Unsigned; attributed to Rowlandson.
Inscribed on verso: Names of the Ships taken by Lord Howe on 1st of June 1794, and brought into Portsmouth Harbour; Sans Pareille 84 Guns, L’America 74, Limpetue 84, Northumberland 84, Achille 76, La Vengeur 74.
Artist: Rowlandson, Thomas, 1756-1827, artist.
Title: [Arrival of the flotilla of Admiral Howe into Portsmouth Harbour on 1 June 1794] [art original].
“An emblematical and composite scene, with a realistic background intended for Lake Como, with the Villa d’Este (right), decorated with dancing figures as in British Museum satires no. 14171. In the foreground the Queen, between Bergami and Wood, falls from the tilting summit of a breaking pillar, supported on insecure props. She falls to the left, with Bergami, whose arm is round her waist. Wood, who holds her left hand, falls to the right, weighed down by a block inscribed ‘Log’ chained to his ankle. A small figure of Justice holding scales descends through the air towards them. The pillar resolves itself into separate blocks on each of which is a letter: ‘M O B / I L I T Y’. A board resting on a ram’s head forms the tiny platform from which the trio are falling. The pillar rests on a slab inscribed ‘Adultery’. This is supported on the bewigged head of Brougham which is raised on three props: a massive broom, and two beams poised on a rectanglar cage in which sits a second and much smaller lawyer (Denman). The beams are respectively ‘Sham Addresses’ and ‘Hired Processions’ [see British Museum satires no. 14182]. These props are flanked by two ladders resting against the ‘Adultery’ slab, by which Bergami (see British Museum satires no. 14183) and Wood (see British Museum satires no. 13734) have reached the Queen. One (left) is inscribed ‘Brass’; from it dangle emblems of Bergami: a postilion’s boot, a whip, and a Maltese cross, see British Museum satires no. 13810. The other (right) is ‘Wood’; from it dangle a bottle, a pestle and mortar, and a porter’s knot. In the foreground (right) are thistles, emblem of ‘Thistle-Wood’, see British Museum satires no. 14146. On Lake Como sails (left) a one-masted vessel with a tent on its deck, the polacca, see British Museum satires no. 13818. Beyond its shores and on the extreme left are tiny buildings representing Jerusalem. A lake-side signpost, ‘To Jerusalem’, points in the same direction, and near it the Princess and Bergami ride side by side on asses (see British Museum satires no. 13918, &c.). On the right is a travelling-carriage, with two horses and a postilion; in it sit the same couple. On the door are the letters ‘C·B’. In the lake behind it the pair are seen bathing, two nude figures standing waist-deep, holding hands. Near them is an empty rowing-boat inscribed ‘Como’..”–British Museum online catalogue.
A copy in reverse of William Hogarth’s Plate 1 of A harlot’s progress: A scene outside the Bell Inn: a country girl, Moll Hackabout, having just arrived on the York Wagon (seen on the right), meets an extravagantly dressed bawd (Mother Needham); a clergyman on horseback fails to notice the encounter, but a lecherous old gentleman (Colonel Charteris) eyes the girl with anticipation. In the lower left the girl’s initials “H.M.” (M[ary?] Hackabout, initials reversed on this copy) are on her portmanteau, next to which is a basket with a goose with a note around its neck, “For my Loving Cosen in Tems Stret in London”, presumably the person who has failed to meet her. In the background a woman hangs out her laundry on a balcony. A clergyman on horseback fails to notice the encounter as his horse feeds on hay next to the wagon. In the back of the wagon, four other country girls sit holding onto a rail.
Title: A harlot’s progress. Plate I [graphic] : Innocence betrayed, or The journey to London = L’innocence trahie, ou, Le voyage de Londres / invented & painted by Wm. Hogarth.
Publication: [London] : [publisher not identified], [not before 25 March 1768]
Caricature with Queen Caroline with her arms linked to those of Bergami and her lawyer, as they step along the road between St Omer and Calais. The Queen wears a watch at her waist and two miniature portraits hang from cords at her bosom. In the background her coach awaits with a coachman in tall boots smiling at the scene. A re-issue with new background of a plate first published on 19 January 1821.