“Mrs. Clarke stands in the lobby of the House of Commons, a section of which is seen through the partly open door: the corner of three tiers of empty benches and the gallery, with a strip of the Speaker’s chair, showing his right elbow. She is directed to the right, with head turned to the spectator. She wears a plain blue pelisse over a white dress, a straw bonnet with lace drapery which she raises from her face. In her dropped right hand she holds a huge (?) chinchilla muff. She is elegant, alluring, and assured.”–British Museum online catalogue.
Printmaker: Williams, Charles, active 1797-1830, printmaker, artist.
Title: Mrs. M.A. Clarke [graphic] / drawn & engraved by C. Williams.
Publication: [London] : Pubd. Feby. 25, 1809, by S.W. Fores, 50 Piccadilly, [25 February 1809]
Manuscript catalogue on paper of the print collection of William Oldys, mostly written in his own hand. Most of the catalogue entries are presented in one alphabetized list and note the artist, engraver, technique, format, source (if published in a book), and major features of the print. Included are some additions, deletions, and annotations by Oldys and later notes in the hand of Horace Walpole to rear endpaper and in one or more places in Oldys’s text.
Author: Oldys, William, 1696-1761.
Title: Catalogue of my prints or grand portraits of our most eminent countrymen, 1730.
Depiction of the dance probably performed by the Illinois to strengthen peace between the tribes. The Calumet, a large pipe, was usually presented to the honoured guest. The tribe surrounds the circle in which two men dance with arrows above their heads; the circle includes arrangements of bows and arrows and tomahawks.
Title: The dance of the calumet of the sun, or pipe of peace, performed on the most solemn occasions by the Indian nations in North America [graphic].
Publication: London : Pub. by T. Tegg, Jany. 21, 1809.
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]
The tickets could be had of William Ludlow, deputy clerk of the markets
Creator: Bristol (England)
Title: Bristol markets : In consequence of many frauds and impositions practised by sundry persons carrying provisions for the inhabitants, from the several markets within this city, the Mayor and Common Council have ordered, that such persons who shall hereafter be engaged in that way, shall bear certain tickets or marks whereby they may recommend themselves as trustworthy to their employers. …
Published: [Bristol] : [publisher not identified], 
“Portrait after Hogarth; three-quarters length standing directed to left, looking towards the viewer, right arm resting on a ledge, holding a sheet of music, his left hand at his breast, wearing a frock coat and soft, fringed cap, drawn down over his right temple, with a cloak hung over his right shoulder.”–British Museum online catalogue.
Author: Bentley, R. (Richard), 1708-1782, attributed name.
Title: A full and true account of the dreadful and melancholly earthquake, which happened between twelve and one o’clock in the morning, on Thursday the fifth instant : with an exact list of such persons as have hitherto been found in the rubbish. In a letter from a gentleman in town, to his friend in the country.
Edition: The fifth edition.
Published: London [i.e. Dublin] : Printed for Tim. Tremor, near the Temple Gate, Fleet-Street, 1750.