This collage shows full-length image of a woman, identified as Miss Hargraves. Her head and neck, arms, and feet have been cut from an unidentifed print or prints while her costume and its trimming are cut from satin cloth. On each side are small images also cut from prints: on the right a house with a second story wrap-around porch and on the right a covered structure ladened with refreshments.
On the back of this collage are mounted three small engravings of women in fashionable dress; with notes in red ink “Presented by Sarah, Apl. 8 1830” written twice in the upper left and right and below also on the right and left “The author returns thanks”. In the same hand the middle print has been annotated “Kemble” which is also engraved in the plate with the author and printmaker statements “R. Cruikshank delt. J. Rogers sc.”
- Creator: Hume, Sarah, artist.
- Title: Miss Hargraves as Amy [art original] / made and presented by Miss Hume.
- Production: [England], 
Drawings C697 no. 2 Box D115
Acquired April 2021
In this collage a full-length image of a woman, identified as Miss Bartolozzi, with her head and neck, hands, and boots cut from an unidentifed print or prints while her costume and hat and their trimming are cut from satin cloth with additional decorated paper trimming. On the verso in two columns written in red ink and ruled in red ink: On the left the title of a poem only “Lines on my garden”. On the right: Song, “My own Blue Bell”.
- Creator: Butcher, Master, artist.
- Title: Miss Bartolozzi as the page in The marriage of Figaro [art original] / made & given by Master Butcher.
- Production: [England], [ca. 1828]
Drawings C697 no. 4 Box D115
Acquired April 2021
An allegorical representation of the nationalistic riot occasioned by a troupe of French comedians in London. This satirical print refers to the controversy and protest surrounding a French theatrical company, nicknamed the ‘French Strollers’, who applied for and were granted a licence to perform at the Haymarket in the winter of 1749. Their arrival occasioned much discontent; as the Scots Magazine reported, they were ‘bitterly pelted in the news-papers’. Asserting their right to perform, they persisted in a show on 14 November, but were met by an audience intent on sabotage. An eyewitness account of the incident appeared in the Monthly Review some years later (July 1761): ‘People went early to the Theatre, as a crouded House was certain … I soon perceived that we were visited by two Westminster Justices, Deveil and Manning. The Leaders, that had the conduct of the Opposition, were known to be there; one of whom called aloud for the song in praise of English roast beef, which was accordingly sung in the gallery, by a person prepared for that purpose; and the whole house besides joining in the chorus, saluted the close with three huzzas! This, Justice Deveil was pleased to say, was a riot’. Despite the Justice’s assertions that the play was licensed by the King’s command, the crowd had come prepared to produce disruption. They were equipped with instruments which they played discordantly as an accompaniment to their jeers, catcalls, and Francophobic songs: ‘as an attempt at speaking was ridiculous, the Actors retired, and opened instead with a grand dance of twelve men and twelve women; but even that was prepared for, and they were directly saluted with a bushel or two of peas, which made their capering very unsafe’. Unable even to dance, and following another abortive attempt by the magistrates to assert the King’s authority, the curtain fell for the final time. The eyewitness evidently relished the outcome, venturing ‘that at no battle gained over the French, by the immortal Marlborough, the shoutings could be more joyous than on this occasion’. The print embodies similar sentiments; the French strollers attack British theatrical establishment–represented by an affronted Britannia–who stands between them and British theatre-goers. In the foreground stands a perplexed Othello, lamenting the loss of his occupation, and an injured man a man lies on the floor ‘Almost kill’d for not understanding French’.
- Title: The beaux nurses, or, The modern cramers [graphic] : acted at the French Theatre in the Haymarket Novr. [the] 14th.
- Publication: [London : publisher not identified, not before 1749]
Catalog Record & Digital Collection
Acquired July 2016
At head of title: The great illegitimates!!
Frontispiece portrait of Mrs. Jordan, with ten additional portraits: one each of William IV and their children together.
- Title: Public and private life of that celebrated actress, Miss Bland, otherwise Mrs. Ford, or, Mrs. Jordan : late mistress of H.R.H. the D. of Clarence; now King William IV., founder of the Fitzclarence family … Accompanied by numerous remarks and anecdotes of illustrious and fashionable characters / by a confidential friend of the departed ; embellished by portraits of the Fizclarence family.
- Published: London : Published by J. Duncombe, 19, Little Queen Street, Holburn; and sold by all booksellers in the Kingdom, [1832?]
53 J762 P976
Acquired December 2012
Portrait of Mrs Yates as Jane Shore; bust in an oval frame, right arm raised, resting her forehead against it, eyes half-closed, with dark hair loosely dressed up with tresses over the shoulders, and a low-necked dress; scratched-letter state after engraver’s name.
- Printmaker: Meers, J., fl. 1776.
- Title: [Portrait of Mrs. Yates as Jane Shore].
- Published: [London : J. Boydell, 1776].
Catalog Record & Digital Collection
Acquired June 2012