In seven scenes in a design of two tiers, citizens dispute the oppressive fees imposed by a zealous tax collector who taxes bugs, pets, a bulbous nose and a runny nose, corns on a foot, and a man’s skin. In the scene on the upper right, the tax collector penalizes a man whom he accuses of evading tax as he defecates in a bush.
“Rural scene with two couples dancing on the left while a man pipes and plays a drum under a tree on the right, and another couple watch at a table in front of him, smoking and drinking; village in the background.”–British Museum online catalogue.
Title: The shepherdsholyday [graphic].
Publication: [London] : Published Oct. 24th, 1794, by John Fairburn, map, chart & printseller, No. 146 Minories, London, [24 October 1793]
Two ‘cits’ are shown out for a day’s sport in the countryside. One is rather thin and fashionably dressed, while the other is an older, fat John Bull type. The younger man leaps a low fence, firing his rifle at a flight of birds, his clipped poodle leaping beside him. His fat companion stands on the far side of a ow stile, gun in hand, an eager bulldog at his side; he tries to catch his hat which his friend has knocked off.
Title: London sportsmen shooting flying [graphic].
Publication: [Alnwick] : Printed and published by W. Davison, Alnwick, [between 1812 and 1817]
A caricature of the new Lord Mayor of London: Harvey Combe stands centered in a hall, surrounded by a desperate looking group of people both rich and poor, who kneel and beg. A skeletal man (butcher?) holds a knife in one hand and a scroll in the other inscribed with a large order for meat: “12 haundres venison, 6 necks do., 8 turtles, 20 brace partridges, 20 pheasants, 20 brace woodcocks, 16 sirloins beef”. In the foreground lies another sheet which reads “Tripe Soup. Liver & Crow. Fried Tripe. Bill of Fare for 8 Novr.” The outgoing Lord Mayor, Sir Richard Glyn, who was notoriously spendthrift during his period in office, is seen being kicked out of the Mansion House holding large money bag. The two cats on the left and the dog following the butcher are also thin from malnutrition. Two large spiders have spun large webs below the archway on the left below are two cupids holding a heart molded above the archway.
Title: Hospitality kicking avarice out of doors, or, New tenants at a mansion house [graphic].
Distribution: [London] : Sold by all the printsellers in London, Novr. 9, 1799.
A caricature of the new Lord Mayor of London: Harvey Combe stands centerd in the a hall, surrounded by a desperate looking group of people both rich and poor, who kneel and beg. A skeletal man (buthcher?) holds a knife in one hand and a scroll in the other enscribed with a large order for meat: “12 haundres vension, 6 necks do., 8 turtles, 20 brace partridges, 20 pheasants, 20 brace woodcocks, 16 sirloins beef bacon(?) &””. In the foreground lies another sheet which readss “Tripe Soup. Liver & Crow. Fried Tripe. Bill of Fare for 8 Novr.” The outgoing Lord Mayor, Sir Richard Glyn, who was notoriously spendthrift during his period in office, is seen being kicked out of the Mansion House holding large money bag with the word “Saving” written on it. The two cats on the left and the dog following the butcher are also thin from malnorishment. Two large spiders have spun large webs below the archway on the left below a two cupids holding a heart molded above the archway.
Artist: Nixon, John, -1818, artist.
Title: Hospitality kicking avarice out of doors, or, New tenants at a mansion house [art original] / J.N. 1799.
With a large woodcut below the title and preceding the letterpress text: Madamoiselle Javellot is shown on stage flanked on either side by chandeliers wtih her performing dogs in costumes in front and a musician in the background, left, behind the curtain.
Title: The fair in an uproar, or, The dancing-doggs : as they perform in Mr. Pinkeman’s new opera in Bartholomew Fair.
Published: London : Printed and sold by J. Morphew, near Stationers Hall, [1707?]
“A scene in the Empress’s dressing-room. Marie Louise is horror-struck at the appearance of Napoleon who advances towards her in profile astride the back of a crawling Mameluke; he is held up by two other Mamelukes who support his arms and shoulders. He is terribly emaciated and appears moribund. He wears uniform; his legs, feet, and hands are swathed in bandages, his (former) ear and nose covered with black patches. The crawling Mameluke, presumably Roustan, holds out a bottle containing a pointed nose, and labelled ‘Le Nez de l’Empereur’. Immediately behind Napoleon and his three supporters are two kneeling Mamelukes, each reverently holding a tasselled cushion supporting a bottle; one being labelled ‘Les Doights [sic] de l’Empereur Napole . . .’, the other, ‘Les Oreilles de l’Empereur Napoleon’. Behind them (left) another Mameluke advances with a bottle labelled ‘Les Doights du pied de l Empereur Bon . . .’ The Mamelukes wear Turkish dress with turbans. Napoleon looks in tragic silence at his wife, who is seated in regal state but turns aside weeping with violent gestures of despair. A small terrestrial globe decorates her chair; her foot rests on a stool in the form of a flattened polar hemisphere on which the word ‘Brit[ain]’ is visible. Over her low-cut dress is an ermine-bordered robe clasped with a fleur-de-lis. She is supported by an emaciated court-lady, with a patched face, proffering a smelling-bottle, whose profile and a small crown show that she is one of Napoleon’s sisters; two other ladies, wearing crowns, stand behind the Empress, registering consternation. A less conspicuous lady weeps. On the Empress’s right kneels the Governess of the King of Rome, Mme de Montesquiou, holding the screaming child, and weeping noisily. He registers angry terror at the sight of his father; his little crown has fallen off. His features, though fore-shortened and distorted, resemble those of his father, cf. British Museum Satires No. 11719. He wears an ermine-trimmed robe over his childish tunic and breeches. Behind the Governess is a draped dressing-table, the drapery decorated by a large fleur-de-lis, and the toilet boxes ornamented with crowns. A terrified monkey climbs up the mirror, clutching at the crown which surmounts it, and looking over its shoulder at the shocking spectacle presented by the Emperor. On the extreme right a lap-dog stands on a cushion barking furiously at Napoleon. On the ground on the extreme left are two large round coffers, one inscribed ‘Coffre Pour la Bijoutère [sic] Russe’, the other expectantly open. Voluminous draperies on the left and right, supported on the right by a pillar add to the regal character of the room.”–British Museum online catalogue.
A satire on the puritanical message of strictly observing the Sabbath. A puritan stands on a barrel marked ‘St. Andrew’, his arms held out making a cross. He cries: ‘Clear the Streets of all Evil doers – Remember ye keep Severely Strict the Sabbath day…’ Surrounding him, portly puritans carrying clubs attack people going about their Sunday business.
Printmaker: Grant, C. J. (Charles Jameson), active 1830-1852, printmaker.
Title: Protecting the Sabbath!!!, or, Coersion for England [graphic].