“Princess Caroline (left) sits in an ornate oval bath in a small boarded room. Bergami stands in the bath (right), draping himself in a towel from the waist down, and splashing water at his companion, who extends her arms towards him, with an encouraging smile. A man and woman, evidently Majocchi and Demont, peep from behind the door (right). On the bath is a Maltese cross (see British Museum Satires No. 13810), placed hatchment-wise between supporters, the Lion and Unicorn, who lie with closed and averted eyes. The Princess’s feathered hat and the miniature of Bergami (cf. British Museum Satires No. 14103) hang on the wall (left). Beside her on a camp-stool are a bottle of ‘Brandy’ [see British Museum Satires No. 14175] and a decanter of ‘Essence of Bergami’. His postilion’s boots and cap are on the floor.”–British Museum online catalogue.
A manuscript letter book containing copies of incoming correspondence from George Beauchamp Proctor, Mr. Oldenshaw, Lancaster Framingham, the Duke of Richmond, Sir William Fordyce, Thomas Townshend, 1st Viscount Sydney, Mr. Lionel Smythe, Benjamin Stehelin, and others as well as Townshend’s outgoing letters to Mr. Stacpoole, the earliest dated 5 March 1785 and the last dated 22 June 1785. The subjects discussed with Thomas Beevan include a living in his posession that he did not confer on Beevan’s son, to Beevan’s great disappointment; issues regarding his regiment with Major Taylor; his appointment by the King to the Board of Land & Sea Offices to investigate the plans to secure the dock yards at Plymouth and Portsmouth; a court martial of 1785; the American loyalists (“I have given one fourth of my Lot to the unfortunate American Loyalists”; military patronage, concerns about his son Frederick, who was later declared insane for shooting his brother. Other matters include the difficulties in assembling an impartial jury and other parliamentary matters and references to the wishes of the King.
Author: Townshend, George Townshend, Marquis, 1724-1807.
Title: George Townshend manuscript letter book entitled ‘1. Copies of letters from the 5th March 1785-‘ : manuscript.
A satire: The breech of the Thames Tunnel and its subsequent flooding in May 1827. The visitors to this popular site are shown fleeing in panic as disaster strikes. Water pours into the tunnel from the top left while workers watch in horror and shout warnings. Engineer Marc Brunel, whose tunnelling shield technology was used in the construction of the tunnel, stands on a ladder next to the cascade and exclaims “My hypothesis is gone to the devil”. Well-dressed ladies and gentlemen trip over themselves while racing towards the right, with one visitor remarking “If I can get home before this transpires I’ll sell my shares immediately”, a reference to the South Sea Bubble that is also referenced in the title. Above the speech bubbles of the frantic crowd is a sign on the wall of the tunnel proclaiming “The tunnel being perfectly dry and safe the public are invited to visit it every day Sunday excepted.
Printmaker: Williams, Charles, active 1797-1830, printmaker.
Title: The tunnel!!!, or, Another bubble burst! [graphic].
Publication: [London] : Pubd. May 1827 by S. Knights, Sweetings Alley, Royal Exchange, [May 1827]
A caricature on the prevalence of bribery during elections, most probably that of 1826. The successful liberal candidate stands on a platform before a cheering crowd and people waving from the windows of adjoining building. In the ‘Committee Room’ behind him, an official pays a man holding a sign inscribed ‘No bribery or corruption’ with the word ‘and’ between bribery and corruption scored through. On the right is an armchair and behind it stand two large flags; two flowers on the chair match the flower on the lapel of the candidate.
Artist: Lane, Theodore, 1800-1828, artist.
Title: Chosen candidate [art original] / by Theodore Lane.
Caroline lies on a sofa within a tent, dressed in her nightclothes and wearing a miniature of Bergami around her neck; her feathered hat rests on the ground, and on the small table beside her sit bottles of “Brandy” and “Essense of Bergamo” and a container of “Rouge”. She smiles and looks over at Bergami, who sits beside her, his slippers and hat discarded on the floor below. Above, a man reaches into the tent to take a lit candle in the candlestick from Bergami, who hands it off with a pleased expression on his face. Beside him on the sofa is a book entitled “The Pilgrim’s Guide”.
“A companion plate to British Museum Satires no. 14103. Alderman Wood takes the Queen’s left arm, staring down at her and grinning. He wears a top-hat on the back of his head, black tail-coat with trousers; his left hand is thrust under the buttons of his double-breasted coat. He wears an order and a star on which the Queen’s head is depicted (see British Museum Satires no. 13810). From her neck hang twin miniatures: Bergami and Wood. Her dress is a modified version of that in British Museum Satires no. 14103: between open over-dress and Turkish trousers is a frilled petticoat reaching well below the knee; her feathered hat resembles that worn at her ‘trial’. They stand in a wooded landscape with goats and rabbits in the middle distance. In the background, on the edge of a lake, is the tiny figure of Bergami, both arms raised.”–British Museum online catalogue.
A young woman sits despairingly on the edge of a bed, with the end of a garter round her neck; the other end dangles from the bed-tester. She watches a servant holding a foppish, elderly naval officer by the collar as he flourishes a cudgel. At his feet lie a set of bellows. On the wall is a framed picture of Venus and Adonis with Cupid.
Artist: Cruikshank, George, 1792-1878, artist.
Title:[ Galvanism, or, The miraculous recovery of the unfortunate Miss Baily] [art original] / George Cruikshank.
Caricature of Queen Caroline and Bergami seated at a table set with elegant china tureens and plates. On the rigth an English officer (Captain Pechell) extends his hand graciously as he declines to sit with them. Behind him two servants(?) look on with concern.
Caricature of Queen Caroline, bedraggled and drunk as she sits slouched in an arm chair, her foot resting on a stool; she wears a hat with three ostrich feathers and around her neck hangs a small portrait (indistinct image) and holds a large glass of brandy while a servant (Alderman Wood wearing the fur-trimmed robes), his eyes cross-eyed, stands beside the chair in attendance with a decanter in hand.
Caroline, wearing a chemise and high-strapped shoes, stands admiring herself in front of a full-length mirror. With her right hand she adjusts a feather in her elaborate headdress, which is adorned with the Prince of Wales’s feathers on the far side and several pointed feathers on the near side, two of which resemble horns; her left hand rests on her hip. Bergami stands behind her in astonished delight, his hands raised in the air; a garment hangs from his left arm, and several towels or pieces of clothing marked with the initials “B B” are strewn on the floor. A man and a woman peer in on the scene from an adjoining room, the man with a pleased look on his face and the woman with one of surprise. On the wall behind Bergami hangs an oval mirror, the decorative frame of which includes a figure of Cupid standing atop a goat while shooting an arrow. A book with “History” on its spine lies on its side in the left foregraound; a burning candle in its holder sits upon the book.