“Interior, the Prince of Wales standing to left wearing chain and badge of the garter, right hand poised to put the ring on the finger of Princess Caroline Amelia, who kneels with hands crossed over her breast to right, a minister blessing them to right, an open book on a cushion in front of him, George III and Queen Charlotte seated in the background to left.”–British Museum online catalogue.
Title: The marriage ceremony of the Prince and Princess of Wales [graphic] : perform’d by the Archbishop of Canterbury, at the Chapel Royal, April 8th, 1795.
Edition: [State 2].
Publication: [London] : Publish’d May 16th, 1795, by John Fairburn, No. 146, Minories, London, [16 May 1795]
“A farmyard scene, with a corner of the house on the left. A grossly fat and carbuncled parson on a quest for tithes encounters the farmer’s wife, who runs towards him proffering an open bandbox, with a dangling lid inscribed 10th. A miniature hussar, very dandified in shako and pelisse, stands in it, superciliously inspecting the parson through an eye-glass. The woman, who is plump and well-dressed, wearing apron and bonnet, says: Seeing your Reverence comeing for your Tithes, I have brought you a Tenth. The parson, who holds a large book, Tithe list, and has a chicken in his capacious pocket, answers with a scowl and gesture of refusal: Take it back! take it back! good Woman; I never tithe Monkeys. The little hussar says: Eh! eh! what does that there fellow say? An amused yokel with a pitchfork leans over a gate (left). A cock crows on a dunghill, an ass brays. Corn-sheaves stand in a distant field.”–British Museum online catalogue.
Printmaker: Williams, Charles, active 1797-1830, printmaker.
Title: A tenthrejected, or, The dandyfied coxcomb in a bandbox [graphic].
Publication: [London] : Pubd. 10th April 1824 by John Fairburn, Broadway, Ludgate Hill, [10 April 1824]
“Prince Leopold sits enthroned, flanked by his new subjects; he wears uniform with a crown, and sits on a two-tiered circular dais in a chair of state, the seat of which is covered with giant thorns. Punctured and frightened, he grasps the arms of his chair with crisped fingers; his toes are drawn back, touching the ground, and he looks towards a savage-looking Greek (right) who kneels before him with a long knife held behind his back. A similar ruffian kneels on the left; others approach menacingly from the left, one smoking a long pipe and grasping a knife. They wear Greek costume with embroidered jackets and full white breeches. On the right are long-robed ecclesiastics, headed by a bearded patriarch with a cross in one hand, a knife in the other.”–British Museum online catalogue.
In a richly decorated and carpeted interior, an obese clergyman with his equally large, bespectacled wife sit at a dining table with their three children; on the back wall hangs a portrait of the clergyman. He raises a wineglass to his lips as a servant uncorks another bottle of wine.
Artist: Dighton, Robert, 1752-1814, artist.
Title: [A master parson with a good living] [art original].
Engraving of William Hogarth’s 1748 painting ‘O the Roast Beef of Old England’ (London, Tate Britain), which he had himself published as a print. The scene is set at the Gate of Calais (after the painting in the Tate Gallery) with a fat monk prodding a large sirloin of beef carried by a cook, on either side are two French soldiers, one of whom spills his bowl of thin soup as he gazes in amazement at the beef; on the left, three market women with crosses hanging from their necks admire a skate in a basket of fish; on the right, two ragged men carry a large pot of soup while another drinks from a bowl, and a Scottish soldier cowers beneath an archway; in the middle distance, to left, Hogarth himself is seen sketching at the moment when a soldier’s hand takes him by the shoulder; beyond, through the gate, is a religious procession.
Title: O’ the roast beef of old England &c. [graphic] / painted by W. Hogarth.
Publication: London : Printed for Robt. Sayer, No. 53 Fleet Street, [not before 1766]
“A satire on the approaching election for the Chancellorship of Oxford University. Grenville, dressed as a cardinal, heads a small procession towards the Devil, who wears a robe on which is a large cross, and holds the bland mask with which he has been hiding his face. Grenville, bowing low, and deferentially holding his large hat, holds out a paper: Catholic Petition for the vacant Chancellorship with a Plan for Erecting a New Popish Sanhedrim on the ruins of old Alma-Mater, The Devil says: Well done my Children! This is all the Convocation I would have; in his left hand is a pitchfork. The Marquis of Buckingham, dressed as a Jesuit, stands behind him, one hand on his shoulder, the other holding his barbed tail. Beside him is Canning (unrecognizable) wearing a Jesuit’s biretta. Beside the Devil is a greyhound with the head of Grey, its collar inscribed Popish Gray Hound. Immediately behind Grenville walks the Pope, wearing his tiara, and holding his cross; he holds up Grenville’s robe on which is a large cross. Napoleon crouches behind the Pope, holding on to his robes and hiding under his mantle. He wears a crown, with uniform and spurred boots; his hand is on the hilt of his sword. Behind walk together Temple, enormously fat and dressed as a monk, and his brother, Lord George Grenville, similarly dressed. The former carries the Host, the latter a lighted candle. In the background rows of bishops and clergymen face the procession. Bishops in the front row, humbly sweeping the ground with their mitres, bow low, each clasping a Mass Book, while those behind cheer with raised mortar-board, hand, or Mass Book. On five of the books are the names of bishoprics: York [Vernon], St Asaph [Cleaver], London [Randolph], Oxford [Moss], Norwich [Bathurst]. Above the design (and the bishops): Golgotha, i.e: the place of Skulls.”–British Museum online catalogue.
“A fat bottle-nosed parson preaches from the upper story of a three-decker pulpit. Below him a lean curate sleeps, spectacles on forehead. A lank-haired rubicund clerk listens alertly. At the base of the design are the heads of a congregation, asleep, except for a flirting couple.”–British Museum online catalogue.
“George IV, seated on the throne, watches a display of jovial fraternization between John Bull and Pat, who dance, holding hands, each holding up a hat decorated respectively by rose and shamrock. A lanky garland of (thornless) roses and giant shamrocks drapes the crown on the back of the throne; one end is held up by Wellington (right), on the King’s left, the other by Peel on his right, so that the King is framed by it. J. B. is an obese and drink-blotched “cit”, with a snuff-box inscribed ‘Irish’ in his waistcoat pocket. Pat is a ragged Irish peasant, his bare legs swathed by twisted straw; his shillelagh lies on the ground; he looks with a broad but appraising grin at J. B., who sings: “Together reared together grown, Oh! let us now unite in one, Let friendship rivet the decree, Nor bigots sever Pat and Me!!!” Two discomfited ‘bigots’ depart on the left; one is a gouty parson using a crutch, with a ‘Petition against Concession’ hanging from his pocket, cf. British Museum Satires No. 15661, &c. The other is a Catholic bishop in robe and mitre. They say: ‘It’s time for us to be off.’ Above their heads flies a figure of Discord, her hair consisting of snakes which spit flame towards J. B. The King, with extended arm, says: ‘No more let Bigotry distract the Nation, Nor Priestcraft nurture lawless passion, Henceforth let rage and tumult cease, As brothers live and die in peace!!!'”–British Museum online catalogue.
Printmaker: Jones, Thomas Howell, active 1823-1848, printmaker.
Title: The blessed effects of a united cabinet, or, The glorious march of intellect [graphic] / T. Jones fect.
Publication: London : Pubd. April 1829 by S.W. Fores, 41 Piccadilly, [April 1829]
A copy in reverse of William Hogarth’s Plate 6 of A harlot’s progress: A dilapidated room with Moll Hackabout’s friends, mostly prostitutes, gathered around her open coffin, several of them weeping; one young woman stands with her back to the scene as she gazes at herself in the mirror. On the right, a clergyman spills his brandy as he surreptitiously gropes beneath a woman’s skirt; Moll’s serving woman, standing at the coffin with a wine bottle and glass in hand scowls at the pair. Under the window and to the left, the undertaker flirts with a pretty young prostitute who picks a handkerchief from his pocket. In the foreground Moll’s small son plays with a spinning top. Sprigs of yew (rosemary?) decorate her coffin; a plate of yew rests on the floor at the parson’s feet, another spring at her son’s feet.
Title: A harlots progress. Plate VI [graphic] : Her funeral properly attended = Pompe de ses funérailles / invented & painted by Wm. Hogarth.
Publication: [London] : [publisher not identified], [not before 25 March 1768]
A copy in reverse of William Hogarth’s Plate 2 of A harlot’s progress: Mary Hackabout (left), now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist’s moral message.
Title: A harlot’s progress. Plate II [graphic] : In high keeping by a Jew = Un juif l’entretien somptueusement / invented & painted by Wm. Hogarth.
Publication: [London] : [publisher not identified], [not before 25 March 1768]