Copy in reverse of the first state of Plate 1 of Hogarth’s ‘The Rake’s Progress’ (Paulson 132): the Jacobean interior of the house of Tom Rakewell’s late father with Tom at left being measured for a suit as he gives a handful of coins to the pregnant Sarah Young; behind him sits a lawyer compiling inventories; on the floor are boxes of miscellaneous goods, piles of mortgages, indentures, bond certificates and other documents; an old woman brings faggots to light a fire and an upholsterer attaching fabric (purchased from William Tothall of Covent Garden) to the wall reveals a hiding place for coins which tumble out.–British Museum online catalogue.
Title: Taking possession of his father’s effects [graphic].
Publication: [London] : Publish’d wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill, March 25, 1768.
First line: Fair lady, lay your costly robes aside …
Woodcut image: a scene in a room with two windows and a table with a lighted candle. On the right Death wearing a crown and holding an arrow and hourglass stands next to a lady who is holding her child’s hand. Beside the child stands a gentleman (doctor). On the ground at Death’s feet are a shovel and emblems of power(?).
Title: The messenger of mortality, or, A dialoguebetween Death and the lady.
Publication: [York, England] : Carrall, printer, Walmgate, York, [between 1822 and 1834]
A homely, heavy-set girl (left) sits on a chair while an artist in spectacles (right) sits and sketches her in profile while her coarse mother in a mop cap smiles at the artist who looks back in surprise at her comment to him. Below is a clipping with the words, “You see my dartur vears her hair like the queen”. Possibly a satire directed at the new Queen, Victoria.
“A decrepit old man stands at the door of a house of ill fame at the corner of Portland Street; Mrs Burke is on the door-plate. One hand is on the knocker; he turns to scowl at a woman (right) who holds out a bunch of water-cress from a large shallow basket slung from the hip. A child clings to her shoulders; a little girl (left) with a small basket also offers him a bunch. Two young courtesans lean from a first-floor window. In the background (right), behind a spiked gate, are trees and a large house (or houses).”–British Museum online catalogue.
Printmaker: Merke, Henri, printmaker.
Title: Water cresses, come buy my water cresses [graphic] / Rowlandson delin. ; Merke sculp.
Publication: London : Pub. Mar. 1, 1799, at R. Ackermann’s, 101 Strand, [1 March 1799]
Two oval images printed against a patterned background with a stylized floral border. The image on the top shows Tippoo Sahib’s wife, mother of his two sons as she kneels outside a tent on a rug; she embraces her one son as the other son stands behind him. Tipu Sultan stands in the background with a woman servant(?). In the image below, the young boy his handed over by his father (left) to Cornwallis (right) with the British camp in the background. Soldiers flank Cornwallis; the Sultan is attend by two of his men. The title of the top image is engraved in a legend on the left; the legend on the right continues the title of the image on the bottom.
Title: Tippoo Saib’s two sons taking leave of their mother [graphic] : previous to their being deliver’d up to Lord Cornwallis as hostages at the termination of the war in the East Indies in 1792 = Tippoo Saib’s two sons delivered up to Lord Cornwallis : as hostages, after he had so gloriously conquered that proud sultan at Seringaptam, the Capital of the Mysore Country, in the East Indies, in 1792.
Created: [England or India?] : [s.n.], [not before 1792]
Before a tent with a throne inside, Tippoo Sahib’s wife, mother of his two sons, kneels on a rug; she embraces her one son as the other son stands behind him. Tipu Sultan stands in the background with a woman servant(?)
Title: Tippoo Saib’s two sons taking leave of their mother [graphic] : previous to their being deliver’d up to Lord Cornwallis as hostages at the termination of the war in the East Indies in 1792.
Published:[London : Published 12th May 1794, by Laurie & Whittle, 12 May 1794]