Carteret, John, Earl Granville, 1690-1763, and Pelham, Henry, 1695?-1754
Subject (Topic):
Taxation, History, Defecation, Donkeys, and Politicians
Satirical frontispiece to a tract entitled "An Address of Thanks to the Broad-Bottoms, for the Good Things they have done, and the Evil Things they have not done, Since their Elevation . ." on the coalition government, called broad-bottomed because it included Tories as well as opposition Whigs, and its failure to keep promises made in opposition to reduce taxes. The bare bottoms of members of the government are shown from the rear piled on top of one another over a pointed arch facing the rising sun. In the centre of the group Sir John Hynde Cotton is recognisable from his profile and his size. The members are defecating on to a group of asses beneath. Each ass carries a load labelled with the name of a tax: salt, land, soap, malt, candles, wine and tea. The burden on one ass is lettered "Septan", i.e. "Septennial", referring to Opposition promises to reduce the years between elections from seven to three. Another ass carries "Lottery" and "Annuities", and another includes in its pack "Black Act" (which created the capital offence of blackening the face, as a disguise, when committing a crime).--British Museum online catalogue
Description:
Title from item., Publication information from the book for which this plate was printed., Frontispiece from: An address of thanks to the Broad-Bottoms ... . London : Printed for M. Cooper, at the Globe in Pater-Noster Row, MDCCXLV [1745]., Two lines of verse below image: Believing, we lifted [the] up among the mighty, yet our drivers have join'd, increasing our loads., "Jeffrey Broadbottom" was a pseudonym of William Guthrie, pamphleteer in the Pelham interest., Not by Hogarth, as has been claimed. Cf. Felbrigg, p. 122, ref. to Nichols, 3rd edition, p. 449 "a palpable imposition" (to call it by Hogarth)., Ms. note in Steevens's hand above print: See Mr. Nichols's book, 3d edit., p. 449., and On page 122 in volume 2. Sheet trimmed within plate to: 16 x 8.3 cm.
Publisher:
M. Cooper
Subject (Geographic):
Great Britain
Subject (Name):
Cotton, John Hynde, Sir, 1686-1752, Carteret, John, Earl Granville, 1690-1763, and Pelham, Henry, 1695?-1754
Subject (Topic):
Taxation, History, Defecation, Donkeys, and Politicians
"Scene on a road near St. Pancras church, which is visible in the background; two women and two men stand in road, one woman with her arms tied and a look of anguish on her face, the other woman raises her arm as one of the men points towards her; illustration to Johnson's 'History of ... Highwaymen"--British Museum online catalogue
Description:
Title etched below image., Publication date from an unverified card catalog record., 'Page 120.'--Upper left corner of plate., The fictional character, Colonel Jack, is the hero of Defoe's The history and remarkable life of the truly honorable Col. Jacque ... (1722)., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Watermark: countermark H.
In an open landscape, an elegantly dressed Columbine is seated on a rock and taking a pinch of snuff from a large snuffbox. Her head is turned back slightly towards Harlequin who stands behind her gesturing dramatically
Alternative Title:
Harlequin
Description:
Title engraved below image., Dated by costume., Sheet trimmed to plate mark., Eight lines of verse in two columns (four lines under each name): Columbine. What would'st thou have fonr Harlequin? ... Harlequin. My charmer all I mean is love ..., One of a series of prints with the Commedia dell'arte characters., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Mounted to 17 x 17 cm, window mounted to 23 x 19 cm.
In an open landscape, Harlequin is sitting on a rock, holding a little boy across his lap and whipping his bare bottom with a birch rod. Columbine, coming up from behind them, tries to intervene
Alternative Title:
Harlequin
Description:
Title from item., Dated based on another print in this series: Columbine. Harlequin., Imperfect; sheet trimmed within plate mark resulting in loss of most of the plate number in upper right corner., Eight lines of verse in two columns (four lines under each name): Columbine. Will whipping ever mend a child? ... Harlequin. Pray hold yr. tongue how shoud you know ..., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Watermark: Pro patria.
Title from captions below both images., Sheet trimmed to plate mark., Reversible head image labeled "Courtship" in one direction and "Marriage" in the other. Title taken from title on each side of image., Dated by costume., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Watermark: horn on crowned shield, with initials LVG below.
In an open landscape, Harlequin is seated on a large rock, holding Columbine in his lap. They are posed in a kiss
Alternative Title:
Columbine
Description:
Title engraved below image., Date from companion print: Columbine ; Harlequin., Sheet trimmed within plate mark., Eight lines of verse in two columns (four lines under each name): Harlequin. Is not this earnest? -- Han't I swore ... Columbine. Ay! if 'twoud last I should be blest ..., One of a series of prints with the Commedia dell'arte characters., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Mounted to 18 x 16 cm; window mounted to 23 x 19 cm.
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a dishevelled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures. The decor includes an elaborate ormulu clock, chinese porcelain and figures (including a Buddha), a bust of a Roman matron, old master paintings (one, evidently erotic, is screened by a curtain).
Alternative Title:
Marriage a-la-Mode. Plate 2
Description:
Title engraved below image., State from Paulson, and After the painting "Tête à Tête" in the National Gallery, London.
Plate 17. Queen Charlotte's collection of Hogarth works. Leaf 17. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., and Plate 17 in the album: Queen Charlotte's collection of Hogarth works.
Plate 17. Queen Charlotte's collection of Hogarth works. Leaf 17. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., and Plate 17 in the album: Queen Charlotte's collection of Hogarth works.
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., Sheet trimmed within plate mark., Lock on wife's forehead added in ink., and On page 113 in volume 2. Sheet trimmed to: 38.6 x 45.6 cm.
Plate 17. Queen Charlotte's collection of Hogarth works. Leaf 17. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.3 x 46.5 cm, on sheet 45 x 56 cm., and Leaf 17 in: Album of William Hogarth prints.
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., Sheet trimmed within plate mark., and Image 'touched': Stray hair and lock added in ink, presumably by Hogarth.
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., Sheet trimmed within plate mark., Touched in ink eyelid and stray hair on left but no lock., and Formerly on page 112 in volume 2. Removed in 2012 by LWL conservator.
Plate 16. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction, presumably for the new couple as the plans are labelled "A Plan of the New Building of the Rt. Honble..." The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., After the painting "The Marriage Settlement" in the National Gallery, London., 1 print : etching on laid paper ; plate mark 38.2 x 46.8 cm, on sheet 46 x 59 cm., and Plate 16 in the album: Queen Charlotte's collection of Hogarth works.
Plate 16. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction, presumably for the new couple as the plans are labelled "A Plan of the New Building of the Rt. Honble..." The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., After the painting "The Marriage Settlement" in the National Gallery, London., and On page 111 in volume 2. Sheet trimmed to: 37.9 x 46.5 cm.
Plate 16. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction, presumably for the new couple as the plans are labelled "A Plan of the New Building of the Rt. Honble..." The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., and After the painting "The Marriage Settlement" in the National Gallery, London.
Plate 16. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction, presumably for the new couple as the plans are labelled "A Plan of the New Building of the Rt. Honble..." The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., After the painting "The Marriage Settlement" in the National Gallery, London., 1 print : etching on laid paper ; plate mark 38.2 x 46.8 cm, on sheet 46 x 59 cm., and Plate 16 in the album: Queen Charlotte's collection of Hogarth works.
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction. The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., and Sheet trimmed within plate mark.
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction. The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title and state from Paulson., Sheet trimmed within plate mark., Ms. note in Steevens's hand in pencil on folio page: See Nichols's book, 3d edit, p. 262, &c., Ms. note in Steevens's hand in pencil at bottom of print: Given me by Mr. Henderson [?]., Ms. note in brown ink below image at bottom right: Scotin fe. aqua forti., and Formerly on page 109 in volume 2. Removed from Steevens volume by LWL conservator.
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction. The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., Sheet trimmed within plate mark., 1 print : etching on laid paper ; plate mark 38.4 x 46.3 cm, on sheet 45 x 56 cm., and Leaf 16 in: Album of William Hogarth prints.
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction. The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., Sheet trimmed within plate mark., Sheet trimmed to: 38 x 46.3 cm., and Formerly on page 110 in volume 2. Removed in 2012 by LWL conservator.
Plate 18. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson). and After the painting "The Inspection" in the National Gallery, London
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Title devised by cataloger., Series title engraved below image., and State from Paulson.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, Skeletons, and Rake's progress
Plate 18. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson). and After the painting "The Inspection" in the National Gallery, London
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Title devised by cataloger., Series title engraved below image., State from Paulson., 1 print : etching and engraving on laid paper ; plate mark 38.5 x 46.6 cm, on sheet 46 x 59 cm., and Plate 18 in the album: Queen Charlotte's collection of Hogarth works.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, Skeletons, and Rake's progress
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson).
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Ttitle and number engraved below image., State from Paulson., Sheet trimmed within plate mark., 1 print : etching and engraving on laid paper ; plate mark 38.4 x 46.6 cm, on sheet 45 x 56 cm., and Leaf 18 in: Album of William Hogarth prints.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Rake's progress, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, and Skeletons
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson).
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Ttitle and number engraved below image., State from Paulson., and Sheet trimmed within plate mark.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Rake's progress, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, and Skeletons
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson).
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Ttitle and number engraved below image., State from Paulson., Sheet trimmed within plate mark., and On page 115 in volume 2. Sheet trimmed to: 38.8 x 46.2 cm.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Rake's progress, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, and Skeletons
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson).
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Ttitle and number engraved below image., State from Paulson., Sheet trimmed within plate mark., Sheet trimmed to: 38.3 x 46.4 cm., and Formerly on page 114 in volume 2. Removed in 2012 by LWL conservator.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Rake's progress, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, and Skeletons
Plate 19. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.5 x 46.6 cm, on sheet 46 x 59 cm., and Plate 19 in the album: Queen Charlotte's collection of Hogarth works.
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., Sheet trimmed within plate mark., 1 print : etching and engraving on laid paper ; plate mark 38.7 x 46.3 cm, on sheet 45 x 56 cm., and Leaf 19 in: Album of William Hogarth prints.
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., and Sheet trimmed within plate mark.
Plate 19. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., and After the painting "The Toilette" in the National Gallery, London.
Plate 19. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.5 x 46.6 cm, on sheet 46 x 59 cm., and Plate 19 in the album: Queen Charlotte's collection of Hogarth works.
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., Sheet trimmed within plate mark., Sheet trimmed to: 38.6 x 46.1 cm., and Formerly on page 116 in volume 2. Removed in 2012 by LWL conservator.
Plate 19. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., and On page 117 in volume 2. Sheet trimmed to: 38.3 x 46.4 cm.
Plate 20. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 5
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.4 x 46.6 cm, on sheet 46 x 59 cm., and Plate 20 in the album: Queen Charlotte's collection of Hogarth works.
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 4
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., and Formerly on page 118 in volume 2. Removed in 2012 by LWL conservator.
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 4
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.5 x 46.3 cm, on sheet 45 x 56 cm., and Leaf 20 in: Album of William Hogarth prints.
Plate 20. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 5
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.4 x 46.6 cm, on sheet 46 x 59 cm., and Plate 20 in the album: Queen Charlotte's collection of Hogarth works.
Plate 20. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 5
Description:
Title engraved below image., State from Paulson., and After the painting "The Bagnio" in the National Gallery, London.
Plate 20. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays
Alternative Title:
Marriage a-la-mode. Plate 5
Description:
Title engraved below image., State from Paulson., After the painting "The Bagnio" in the National Gallery, London., Ms. note, and On page 119 in volume 2. Sheet trimmed to: 38.1 x 46.1 cm.
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays. The painting above the door, the mural on the back wall, and the portrait near the window illustrate the theme
Description:
Title engraved below image., The engraver's initials 'R.F. Ravenet' are a mistake for 'S.F.' or Simon François., and Sheet trimmed within plate mark.
Plate 21. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess is shown swooning in a chair in her father's house near London Bridge (seen through the window on the left). At her feet a bottle with a label "laudanum" alongside an execution broadside tells us that Silvertongue has been hanged for killing her husband and that she has attempted suicide. Her young child (wearing a leg brace as a result of congenital syphilis) is held up for a last kiss by an old woman, while her father removes her wedding ring. An apothecary strikes the simple-minded servant for procuring the laudanum; a doctor leaves by a door to right. Fire buckets line the hallway. The floor of the room is bare; a heavy chair near a table is overturned, a starving dog chewing at the calf's head on the table. Other decorations include a weight-driven wall-clock, the paintings of Dutch peasant subjects and a man relieving himself against a wall, and a set of ledgers indicates that accounts are kept up to date
Alternative Title:
Marriage a-la-mode. Plate 6
Description:
Title etched below image., 1 print : etching and engraving on laid paper ; plate mark 38.3 x 46.6 cm, on sheet 46 x 59 cm., and Plate 21 in the album: Queen Charlotte's collection of Hogarth works.
Publisher:
Wm. Hogarth
Subject (Topic):
Adultery, Children, Death, Dogs, Interiors, Merchants, Nobility, Paintings, Pharmacists, People with disabilities, Physicians, Servants, Suicides, and Syphilis
Plate 21. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess is shown swooning in a chair in her father's house near London Bridge (seen through the window on the left). At her feet a bottle with a label "laudanum" alongside an execution broadside tells us that Silvertongue has been hanged for killing her husband and that she has attempted suicide. Her young child (wearing a leg brace as a result of congenital syphilis) is held up for a last kiss by an old woman, while her father removes her wedding ring. An apothecary strikes the simple-minded servant for procuring the laudanum; a doctor leaves by a door to right. Fire buckets line the hallway. The floor of the room is bare; a heavy chair near a table is overturned, a starving dog chewing at the calf's head on the table. Other decorations include a weight-driven wall-clock, the paintings of Dutch peasant subjects and a man relieving himself against a wall, and a set of ledgers indicates that accounts are kept up to date
Alternative Title:
Marriage a-la-mode. Plate 6
Description:
Title etched below image., 1 print : etching and engraving on laid paper ; plate mark 38.3 x 46.6 cm, on sheet 46 x 59 cm., and Plate 21 in the album: Queen Charlotte's collection of Hogarth works.
Publisher:
Wm. Hogarth
Subject (Topic):
Adultery, Children, Death, Dogs, Interiors, Merchants, Nobility, Paintings, Pharmacists, People with disabilities, Physicians, Servants, Suicides, and Syphilis
The countess is shown swooning in a chair in her father's house near London Bridge (seen through the window on the left). At her feet a bottle with a label "laudanum" alongside an execution broadside tells us that Silvertongue has been hanged for killing her husband and that she has attempted suicide. Her young child (wearing a leg brace as a result of congenital syphilis) is held up for a last kiss by an old woman, while her father removes her wedding ring. An apothecary strikes the simple-minded servant for procuring the laudanum; a doctor leaves by a door to right. Fire buckets line the hallway. The floor of the room is bare; a heavy chair near a table is overturned, a starving dog chewing at the calf's head on the table. Other decorations include a weight-driven wall-clock, the paintings of Dutch peasant subjects and a man relieving himself against a wall, and a set of ledgers indicates that accounts are kept up to date
Alternative Title:
Marriage a-la-mode. Plate 6
Description:
Title devised by cataloger., Series title and number engraved below image., State from Paulson., After the painting "The Lady's Death" in the National Gallery, London., Sheet trimmed to plate mark., and Formerly on page 120 in volume 2. Removed in 2012 by LWL conservator.
Publisher:
Wm. Hogarth
Subject (Topic):
Adultery, Children, Death, Dogs, Interiors, Merchants, Nobility, Paintings, Pharmacists, People with disabilities, Physicians, Servants, Suicides, and Syphilis
The countess is shown swooning in a chair in her father's house near London Bridge (seen through the window on the left). At her feet a bottle with a label "laudanum" alongside an execution broadside tells us that Silvertongue has been hanged for killing her husband and that she has attempted suicide. Her young child (wearing a leg brace as a result of congenital syphilis) is held up for a last kiss by an old woman, while her father removes her wedding ring. An apothecary strikes the simple-minded servant for procuring the laudanum; a doctor leaves by a door to right. Fire buckets line the hallway. The floor of the room is bare; a heavy chair near a table is overturned, a starving dog chewing at the calf's head on the table. Other decorations include a weight-driven wall-clock, the paintings of Dutch peasant subjects and a man relieving himself against a wall, and a set of ledgers indicates that accounts are kept up to date
Alternative Title:
Marriage a-la-mode. Plate 6
Description:
Title devised by cataloger., Series title and number engraved below image., State from Paulson., After the painting "The Lady's Death" in the National Gallery, London., and Sheet trimmed to plate mark.
Publisher:
Wm. Hogarth
Subject (Topic):
Adultery, Children, Death, Dogs, Interiors, Merchants, Nobility, Paintings, Pharmacists, People with disabilities, Physicians, Servants, Suicides, and Syphilis
Plate 21. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess is shown swooning in a chair in her father's house near London Bridge (seen through the window on the left). At her feet a bottle with a label "laudanum" alongside an execution broadside tells us that Silvertongue has been hanged for killing her husband and that she has attempted suicide. Her young child (wearing a leg brace as a result of congenital syphilis) is held up for a last kiss by an old woman, while her father removes her wedding ring. An apothecary strikes the simple-minded servant for procuring the laudanum; a doctor leaves by a door to right. Fire buckets line the hallway. The floor of the room is bare; a heavy chair near a table is overturned, a starving dog chewing at the calf's head on the table. Other decorations include a weight-driven wall-clock, the paintings of Dutch peasant subjects and a man relieving himself against a wall, and a set of ledgers indicates that accounts are kept up to date
Alternative Title:
Marriage a-la-mode. Plate 6
Description:
Title etched below image.
Publisher:
Wm. Hogarth
Subject (Topic):
Adultery, Children, Death, Dogs, Interiors, Merchants, Nobility, Paintings, Pharmacists, People with disabilities, Physicians, Servants, Suicides, and Syphilis
The countess is shown swooning in a chair in her father's house near London Bridge (seen through the window on the left). At her feet a bottle with a label "laudanum" alongside an execution broadside tells us that Silvertongue has been hanged for killing her husband and that she has attempted suicide. Her young child (wearing a leg brace as a result of congenital syphilis) is held up for a last kiss by an old woman, while her father removes her wedding ring. An apothecary strikes the simple-minded servant for procuring the laudanum; a doctor leaves by a door to right. Fire buckets line the hallway. The floor of the room is bare; a heavy chair near a table is overturned, a starving dog chewing at the calf's head on the table. Other decorations include a weight-driven wall-clock, the paintings of Dutch peasant subjects and a man relieving himself against a wall, and a set of ledgers indicates that accounts are kept up to date
Alternative Title:
Marriage a-la-mode. Plate 6
Description:
Title devised by cataloger., Series title and number engraved below image., State from Paulson., After the painting "The Lady's Death" in the National Gallery, London., Sheet trimmed to plate mark., 1 print : etching and engraving on laid paper ; plate mark 38.6 x 46.2 cm, on sheet 45 x 56 cm., and Leaf 21 in: Album of William Hogarth prints.
Publisher:
Wm. Hogarth
Subject (Topic):
Adultery, Children, Death, Dogs, Interiors, Merchants, Nobility, Paintings, Pharmacists, People with disabilities, Physicians, Servants, Suicides, and Syphilis
Plate 21. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess is shown swooning in a chair in her father's house near London Bridge (seen through the window on the left). At her feet a bottle with a label "laudanum" alongside an execution broadside tells us that Silvertongue has been hanged for killing her husband and that she has attempted suicide. Her young child (wearing a leg brace as a result of congenital syphilis) is held up for a last kiss by an old woman, while her father removes her wedding ring. An apothecary strikes the simple-minded servant for procuring the laudanum; a doctor leaves by a door to right. Fire buckets line the hallway. The floor of the room is bare; a heavy chair near a table is overturned, a starving dog chewing at the calf's head on the table. Other decorations include a weight-driven wall-clock, the paintings of Dutch peasant subjects and a man relieving himself against a wall, and a set of ledgers indicates that accounts are kept up to date
Alternative Title:
Marriage a-la-mode. Plate 6
Description:
Title etched below image., Sheet trimmed to: 38 x 46.3 cm., and On page 121 in volume 2.
Publisher:
Wm. Hogarth
Subject (Topic):
Adultery, Children, Death, Dogs, Interiors, Merchants, Nobility, Paintings, Pharmacists, People with disabilities, Physicians, Servants, Suicides, and Syphilis
In an open landscape, Mezzetin is sitting on the ground leaning against Columbine who supports herself, half sitting on a large rock. She is pouring wine from a bottle into his mouth. An empty bottle is in her other hand
Description:
Title from item., Sheet trimmed within plate mark., Eight lines of verse in two columns (four lines under each name): Mazzetin. When the mind's with cares possest ... Columbine. If wine can thus your sorrow warm ..., One of a series of prints with the Commedia dell'arte characters., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Mounted to 17 x 17 cm., window mounted to 20 x 20 cm.
In an open landscape, Mezzetin and Columbine are sitting on a large rock. She turns away from her companion who, with a drunken expression, holds upside down an empty wine bottle in one hand and a goblet in another
Description:
Title from item., Sheet trimmed within plate mark., Eight lines of verse in two columns (four lines under each name): Mazzetin. My flask is empty, I've no coin ... Columbine. I said when you began to roam ..., One of a series of prints with the Commedia dell'arte characters., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Mounted to 17 x 16 cm., window mounted to 20 x 19 cm.
A satire on a Highland soldier's attempts to use a lavatory in London. A Scot in Highland dress and wearing a feathered cap is seated in a latrine, his legs thrust down two holes in the board as he urinates onto the floor. Behind and to the right on the stone wall are posted various drawings and broadsides. His sword is to his right
Description:
Title from other copies of this image., Attribution to Hogarth spurious. See The Lewis Walpole Library, Yale University Steevens collection of Hogarth's plates, p. 231., Imprint and price mostly burnished from plate., Sheet trimmed within plate mark resulting in loss of title on the Lewis Walpole Library impression., "[Price] 3d."--Lower right corner., and Mounted to 23 x 17 cm.
Publisher:
To be had [...]
Subject (Topic):
Ethnic stereotypes, Caricatures, Privies, and Urination
A satire on a Highland soldier's attempts to use a lavatory in London. A Scot in Highland dress and wearing a feathered cap is seated in a latrine, his legs thrust down two holes in the board as he urinates onto the floor. Behind and to the right on the stone wall are posted various drawings and broadsides. His sword is to his right
Description:
Title etched below image., Spurious attribution?, Sheet trimmed to plate mark on all sides but top., Ms. note in pencil in Steevens's hand above print: Spurious., Ms. note in pencil below print: A forgery by Darley., and On page 231 in volume 3.
Publisher:
publisher not identified
Subject (Topic):
Ethnic stereotypes, Caricatures, Privies, and Urination
In an open landscape, Harlequin is playing with a child placed in a wheeled pen and dressed like himself. Scaramouche is standing on the side watching them
Description:
Title from item., Sheet trimmed within plate mark., Eight lines of verse in two columns (four lines under each name): Scaramouch. So, Harlequin! you've breech'd yr. boy ... Harlequin. Out, devil, you my child will fright ..., One of a series of prints with the Commedia dell'arte characters., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
publish'd according to act of Parliament, Septr. 12th, 1745.
Call Number:
745.09.12.01+
Collection Title:
Opposite page 1. New London spy, or, A twenty-four hours ramble through the bills of mortality.
Image Count:
1
Resource Type:
still image
Abstract:
"Satire on fashion showing a crowd of people in St James's Park in front of Buckingham House. In the centre is a short, fat women wearing a large hooped skirt and saque, a lace cap and black lace mittens, and carrying a closed fan. On the left a young country gentleman, wearing a quilted waistcoat and holding a riding whip, is arm in arm with fashionably dressed man who seems to be showing him the promenade, they both wear breeches that end above the knee and high-heeled shoes with large tongues; the latter leers at a young woman, apparently a prostitute, wearing a straw hat with a soft brim who lifts her huge hooped skirt to reveal her ankle. She is walking with another young woman wearing a dark cloak with a hood; she wears a small cap and her hair is dressed in ringlets. In the centre, behind the fat woman, two men embrace, one of whom wears an eye patch. Another young woman, dressed in a similar fashion to the fat woman, stands to her right; behind her is another young woman wearing a hat with a very large brim. Next are two more young men,wearing large tricorne hats, tight coats the skirts of which open out in pleats below the waist, and high-heeled shoes one apparently pointing out matters of interest to the other who is possibly a young officer as he wears a sword and a cockade in his hat; his hair or wig is dressed in a large bag-wig. On the far right, a soldeir wearing large riding boots, walks away with a young woman wearing a laced hat."--British Museum online catalogue
Description:
Title engraved below image., Probably a later state, with printseller's statement burnished from plate. For a variant state with "Sold by C. Moseley, engraver & printseller in Round Court in the Strand" following price statement, see No. 2774 in the Catalogue of prints and drawings in the British Museum, v. 3., Sheet trimmed within plate mark., "Price 6d."--Following imprint., Temporary local subject terms: Outdoor scenes., and Watermark: countermark IV.
Publisher:
publisher not identified
Subject (Geographic):
Saint James's Park (London, England), and England
Subject (Name):
Buckingham Palace (London, England),
Subject (Topic):
Clothing & dress, Fans (Accessories), Military uniforms, and British
publish'd according to act of Parliament, Septr. 12th, 1745.
Call Number:
Quarto 724 771N
Collection Title:
Opposite page 1. New London spy, or, A twenty-four hours ramble through the bills of mortality.
Image Count:
1
Resource Type:
still image
Abstract:
"Satire on fashion showing a crowd of people in St James's Park in front of Buckingham House. In the centre is a short, fat women wearing a large hooped skirt and saque, a lace cap and black lace mittens, and carrying a closed fan. On the left a young country gentleman, wearing a quilted waistcoat and holding a riding whip, is arm in arm with fashionably dressed man who seems to be showing him the promenade, they both wear breeches that end above the knee and high-heeled shoes with large tongues; the latter leers at a young woman, apparently a prostitute, wearing a straw hat with a soft brim who lifts her huge hooped skirt to reveal her ankle. She is walking with another young woman wearing a dark cloak with a hood; she wears a small cap and her hair is dressed in ringlets. In the centre, behind the fat woman, two men embrace, one of whom wears an eye patch. Another young woman, dressed in a similar fashion to the fat woman, stands to her right; behind her is another young woman wearing a hat with a very large brim. Next are two more young men,wearing large tricorne hats, tight coats the skirts of which open out in pleats below the waist, and high-heeled shoes one apparently pointing out matters of interest to the other who is possibly a young officer as he wears a sword and a cockade in his hat; his hair or wig is dressed in a large bag-wig. On the far right, a soldeir wearing large riding boots, walks away with a young woman wearing a laced hat."--British Museum online catalogue
Description:
Title engraved below image., Probably a later state, with printseller's statement burnished from plate. For a variant state with "Sold by C. Moseley, engraver & printseller in Round Court in the Strand" following price statement, see No. 2774 in the Catalogue of prints and drawings in the British Museum, v. 3., Sheet trimmed within plate mark., "Price 6d."--Following imprint., 1 print : etching and engraving ; sheet 22.6 x 31.6 cm., Imperfect; sheet trimmed within plate mark with loss of imprint statement from bottom edge., On laid paper and mounted to 26 x 32 cm., and Mounted opposite page 1 in a copiously extra-illustrated copy of: King, R. The new London spy, or, A twenty-four hours ramble through the bills of mortality. London : Printed for J. Cooke [and 3 others], [1771?].
Publisher:
publisher not identified
Subject (Geographic):
Saint James's Park (London, England),, England, and London.
Subject (Name):
Buckingham Palace (London, England),
Subject (Topic):
Clothing & dress, Crowds, Fans (Accessories), Military uniforms, British, and Parks
"Satire on the effect of the death of the Emperor Charles VII on the imperial electors and other protagonists in the War of the Austrian Succession. The scene is divided into two parts: on the left the scene of Marshall de Belle-Isle's arrest beside a crenellated wall, and on the right the interior of a room draped with a curtain in which the corpse of Charles VII lies in a partially open coffin with "Car VII Imp 1745" written on its lid. On the left, Marshall de Belle-Isle on his horse says “I'll Tallard 'em”, his brother grasps the horse's tail in order to cut it off, saying "We'll dock the Han[ove]r Horse Brother". Beside him, Johann Hermann Myer, the arresting officer, says "I am a Bailiff of Consequence"; in the front an English cook remarks "Good English Beef" while behind the horse's head a French cook, holding a spoon to hismouth, says "Soup Maigre Pope's Eyes". Two men stand on top of the wall, one say “He'll serve ye Lyon so". In the interior on the right, Maria Theresa dances to the tune of "Thieue and Cordelier" and the deceased Emperor's son, Maximilian III Josef of Bavaria, "to Short for is Age", shown as a child (although he was actually 17 years old), approaches her, hat in hand, asking "Spare his remains". She replies "Then Vote for ye Grand Duke", referring to her hisband, Francis Stephen. The protagonists are grouped near the coffin: a man smoking a pipe and holding seven arrows in his hand represents the Netherlands and says "Seven to one we are easy"; Frederick the Great, Elector of Brandenburg, asking "Who'll be my Candidate”, beside him Cardinal Tencin whispering "Put up the weakest"; a soldier, the Elector Palatine, Charles VI Theodore, weeps into his handkerchief saying "Damm Bohemia I have lost my Interest"; George II of England, Elector of Hanover, holds a purse saying "I'll pay my Friend's Expenses"; the Archbishop Elector of Trier, Franz Georg von Schonborn-Buchheim, saying "Drive off ye French”, holds a paper lettered “The Day of Election is -"; the Archbishop Elector of Mainz, Johann Friedrich Karl von Ostern, reading a paper lettered "10000 masses", says "I am quite expos'd"; the Archbishop Elector of Cologne, Clemens Augustus of Bavaria, brandishes a scroll and says "My Brother was a Tool: But he's dead"; a Russian in furs (identified by Stephens as the Empress Elisabeth) says "A Kingdom for an Empire" to an elegant man probably intended for Louis XV; the latter, saying "Monsieur may put up ye poor Pallintine" points towards Charles VI Theodore, and holds the arm of the mournful Frederick Augustus II of Saxony, King of Poland (Stephens transposes the identities of these two men) who is saying "Poland a third time let the Saxon be Emperor"; Francis Stephen seated beside Frederick Augustus holds his hand to his mouth and says "I represent my Wife. . ." Above the coffin is a grotesque face with huge open mouth surmounted by a laurel wreath on top of which are three feathers and a bird, beside the head is a bundle of fasces. Three columns of verse beneath starting "For what have these Gentry these four years been fighting ..." suggest that the war has settled nothing."--British Museum online catalogue
Alternative Title:
Emperor's funeral, with Belleisle's progress to captivity
Description:
Title engraved below image., Publisher's advertisment following imprint: ... where may be had 30 more different sorts., and Twelve lines of verse in three columns below image: For what have these gentry these four years been fighting? For what have their servants been treating and writing? ...
Publisher:
Bickham May's Buildings, Covent Garden ...
Subject (Name):
Charles VII, Holy Roman Emperor, 1697-1745, Maria Theresa, Empress of Austria, 1717-1780, Louis XV, King of France, 1710-1774, Augustus III, King of Poland, 1696-1763, Frederick II, King of Prussia, 1712-1786, Francis II, Grand Duke of Tuscany, 1708-1765, Elizabeth, Empress of Russia, 1709-1762, Maximilian III Joseph, Elector of Bavaria, 1727-1777, Tencin, Pierre Guérin de, 1679-1758, and Belle-Isle, Charles Louis Auguste Fouquet, duc de, 1684-1761
"Satire on the effect of the death of the Emperor Charles VII on the imperial electors and other protagonists in the War of the Austrian Succession. The scene is divided into two parts: on the left the scene of Marshall de Belle-Isle's arrest beside a crenellated wall, and on the right the interior of a room draped with a curtain in which the corpse of Charles VII lies in a partially open coffin with "Car VII Imp 1745" written on its lid. On the left, Marshall de Belle-Isle on his horse says “I'll Tallard 'em”, his brother grasps the horse's tail in order to cut it off, saying "We'll dock the Han[ove]r Horse Brother". Beside him, Johann Hermann Myer, the arresting officer, says "I am a Bailiff of Consequence"; in the front an English cook remarks "Good English Beef" while behind the horse's head a French cook, holding a spoon to hismouth, says "Soup Maigre Pope's Eyes". Two men stand on top of the wall, one say “He'll serve ye Lyon so". In the interior on the right, Maria Theresa dances to the tune of "Thieue and Cordelier" and the deceased Emperor's son, Maximilian III Josef of Bavaria, "to Short for is Age", shown as a child (although he was actually 17 years old), approaches her, hat in hand, asking "Spare his remains". She replies "Then Vote for ye Grand Duke", referring to her hisband, Francis Stephen. The protagonists are grouped near the coffin: a man smoking a pipe and holding seven arrows in his hand represents the Netherlands and says "Seven to one we are easy"; Frederick the Great, Elector of Brandenburg, asking "Who'll be my Candidate”, beside him Cardinal Tencin whispering "Put up the weakest"; a soldier, the Elector Palatine, Charles VI Theodore, weeps into his handkerchief saying "Damm Bohemia I have lost my Interest"; George II of England, Elector of Hanover, holds a purse saying "I'll pay my Friend's Expenses"; the Archbishop Elector of Trier, Franz Georg von Schonborn-Buchheim, saying "Drive off ye French”, holds a paper lettered “The Day of Election is -"; the Archbishop Elector of Mainz, Johann Friedrich Karl von Ostern, reading a paper lettered "10000 masses", says "I am quite expos'd"; the Archbishop Elector of Cologne, Clemens Augustus of Bavaria, brandishes a scroll and says "My Brother was a Tool: But he's dead"; a Russian in furs (identified by Stephens as the Empress Elisabeth) says "A Kingdom for an Empire" to an elegant man probably intended for Louis XV; the latter, saying "Monsieur may put up ye poor Pallintine" points towards Charles VI Theodore, and holds the arm of the mournful Frederick Augustus II of Saxony, King of Poland (Stephens transposes the identities of these two men) who is saying "Poland a third time let the Saxon be Emperor"; Francis Stephen seated beside Frederick Augustus holds his hand to his mouth and says "I represent my Wife. . ." Above the coffin is a grotesque face with huge open mouth surmounted by a laurel wreath on top of which are three feathers and a bird, beside the head is a bundle of fasces. Three columns of verse beneath starting "For what have these Gentry these four years been fighting ..." suggest that the war has settled nothing."--British Museum online catalogue
Alternative Title:
Emperor's funeral, with Belleisle's progress to captivity
Description:
Title engraved below image., Publisher's advertisment following imprint: ... where may be had 30 more different sorts., Twelve lines of verse in three columns below image: For what have these gentry these four years been fighting? For what have their servants been treating and writing? ..., and With spine title: Caricatures anglaise 1740.
Publisher:
Bickham May's Buildings, Covent Garden ...
Subject (Name):
Charles VII, Holy Roman Emperor, 1697-1745, Maria Theresa, Empress of Austria, 1717-1780, Louis XV, King of France, 1710-1774, Augustus III, King of Poland, 1696-1763, Frederick II, King of Prussia, 1712-1786, Francis II, Grand Duke of Tuscany, 1708-1765, Elizabeth, Empress of Russia, 1709-1762, Maximilian III Joseph, Elector of Bavaria, 1727-1777, Tencin, Pierre Guérin de, 1679-1758, and Belle-Isle, Charles Louis Auguste Fouquet, duc de, 1684-1761
Title from item., Imprint from illustration., Broadside illustrated at top of sheet with an etching., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
"Bidder's ticket for an auction of paintings by Hogarth with ranks of copies of old master paintings stacked outside Cock's auction house attacking paintings by Hogarth as they emerge from his studio: a weeping Magdalene spears the third scene of A Harlot's Progress, a procession of Bacchus encounters Midnight Modern Conversation, and so on."--British Museum online catalogue
Alternative Title:
Bearer hereof is entitled (if he thinks proper,) to be a bidder for Mr. Hogarth's pictures ...
Description:
Title from text in image., State and publisher from Paulson., Title from caption above image: The bearer hereof is entitled (if he thinks proper,) to be a bidder for Mr. Hogarth's pictures ..., Ms. note in pencil in Steevens's hand above print: ibidem., and On page 122 in volume 2. Sheet trimmed to: .
"Bidder's ticket for an auction of paintings by Hogarth with ranks of copies of old master paintings stacked outside Cock's auction house attacking paintings by Hogarth as they emerge from his studio: a weeping Magdalene spears the third scene of A Harlot's Progress, a procession of Bacchus encounters Midnight Modern Conversation, and so on."--British Museum online catalogue
Alternative Title:
Bearer hereof is entitled (if he thinks proper,) to be a bidder for Mr. Hogarth's pictures ...
Description:
Title from text in image., State and publisher from Paulson., Title from caption above image: The bearer hereof is entitled (if he thinks proper,) to be a bidder for Mr. Hogarth's pictures ..., and Sheet trimmed to plate mark: sheet 197 x 210 mm.
"Bidder's ticket for an auction of paintings by Hogarth with ranks of copies of old master paintings stacked outside Cock's auction house attacking paintings by Hogarth as they emerge from his studio: a weeping Magdalene spears the third scene of A Harlot's Progress, a procession of Bacchus encounters Midnight Modern Conversation, and so on."--British Museum online catalogue
Alternative Title:
Bearer hereof is entitled (if he thinks proper,) to be a bidder for Mr. Hogarth's pictures ...
Description:
Title from text in image., State and publisher from Paulson., and Title from caption above image: The bearer hereof is entitled (if he thinks proper,) to be a bidder for Mr. Hogarth's pictures ...
Picturesque appearance of a very, very grave statesman
Description:
Title etched below image., Text above image: The picturesque appearance of a very, very grave statesman., Date of publication from British Museum catalogue., In lower right corner of plate: See Gazetteer., Temporary local subject terms: Cabals -- Mythology: Mercury -- Philosophers: Greek philosopher -- Allusion to the Jacobite Rebellion, 1745-46 -- Symbols: rose - 'sub rosa' -- Reference to operatic performances -- Female dress, ca. 1745 -- Military: reference to 15 new regiments -- Matrimony -- Cuckolds., and Watermark: Strasburg lily with initials LVG below.
"Satire on the Jacobite rebellion, Prince Charles Edward Stuart, the Young Pretender, and the pro-French and Catholic measures he was expected to introduce. The Prince walks through a market place wearing a tartan kilt and a coat covered in fleur-de-lis; he is proceeded by a drummer and followed by Scots troops carrying Lochaber axes all of whom wear cockades on their Scots bonnets. At a butcher's stall on the right, proclaiming 'Flesh for such as haue Licences', a bishop buys a piece of beef from a woman who chops it up with a cleaver. Beside this is a stall selling 'FINE PLUMP FROGS for a Fricace'e, specimens of which hang from rods over the stall while a young woman arranges more on her counter; next is a Frenchman offering 'Woode(n) Shoes A la mod(e) PARIS' from a selection on a table before him. Above the final stall two angels hold a notice, adorned with the Papal arms, advertising 'Holy RELICKS from JERSULEM ITALY FRANCE SPAIN & other Catholick Countries to be Sold or Chang'd for old Silver by Antonio Maria Francesco Credo' while in the stall beneath a monk stands before a pile of sculls holding a broken femur; the wares for sale include a rosary, a cross, a knife, 'Queen Maries shoes', bits of bones, one of which is labelled 'Legg of St. Andrew', another, 'Arme of St Ninion', and notices advertise, 'The VIRG(in's) MILK', 'Angels Sweat', 'Saints Teeth'; in front of the stall a dog holds a 'Bone of St Dominick' in its teeth. In the foreground, on the left, a group of Scotsmen, one playing the bagpipes, sits outside an inn from which hangs the sign of the 'FRENCH YOKE', while another enters carrying over his shoulder a heavy bag lettered 'CONTRIBUTION MONEY'. On the balcony of the in inn stand Cardinal Tencin, the Pope, holding a cross and a crown, and a monk; lettering at their feet reads, 'FRENCH BRANDY & ITALIAN WINES imported by P.BENIDICT C. TENCIN'. A street sweeper sweeps up papers lettered 'Magna Charta', 'Bank Notes', 'India Bills', and 'Scotch Directory for Worship', 'The HOLY BIBLE' and 'The BOOK OF COMMON PRAYER'. Behind him a Scotsman gives a coin to a monk in exchange for papers lettered 'Indulgences for 100 Years' and 'Pardons for Sins Past'; a French priest standing beside him, a white Jacobite cockade in his hat, carries a pedlar's tray laden with bottles and balls lettered, Poison Gaggs and Spanish Padlocks'. In the centre, a barefoot boy drives a donkey with panniers on top of which are papers lettered 'Petition for a General Spunge', 'Petition to dissolve the Union', 'Petitions of your true Friends', 'Petition to Restore Abby Lands and for Clanships'. On the right, a young woman, also barefoot, kneels by a basket, with the label 'Royal Nosegays' offering for sale bunches of thistles and lilies. In the background is a market cross on which hangs a paper lettered 'J[ames] R[ex]', with the sign of a fleur-de-lis, 'MANIFESTO by the Power of France and Spain Rome Sept 2 sign'd Okely'. Beyond is a chapel with a thatched roof in the doorway of which a woman kneels before a monk standing behind three thistles; on the front of the chapel, under the sign of a host over a chalice with St Peter's keys and the papal tiara, is a large notice promising 'Full Indulgences, MIRACLES Done here by the Holy Fathers of the INQUISITION Three Thistles grow out of a hard Stone'."--British Museum online catalogue
Alternative Title:
Highland fair
Description:
Title etched below image., Publisher identified from address., Publisher's announcement following imprint: ... & a 100 sortmt., and Temporary local subject terms: Literature: The Pretender's manifesto by Pierre Guerin de Tencin, 1679-1758 -- Frogs for sale -- Trades: frog seller -- Flower seller -- Wooden shoe seller -- Clerical sellers -- Donkey driver -- French yoke -- Market cross with a sign on it -- Booths in market place -- Brooms -- Hoaxes -- Jacobites -- Enslaved person in wooden shoes -- Money: contributions -- Market signs -- Tavern sign: French Yoke -- Documents being swept away -- Angels holding sign.
Publisher:
Sold in May's Buildings, Covent Garden ...
Subject (Name):
James, Prince of Wales, 1688-1766, Tencin, Pierre Guérin de, 1679-1758, and Benedict XIV, Pope, 1675-1758
Subject (Topic):
Black people, Dogs, Donkeys, Petitions, Frogs, Street vendors, Markets, Sweeping & dusting, Chapels, Skulls, Bones (Anatomy), and Signs (Notices)
Sh-tten condition of the King of Pru---a and Shitten condition of the King of Prussia
Description:
Title engraved above image., Printseller's announcement after imprint: Where is sold 20 more., Eight lines of verse in four columns below image: All mark'd with De Luces& cram'd with French gold, forth sally'd our hero, to seize, have and hold ..., and Temporary local subject terms: Defecation -- Medicine: smelling salts -- Money.
Publisher:
May's Buildings, Covent Garden
Subject (Name):
Frederick II, King of Prussia, 1712-1786, Maria Theresa, Empress of Austria, 1717-1780, and Charles Alexandre, duc de Lorraine, 1712-1780
Sh-tten condition of the King of Pru---a and Shitten condition of the King of Prussia
Description:
Title engraved above image., Printseller's announcement after imprint: Where is sold 20 more., Eight lines of verse in four columns below image: All mark'd with De Luces& cram'd with French gold, forth sally'd our hero, to seize, have and hold ..., Temporary local subject terms: Defecation -- Medicine: smelling salts -- Money., and With spine title: Caricatures anglaise 1740.
Publisher:
May's Buildings, Covent Garden
Subject (Name):
Frederick II, King of Prussia, 1712-1786, Maria Theresa, Empress of Austria, 1717-1780, and Charles Alexandre, duc de Lorraine, 1712-1780
Mosley, Charles, approximately 1720-approximately 1770, printmaker
Published / Created:
Sep. 1745.
Call Number:
745.09.00.06
Image Count:
1
Resource Type:
still image
Abstract:
An engraving, in which a coach marked "Perkin" carries the Pretender, who is holding a mask and leaning out of the window as he cheers his supporters. The King of France is the coachman; the Pope is a postilion. A monk with the banner "Inquisition" is a running footman as the Devil and two monks hang on behind also as footmen. A band of Scotsmen carry a banner "Slavery". The coach has driven over a clergyman, a lawyer with "Magna Carta", and the figure of Britannia who has dropped her purse and papers inscribed with representations of property -- Leases, Bank, Exchequer, South Sea, India, and Mortgage. In the background, a monk oversees the burning of a martyr as a party of monks kneel before a cross. Several bodies hang from a triangular-shaped gallows. The setting is a town square formed by York Minster, St. James's Palace, and the Admiralty Building, Westminster
Alternative Title:
Perkins triumph
Description:
Title from text at foot of design., With a verse in two columns at foot of design: "Who Views this Print with an Impartial Eye.", "Price 6 d."--Following imprint., and For further information, consult library staff.
Publisher:
Publish'd according to Act of Parliament
Subject (Geographic):
England.
Subject (Name):
Charles Edward, Prince, grandson of James II, King of England, 1720-1788, Benedict XIV, Pope, 1675-1758, and Louis XV, King of France, 1710-1774
Subject (Topic):
Jacobite Rebellion, 1745-1746, Jacobites, Britannia (Symbolic character), and Clergy
Title from caption above image., Publication date from British Museum catalogue., 'Price 6d.'--Below verse., Twenty lines of verse in two columns below image: When bold rebellion armd by Spain & France, does thro' the land with hasty strides advance ..., Temporary local subject terms: Bishop's mitre -- Reference to the Jacobite Rebellion, 1745-46., and Mounted to 32 x 25 cm.
Title from item., Two lines of verse below image: How well the motion with the musick suits! So Orpheus tickled, and so danc'd the brutes., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2777., Temporary local subject terms: Musicians: flutist -- Musical instruments -- Musical scores -- Trades: laundress -- Cobbler -- Tailor -- Cook -- Cutlery: knife and fork -- Birds -- Tobacco: clay pipes -- Tobacco pouch -- Dishes: plates -- Glass: bottles -- Food: fowl on spit -- Headdress: male wig -- Dress: stockings -- Winged shoes -- Male dress: breeches -- Swords -- Wine glasses -- Pens -- Signs: rose., and Watermark: Fleur-de-lis.
Publisher:
G. Bickham
Subject (Name):
George II, King of Great Britain, 1683-1760, Walpole, Robert, Earl of Orford, 1676-1745, Weideman, Charles Frederick, -1782, and Henley, John, 1692-1756
Title from item., Possibly by George Bickham the younger?, Sixteen lines of verse in four columns below image: The cheerful night worn out within, While wit was furnesh'd [sic] round by gin ..., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., Temporary local subject terms: Mohocks: gang of aristocratic ruffians -- Signs: tavern sign -- Moon: man in the Moon -- Trades: coachmen -- Lighting: moonlight -- Male dress, ca. 1745 -- Female dress, ca. 1745 -- Emblems: double-bladed knife symbolizing a cuckold -- Food: meat -- Beverages: liquor -- Vehicles: coach -- Cabal -- Miss Connors, fl. 1741., and Watermarks: Fleur-de-lis.
Publisher:
G. Bickham
Subject (Name):
Johnston, James, c. 1721-1797, Harrington, William Stanhope, Earl of, 1719-1779, and Harrington, Caroline, Countess of, 1722-1784
In an open landscape, Columbine reposes on the ground, her arms and head supported on a large rock, her left arm thrown over her head. Scaramouche is kneeling behind her, grabbing with one hand the folds of her skirt as if to lift it. In the background on the left is a large tomb or a ruin
Description:
Title devised by cataloger from captions below image., Sheet trimmed within plate mark., One of a series of prints with the Commedia dell'arte characters., Eight lines of verse in two columns (four lines under each name): Columbine. How came I overtaken so? ... Scaramouch. Drunk and asleep fie Columbine ..., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Mounted to 18 x 17 cm, window mounted to 23 x 19 cm.
A man sits at a table in his library leaning his head on his hand as he contemplates the sheets of paper before him. An owl sits on the table with a ink well suspended from his mouth and a quill resting in the well. A demon behind the reader holds in his left hand a staff with a jester's head (personification of folly?) and in his right a very large feather. On the scholar's feet a strewn books with words on their spines: Borrow; Boyle; Newton; Radclife; Friend; Mead, etc. Temporary local subject terms: The pictures on the wall are portraits labelled 'Cromwell' and 'Mortimer' but depict Olver Cromwell and Mortimer, Earl of March
Description:
Title and publication date from British Museum catalogue., Two lines of verse above image: Here folly, ignorance and pride combine, to prove him of the true Duncean line., Six lines of quotation below image: Studious he sate, with all his books around, sinking from thought to thought a vast profound ..., Truman's notes about the print are shelved as: LWL Mss Group 1 File 8., and Mounted to 32 x 39 cm.
Publisher:
publisher not identified
Subject (Name):
Mortimer, Cromwell, -1752 and Pope, Alexander, 1688-1744.
Subject (Topic):
Libraries (Rooms & spaces), Owls, Quacks, and Demons
