"A corner of the stage at Drury Lane slants diagonally from left to right, showing part of the orchestra and pit (right) with part of two stage-boxes on the extreme right. The stage manager, Raymond, stands addressing the clamorous audience, while on the left a young man with ass's ears sits on a donkey which flourishes its heels so that they strike the lowered stage-curtain. The donkey brays "Ih ho Ih ho Ih ho," its hind-quarter is branded 'My Pegasus Buz'. Its rider recites: "Nor ever here your smiles would be represt, "Knew you the rival flames that fires our breast, "Flame, Fire and Flame!--sad--woe Neddy! Ladies and Gentlemen, My Papa's Pegasus is so full of fire and spirit that very few are capable of mounting him. for my self I never spoke but once & that was-- Unce logos but if you will give me leave to get on with my Papas Monologue I am positive you will pronounce it the prettiest piece of poetry produced for the purpose." Raymond says: "Ladies and Gentlemen, it was never the intention of the Proprietors to introduce Assess [sic] on these boards but as you seem entertained with their braying if it [is] your wish, we will procure some trainers from the other House as we are really ignorant in the management of thes [sic] Animals." Greeted by derisive cheers from the audience, Dr. Busby, also with ass's ears, leans from the upper stage-box, saying, "Ladies and Gentlemen, only hear My Son speak my Monologue written by myself the only one fit to be heard the committee are as ignorant of good Poetry a[s] I am of true criticism. I am a great writer reviews my sons works very clever indeed--writes my own life--well worth reading--my Life of Lucius Otrigger will astonish you now pray hear my Son speak my Monologue!--." A man behind him shouts: "Bravo! Go on! Go, on," and one in the crowded lower box applauds: "Bravo Apollo go on Go . . ." In the foreground a man in the pit shouts pointing to the ass: "Why don't you come down and get up behind don't you see he wants ballast." Six others address the son: "When you have done there--set those Epigrams to Music young Apollo!"; "Off Off Off Off"; "he will be off presently if Neddy kicks so!"; "Go on Go on"; "Speak out you should have brought your Voice with you"; "hear him hear him." The orchestra is empty of performers, but the music scores are headed 'The Judgement of Midas' [O'Keefe's play]. Three large papers lie on the stage inscribed respectively: [1] 'A Lord [Byron] and a Doctor once started for Fame Which for the best Poet should pass The Lord was cried up on account of his name The Doctor cried down for an Ass--' [2] 'Doctor Buz he assures us on Drury new Stage No Horses or Elephants, there should engage But pray Doctor Buz, how comes it to pass, That you your own self should produce there an Ass' [3] 'Old Buz against Quadrupeds, war did wage, And swore on Drury's board's such Mum'ry ne'er should pass But forcing his own Pegasus on Drurys stage The Critic Audience christen'd Buz an Ass.' Behind Raymond is the lower part of the verd-antique pillar which flanked the curtain, and on the right the large ornate lamp, of quasi-Egyptian design in which three hawk-headed monsters support an inverted tripod, the base of a ring of lamp-jets."--British Museum online catalogue
Alternative Title:
Poet in a pet : with a chip of the block, mounted on Papa's Pegasus
Description:
Title etched below image., Attributed to Charles Williams in the British Museum catalogue., Sheet trimmed to plate mark., Text following title: vide opening of New Drury Lane Theatre., and Laid-in to a piece of later paper.
Publisher:
Pubd. Octr. 21, 1812, by S.W. Fores, 50 Piccadilly
Subject (Geographic):
England and London.
Subject (Name):
Raymond, James Grant, -1817, Busby, Thomas, 1754-1838, Busby, George Frederick, active 1812, Byron, George Gordon Byron, Baron, 1788-1824., and Theatre Royal, Drury Lane (London, England),
Elegant and affluent customers enjoy ices in a grand room in London's fashionable St. James's. The female server behind the counter is elegantly dressed and looks with ease out of the window. A finely dressed gentleman leans against the counter at right, spooning ice cream into his mouth from a glass he holds in his left hand; his hat, gloves, and stick are carefully arranged on a chair next him. Two women are seated at the left side of the counter, one holding an ice cream glass and spoon. A classical fireplace on the right has additional glasses arranged upon it. A great craze in 18th-century Britain, amongst the wealthy, was ice cream. Establishments such as The Pineapple on Berkeley Square (close by St James’s), owned by Domenico Negri, offered "All Sorts of Ice, Fruits & Creams" (see the elaborate trade card in the British Museum). This print was intended as a companion piece to "Refreshment at St. Giles's" which, in contrast, shows two women and a man being served gin by a female proprietor from a makeshift and run-down bar
Alternative Title:
Refreshment at Saint James's
Description:
Title etched below image., Probably a later state, with remnants of a burnished imprint statement visible beneath title. Publication information inferred from imprint "London, Publish'd June 1st, 1789, by G.T. Stubbs, No. 2 Compton Street, Soho" present on companion print; see British Museum online catalogue, registration no.: 1948,0315.6.36., Companion print to: Refreshment at St. Giles's., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Drawings showing the floor plan and views of the walls on which were hung paintings and against which statues and other artwork were placed. The second drawing is titled "Plan of rooms that contains [sic] the statues & the pictures" in ink above, and the fourth drawing is titled "View of one end of the great room design'd by Inigo Jones" in ink below. The first drawing depicts a large painting by Van Dyck on the wall at a different end the great room, described in the printed text as "a landskip [sic] with dogs, and in the clouds are three angels ...".
Description:
Title devised by cataloger., One of the four drawings with horizontal orientation., Bound by Horace Walpole in his copy of: Gambarini, C. Description of the Earl of Pembroke's pictures. Westminster : A. Campbell, 1731., and Bound in old mottled calf. With slipcase.
Subject (Geographic):
England, Wiltshire., and England.
Subject (Name):
Pembroke, Thomas Herbert, Earl of, 1656-1733 and Wilton House (England)
Opposite page 214. New London spy, or, A twenty-four hours ramble through the bills of mortality.
Image Count:
1
Resource Type:
still image
Abstract:
"A courtesan stands at a wash-tub, washing her last shift. She wears a cap over ringlets in curl-papers and a tattered petticoat, a shawl covers her naked shoulders. The room is squalid, with plaster falling from the bricks. Across the fireplace stockings hang on a string to dry. The corner of a bed appears on the right. On the table by the wash-tub is a small gin tankard. Under it is a pair of stays. A cat tries to reach a (broken) plate of cheese on a chair. On the floor, beside a fashionable high-crowned hat, lies a ballad: 'How happy were my days till now...'. Papers are thrust under the vertical bar of the casement window, one inscribed 'Admit Two to the Boxes'. Probably an imitation of Gillray's 'The Whores Last Shift', see British Museum Satires No. 5604."--British Museum online catalogue
Description:
Title etched below image., Sheet trimmed within plate mark on left edge., Plate numbered "626" in lower left corner., Folded to 31.3 x 25.5 cm., and Bound in opposite page 214 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:
Printed for & sold by Carington Bowles, No. 69 St. Paul's Church Yard, London
An aspirational dustman in ragged clothes, a monocle hanging from his hat, and smoking a cigar, sits in a chair before the hearth reading a book, "An introduction to the pleasures of ... schince by Barnart Botherum [...] dedicated to the majesty of the people". On the table are bowl, a goblet and a bottle of Port. On the wall hangs a landscape and on the mantel a bust of Shakespeare. The dog at his feet stares at the fire, the bones of fish dinner on a plate beside him. A large bell sits on the floor beside the dustman
Description:
Title etched below image., Sheet trimmed within plate mark., "Plate 1"--Upper right corner., and Not in the Catalogue of prints and drawings in the British Museum.
Publisher:
Published April 1828 by S. Maunder, 10 Newgate Street
Title from text below image., Eight lines of verse beneath image, four on either side of title: What misery in a narrow scale confined! The mournful work of one degenerate mind ..., and Companion print to: The fruits of early industry & oeconomy.
Publisher:
Publish'd July 1, 1789, by T. Simpson, St. Pauls Church Yard
Title from text below image., Sheet trimmed within plate mark., Eight lines of verse beneath image, four on either side of title: What misery in a narrow scale confin'd! The mournful work of one degenerate mind ..., and Companion print to: The fruits of early industry & oeconemy [sic].
Title from a copy published by Carington Bowles, July 17th, 1770., Unsigned; attributed to Francis Grose., and Date of production based on exhibition history; this drawing was exhibited at the Incorporated Society of Artists in 1767.
"George IV, crowned, and with orb and sceptre, sits on a coronation chair in Westminster Abbey (right). The Archbishop, well characterized, stands beside him, holding his mitre, his right hand on the chair. On the King's right hand stands Londonderry (Castlereagh) in Garter robes; other peers stand behind him. All watch the antics of Canning, dressed in parti-coloured clothes as a merry-andrew or buffoon. He kneels on the dais at the King's feet, arms flung wide; at his feet is a high-crowned hat with a peacock's feather; on the back of his tunic are the letters M P and P C. He declaims: The delight of the Nation at the Celebration of your Majesty's Coronation, the Exultation throughout the Creation exceeds all Imagination. the Expectation to which the Anticipation of this Consumation has given occasion is beyond Contemplation; we offer the Oblation of our Congratulation, without Hesitation or Trepidation; no Tribulation can effect a Cessation of the Sensation which pervades every Station; no Situation in whatever Deprivation will utter an Execration for the Association are in Preparation to effect an Extirpation of all Defamation. We hope the Expectation of a Decollation will produce Annihilation of all Deviation from strict Regulation; we submit to Subjugation without Hesitation, and we offer our Oration with gratefull Adoration upon this Jollification. The King composedly touches (or kicks) Canning's chin with his toe. Peeresses stand in a gallery across the north transept, holding their coronets. Above them is a second and more crowded gallery."--British Museum online catalogue
Alternative Title:
Adulation, or, A coronation oration by the George Pudding of the nation, Coronation oration by the Jack Pudding of the nation, and Coronation oration by the George Pudding of the nation
Description:
Title etched below image; the name "George" is scored through and replaced by "Jack" written above., Attributed to Charles Williams in the British Museum catalogue., and Sheet trimmed within plate mark.
Publisher:
Pubd. July 1821 by S.W. Fores, Piccadilly
Subject (Name):
George IV, King of Great Britain, 1762-1830, Castlereagh, Robert Stewart, Viscount, 1769-1822, and Canning, George, 1770-1827