"The freeholder, a ragged Irish peasant, stands full-face, between a bloated priest (left) and a fashionably dressed young man; both tug at his coat-collar. The obese priest, who wears robes, with a large cross from neck to knee, holds up a print of the Devil smoking a pipe, in the bowl of which sits a tortured man; he says: Vote for your Priest or see this picture of your Soul in the next world. The other points behind him to an eviction scene, saying, Vote for your Landlord or see the real consequence in this World. In the background is a cluster of mud huts placarded Wanted Protestant Tenants for these Cabins. Men chase away a ragged family in one direction, and a pig in the other. Freeholder: Sure I'm bother'd [cf. BM Satires No. 8141] hadent I better be after voten for both your honors id would make the thing asier aney how. In one hand is his shillelagh, in the other his hat with a tobacco-pipe thrust in it."--British Museum online catalogue
Alternative Title:
Forty shilling freeholders only expedient for the salvation of body and soul
Description:
Title from caption below image., Print signed using William Heath's device: A man with an umbrella., Imprint continues: ... where political & other caricatuers are daily published., Questionable date of publication from British Museum catalogue., Sheet trimmed to plate mark., and Numbered in ms. at top of sheet: 193.
Publisher:
Pub. by T. McLean 26 Haymarket ...
Subject (Geographic):
Ireland.
Subject (Topic):
Devil, Peasants, Pipes (Smoking), Poverty, Priests, and Staffs (Sticks)
"Scene in a ramshackle garret. A dandy in a late stage of decay crouches over the fire (where an iron is heating) on a small stool, holding out his shirt, befrilled and collared, but sleeveless. He wears tightly laced stays over bare flesh, which is ravaged by insects or skin-disease, with ragged drawers and socks. Other ragged garments hang from a string across the fireplace, others project from a crock (right) where they are being washed. Boots, blacking, &c., are on the floor. Coat, hat, trousers, and eyeglass lie on a makeshift bed; an overcoat hangs on a coat-hanger. His hair is brushed upwards from the neck with one lock arranged over the forehead. His whiskers are on a stand on the table, with broken combs, tooth-brush, &c. On the wall hang his umbrella, a pair of bootsoles, and a red herring. On the chimney-piece, with medicine-bottle, tea-pot, &c., is a ballad headed by a gibbet with corpses. On a box which forms a head to the bed are band-box, cane, cracked mirror, &c."--British Museum online catalogue
A man in ragged clothes stands facing right, hunched forward under the weight of a basket of 'Rents' and 'Taxes' strapped to his back. His legs are shackled, his mouth is closed by a padlock, and his hands are tied behind him. Image enclosed within a circle
Alternative Title:
Freeborn Englishman
Description:
Title etched above image., Printmaker is likely the publisher Thomas Spence's son William, who was born in the early 1780s and died in 1797. See Oxford Dictionary of national biography, entry for Thomas Spence., Probably a copy, with alterations, of a print published circa 1795 entitled "A freeborn Englishman, the admiration of the world, the envy of surrounding nations, &c. &c." See description for No. 8710 in the Catalogue of prints and drawings in the British Museum, v. 7., Sheet trimmed within plate mark., Thomas Spence seems to have also issued copper tokens in 1796 with depictions of a similar shackled figure on one side. See for example British Museum online catalogue, registration no.: T.6498., and Not in Catalogue of prints and drawings in the British Museum.
Publisher:
Publishd. by T. Spence, Turn Stile, Holborn
Subject (Geographic):
Great Britain. and Great Britain
Subject (Topic):
Taxation, Poverty, Poor persons, Locks (Hardware), Shackles, and Taxes
In his meager attic lodgings, a man dresses as his land lady looks on. On the wall is a poster with a portrait of Thomas Paine and a partially torn sign with the words "Buggs distroy'd", the art amplifying the subject
Description:
Title engraved below image., From the Laurie & Whittle series of Drolls., Plate numbered '174' in lower left corner., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Publisher:
Published 28th Novr. 1796 by Laurie & Whittle, 53 Fleet Street, London
Subject (Name):
Paine, Thomas, 1737-1809.
Subject (Topic):
Attics, Landlord & tenant relations, Mirrors, Poverty, and Shaving equipment
The interior of a poor wooden house, a parson's family of four gather around a table covered in a tablecloth worn with holes. They are eating beans, while he sits on the right, gnawing a bone; his wife (left) nurses the youngest child. Behind her on the wall are two shelves of books above which hangs a bird in a birdcage. To her left, the curtains around the canopy bed are also torn. A small cat (foreground) looks up at the parson. On the floor beside the parson's chair lies a sheaf of papers with the title "Charity sermon".
Description:
Title from caption below image., Numbered "481" in lower left corner., No. 24 in a bound in a collection of 69 prints with a manuscript title page: A collection of drolleries., and Bound in half red morocco with marbled paper boards and spine title "Facetious" in gold lettering.
Publisher:
Printed for & sold by Carington Bowles, No. 69 St. Paul's Church Yard, London
Subject (Topic):
Canopy beds, Birdcages, Breast feeding, Cats, Clergy, Eating & drinking, Families, Interiors, and Poverty
Manuscript, in Jephson's hand, of a parody of Johnson's A Journey to the Western Islands of Scotland. Using florid language throughout, the author explains his satiety with Dublin and determines to explore the countryside. Traveling with Dean Marlay, Mrs Greville and Mrs Jephson, he complains about the unsightly mendicants who mar the scenery; sings, along with his companions, the Beggar's Opera to pass the time; and runs over "pigs and children who were lying together in the middle of the highway." At Celbridge, he praises the landscape, estate, and the appearance of its owner, Colonel Marlay. The essay concludes with a description of the narrator's fall into the Liffey, and his rescue by catching hold of a passing cow and Horace Walpole has filled in Johnson's name and added "By Richard Jephson, Esqre" underneath the title
Description:
Robert Jephson (1736-1803), playwright and parodist, was born in Dublin. His first play, Braganza, was performed in 1775, with an epilogue by Horace Walpole. His most commercially successful play, performed 37 times between 1781 and 1798, was The Count of Narbonne, based on Walpole's Castle of Otranto as well as Walpole's play, Mysterious Mother. In addition to other plays, Jephson also wrote numerous parodic pieces, including a series in the government newspaper The Mercury under the title "The Bachelor." He parodied the style of the printer George Faulkner and criticized Charles Townshend's enemies in An Epistle to Gorges Edmund Howard (1771); wrote Extempore Ludicrous Miltonic Verses(1788); and wrote a prose piece titled Confessions of James Baptiste Couteau (1794), a satirical parody of revolutionary politics., In English., Title from first page., and For further information, consult library staff.
Subject (Geographic):
Ireland., Celbridge (Ireland), and Great Britain
Subject (Name):
Gay, John, 1685-1732., Jephson, Robert, 1736-1803., Johnson, Samuel, 1709-1784., Marlay, Richard, d. 1802., and Walpole, Horace, 1717-1797.
Subject (Topic):
English wit and humor, Parodies, English, Poverty, Travelers' writings, English, Description and travel, and Social life and customs
"Copy of a room in the Fleet Prison; Tom sits at a table, to left, on which is a rejection letter from John Rich to whom he has submitted a play; his wife clenches her fists, the gaoler asks for garnish money and a boy asks payment for a tankard of ale; to left, Sarah Young has fainted and is being administered smelling salts by one woman while another slaps her hand, her child clings to her skirt; she is supported by an older man with a beard who has dropped a sheet containing a scheme for paying the national debt (a reference to such a scheme put forward by Hogarth's father); in the background an alchemist works at a forge."--British Museum online catalogue
Alternative Title:
Rake's progress. Plate 7
Description:
Title from text engraved above image., Verses, attributed to John Hoadly, below image in three columns, four lines each: His hours of joy are fled with rapid speed, And scenes of anguish in a jail succeed ... Can his person from restraint enlarge., The seventh of eight prints in a series; all are copies of the first states of Hogarth's plates with new verses in the columns below the image; copies were made with Hogarth's consent in 1735. See Paulson, R. Hogarth's graphic works (3rd ed.), page 90., and "Plate 7."--Lower right below design.
Publisher:
Published with the consent of Mr. William Hogarth by Tho. Bakewell
Copy (reversed) of the first state of Plate 7 of Hogarth's 'The Rake's Progress' (Paulson 138): A room in the Fleet Prison (after the painting at Sir John Soane's Museum); Tom sits at a table, to right, on which is a rejection letter from John Rich to whom he has submitted a play; his wife clenches her fists, the gaoler asks for garnish money and a boy asks payment for a tankard of ale; to left, Sarah Young has fainted and is being administered smelling salts by one woman while another slaps her hand, her child clings to her skirt; she is supported by an older man with a beard who has dropped a sheet containing a scheme for paying the national debt (a reference to such a scheme put forward by Hogarth's father); in the background an alchemist works at a forge."--British Museum online catalogue
Alternative Title:
Rake's progress. Plate 7 and His hours of joy are fled with rapid speed
Description:
Title from text engraved above image., "Plate 7"--Lower right below design., Verses below image in three columns, four lines each: His hours of joy are fled with rapid speed, ..., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.7 x 36.5 cm)., A reissue, with a new publication line and with ornamental borders added, of the seventh of eight prints in a series; all are copies of the first states of Hogarth's plates with new verses in the columns below the image; copies were made with Hogarth's consent in 1735. See Paulson, R. Hogarth's graphic works (3rd ed.), page 90., Original publication line: Published with the consent of Mr. William Hogarth by Tho. Bakewell according to Act of Parliament July 1735., and Ornamental borders partially obscure image and text on right.
Publisher:
Publish'd wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill
Subject (Name):
Fleet Prison (London, England),
Subject (Topic):
Children, Debt, Jails, Poverty, Rake's progress, and Unmarried mothers
Title from below image. and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Title from text below image., Date supplied by curator., Place of publication derived from language of text., Text in both German and French., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
publisher not identified
Subject (Topic):
Poverty, Religious aspects, Christianity, Health aspects, Sick persons, Poor persons, Croplands, and Prayer
In the image at the top: Four ladies, fashionably dressed, sit round a table dividing the profits of 'the Faro Bank'. On the table are heaps of guineas with cheques or banknotes, a sword, a ribbon and star, a paper: 'Bond 200 . . half Pay . . Faro'. The two central figures seated behind the table are Lady Archer (with an angry expression) and Lady Buckinghamshire facing each other in profile, their breasts much exposed. On the extreme left sits a young and good-looking woman, her chin concealed by a swathing round the neck; she watches the dispute warily, her arms folded. Facing her (right) an older woman reads through a glass a paper inscribed 'Hond Sir please to pay Lady Bilkem one Thousand Pound for your Dutiful Son Dupe'. These two are probably Mrs. Concannon and Mrs. Sturt, the other two fashionable and notorious holders of faro-banks. Lighted candle-sconces decorate the wall. The near edge of the table forms the lower edge of the design. In the image on the bottom, titled "St Giles's: Four prostitutes in a ramshackle room are grouped, much as the four above, round a table on which their night's plunder is spread: seals, watches, &c. They are younger, handsomer, and have pleasanter expressions than the women of fashion; their breasts are similarly exposed, though their dress is ragged
Alternative Title:
St. James's and St. Giles's
Description:
Title etched between the two images on one sheet., Sheet trimmed within plate mark., Printseller's announcement following publication statement: Folios lent out for the evening., Variant wtih artist's name. Cf. No. 8880 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 7., and Watermark: G R and date 1794 below.
Publisher:
Pubd. May 20, 1796, by S.W. Fores, No. 50 Piccadilly
Subject (Name):
Archer, Sarah West, Lady, 1741-1801 and Buckinghamshire, Albinia Hobart, Countess of, 1738-1816
Subject (Topic):
Gambling, Poverty, Prostitutes, and Social classes
Design in two compartments contrasting on the left the poverty and depravity of "French Liberty" with the opulence of the British on the right "British Slavery." The thin, ragged sansculotte with a liberty cap on his head, warms his bare, talon-like feet before a fire, while eating his dinner of raw onions. Behind him snails overflow his chamber pot; above the fireplace a "Map of French Conquests". At his feet a sword lies across a violin like a bow. He extolls the virtues of the National Assembly and new won liberties. In contrast on the right, an obese, red-faced Englishman sits in a luxurious room before a table laden with a tankard of hock and a large joint of beef. His shoes are slashed to relieve his bloated, gouty feet. A gold statute of Britannia adorns the wall above him. He curses his ministry for imposing taxes and starving the British people
Alternative Title:
British slavery
Description:
Title etched below image. and Two images on one plate.
Publisher:
Pubd. December 21st, 1792, by H. Humphrey, No. 18 Old Bond Street
Subject (Geographic):
France, France., and Great Britain.
Subject (Topic):
History, Taxation, Britannia (Symbolic character), Liberty, Poverty, Rugs, Taxes, and Wealth
Design in two compartments contrasting on the left the poverty and depravity of "French Liberty" with the opulence of the British on the right "British Slavery." The thin, ragged sansculotte with a liberty cap on his head, warms his bare, talon-like feet before a fire, while eating his dinner of raw onions. Behind him snails overflow his chamber pot; above the fireplace a "Map of French Conquests". At his feet a sword lies across a violin like a bow. He extolls the virtues of the National Assembly and new won liberties. In contrast on the right, an obese, red-faced Englishman sits in a luxurious room before a table laden with a tankard of hock and a large joint of beef. His shoes are slashed to relieve his bloated, gouty feet. A gold statute of Britannia adorns the wall above him. He curses his ministry for imposing taxes and starving the British people.
Alternative Title:
British slavery
Description:
Title etched below image. and Two images on one plate.
Subject (Geographic):
France--History--Revolution, 1789-1799.
Subject (Name):
Auchincloss, Hugh Dudley--Ownership., Harvey, Francis--Ownership., and Humphrey, Hannah, active 1774-1817, publisher.
Subject (Topic):
Britannia (Symbolic character), Liberty, Poverty, Rugs., Taxation--France., Taxation--Great Britain., Taxes., and Wealth.
Title from text above images., Seven individual images on one plate; each image has individual title., Sheet trimmed within plate mark., and Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires.
Title from text above images., Seven individual images on one plate; each image has an individual title., Sheet trimmed within plate mark., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Watermark: J. Whatman 1823.
Publisher:
Pub. Jan. 10, 1824 by Thos. McLean 26 Haymarket
Subject (Topic):
Clowns, Couples, Garbage collecting, Eating & drinking, Fighting, and Poverty
An emaciated women sits in a bed playing cards. Her clothes and sheets have tears and holes; the wallpaper is falling off the walls. Under her bed is a used chamber pot and to the left a table with shoes and an umbrella. An elegant coat, dress, and hat suggest better times. A letter on the foreground (right) is addressed: [illegible] CC. Madame de [illegible] rue de Richelieu no. 39.
Description:
Title etched below image., Date based on number 31 in this series, which was listed listed in the 'Bibliographie de France' for 3 June 1820., Series title and numbering etched above image., Printmaker's name etched on table (left) in image: G. de Cari., Between title and subtitle: "Ils sont passés ces jours de fêtes, Ils ne reviendront plus.", and "The series 'Musée Grotesque' consists of at least 65 plates, made over a long period between March 1814 and August 1829. They seem all to have been designed, and in some cases etched, by Godissart de Cari, and all are placed under his name in the British Museum. The first four plates of the series, unlike the others, do not carry the heading 'Musée Grotesque' but rather 'Les Nouvellistes' and are numbered 1 to 4."--British Museum online catalogue.
Publisher:
Chez Martinet, Libraire, rue du Coq, no. 25
Subject (Topic):
Card games, Chamber pots, Gamblers, Poverty, Starvation, and Vice
Title from item., Date supplied by curator., Place of publication derived from street address., Written in image: h.D. 314., Above image: Bohé́miens de Paris 4., Published in Le Charivari, 5 December 1841., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Publisher:
Chez Bauger Cie. R. du Croissant, 16 and Imp. d'Aubert & Cie
Subject (Topic):
Smoking, Tobacco, Poverty, Poor persons, Dandies, and Cigars
"A scene on the sea-shore. A hoven cow, that is, a cow dangerously distended by eating green food, is being operated upon by a man who stands on a raised platform and pierces her flank with a pole; in his right hand is a curved pipe for the injection of smoke. Three country-people and a child gape in astonishment holding up their hands; a fat alderman in a furred gown does the same; from his pocket hangs a paper inscribed, "Nine Days he liv'd in Clover". On the right. three doctors or apothecaries are attending an emaciated and seemingly-dead woman (right), who lies on straw, dressed only in a shift: one puffs smoke from a tobacco-pipe up her nostrils, another applies a pair of bellows, the third listens through an ear-trumpet. It appears that while the cow suffers from a surfeit, the woman dies of starvation. On the ground lies the hat of one of the doctors, in which is a letter, "To Mr Blake Plymoth". Three spectators (left) watch the efforts of the doctors: one, an oriental, wearing a turban and draperies, holds out his hands in astonishment; he appears to represent the wisdom of the East (or the noble savage) confronted with the effects of English civilization. His two companions, fashionably dressed Englishmen, look on unmoved. Behind the sick woman (right) is the wall of a building, probably a theatrical booth; along it runs a narrow gallery where Punch is strutting; he points to a placard on which is a representation of the bottle-imp emerging from his bottle, the great hoax of the century, see British Museum Satires Nos. 3022-7, 5245. Beneath the bottle is a placard, "Subscriptions taken in here for reducing the price of provisions". Other placards on the booth are inscribed, "Marybone Gardens Fete Champetre"; "Mr R-s Letters from [the] Dead", this is behind the dead woman; "Hearing Trumpets on a new Construction", behind the doctor with the ear-trumpet; "Cox's perpetual motion, or the Elephant & Nabob", an allusion to Cox's Museum, see British Museum Satires No. 5243, his jewelled clockwork toys had been destined for an Indian prince; they are described in what Walpole calls "immortal lines" in Mason's 'Epistle to Shelburne', see 'Mason's Satirical Poems', ed. P. Toynbee, 1926, pp. 29, 112, 122, see British Museum Satires No. 5243. At this placard an oafish countryman (right) is gaping while a boy picks his pocket. In the background is the sea; on the beach is a boat raised on stocks but already breaking up; this is inscribed "The New Adelphi". The building of the Adelphi had been an unprofitable speculation, partly owing to the financial crisis of 1773, and the Adam brothers obtained a private Act in that year to enable them to dispose of the new buildings by a lottery, which took place in 1774. Across the water on the further side of a bay is a town inscribed "A View of Plymouth". A rope extends from a church steeple on the extreme left, behind the spectators, to a distant spire in Plymouth, down this a man is gliding."--British Museum online catalogue
Alternative Title:
Wonders of Great Britain
Description:
Title engraved below image., Sheet trimmed within plate mark., and Plate from: The Whimsical repository. London : Printed for R. Snagg ..., v. 1, no. 1 (August 1794).
Publisher:
Engrav'd for the Whimsical Repository, Septr. 1st, 1774, publsh'd according to act of Parliament
Hayne sits, pen in hand, at a table, nervously facing a burly ruffian holding a large key who proffers a paper headed 'items'. Other debtors site by the fire or gaze from the padlocked window of the sponging-house. There are pictures of the two chief debtors' prisons, 'Bench' and 'Fleet', and a framed table of 'House Fees. Fire 0 2.6. Candles 0.2.6. Bed 0.10.6. Warming do. 0.1.0. Breakfast 0.7.6. Eggs 0.2.0. Total £1.7.0. See British Museum catalogue
Description:
Title from caption below image., Date in imprint burnished out. Date of publication from British Museum catalogue., Sheet trimmed within plate mark., and Date of publication erased from sheet.