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.
