A group of cats look at book opened to a musical score, on the right and images of mice on the left. Some of the cats are singing while one plays a trumpet; one of the cats wears spectacles. In the foreground are a violin and loose sheets of music. The book is propped against a birdhouse from which emerges a mouse; a cloth has been draped over the birdhouse.
Title: [Concert of cats] [graphic].
Publication: [London?] : [publisher not identified], [not before July 1817?]
Three half-length sketches of men in two rows, two on the top row are shown bust-length facing left, while the one below is shown half-length playing a bassoon. Only the portrait on the top right is identified by the artist
Copy in reverse of the first state of Plate 3 of Hogarth’s ‘The Rake’s Progress’ (Paulson 134): A room at the Rose Tavern, Drury Lane (after the painting at Sir John Soane’s Museum); to left, Tom, surrounded by prostitutes and clearly drunk, sprawls on a chair with his foot on the table; one young woman embraces him and steals his watch, another spits a stream of gin across the table to the amusement of a young black woman standing in the background; one woman drinks from the punchbowl; another is removing her clothes in order to perform “postures”; to the right, a harpist and a door through which enters a man holding a large dish and a candle, and a pregnant ballad singer holding a sheet lettered “Black Joke”; on the walls hang a map of the world to which a young woman holds a candle and framed prints of Roman emperors, all (except that of Nero) damaged. A second version of the paintings is at the Atkins Museum (Kansas City, Missouri).
Title: Revelling with harlots [graphic].
Publication: [London] : Publish’d wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill, March 25, 1768.
Copy (not reversed) of the first state of Plate 2 of Hogarth’s ‘The Rake’s Progress’ (Paulson 133): a fashionable interior with Tom, in elegant indoor dress, surrounded by tradesmen vying for his custom: a poet, a wigmaker, a tailor, a musician (with a list of presents given by aristocrats to the popular castrato, Farinelli), a fencing master (said to be named Dubois), a prizefighter with quarter-staffs (said to be James Figg), a dancing master (John Essex?), a landscape-gardener (said to be Charles Bridgeman), a bodyguard, a huntsman and a jockey.–British Museum online catalogue.
Title: Attended by his levee in London [graphic].
Publication: [London] : Publish’d wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill, March 25, 1768
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?]
“View of the Jubilee Fair in Hyde Park; in foreground to left a small stage erected with a band playing and jesters performing, a small crowd stands in front, a few tents in central foreground with signs such as “Duke of Wellington Whitbreads Intire”, and on a lamp “Dancing and Singing Here”; beyond a crowd stands by river bank watching a sham sea fight, many sailing ships on water with smoke billowing from the scene, on the opposite river bank the fair continues.”–British Museum online catalogue.
Title: Jubilee Fair [graphic].
Publication: [London] : Published Sept. 10, 1814, by J. Pitts, No. 14 Great St. Andrew Street, Seven Dials, [10 September 1814]
“Stylised representation of the Lord Mayor’s procession, framing a blank space in the centre of the sheet; two rows of figures at the top, 7 groups one above the other to either side, and the City Counsel on foot, the Aldermen and Lord Mayor on horseback forming the bottom of the frame.”–British Museum online catalogue.
Printmaker: Cole, James, 1715-1774, printmaker.
Title: The procession of the Lord Mayor of London, 29th of October [graphic].
Publication: [London] : Published according to act of Parliament Novemr. the 4th, 1742, and sold by James Cole engraver in Great Kirby Street, Hatton Garden, [4 November 1742]
“The fat, moustached, Duchess of St. Albans and the slim Duke dance with vigour and agility, each poised on the left toe, arms interlaced, and hands meeting above their heads. From the Duchess’s small coronet rise giant ostrich feathers which curve above the heads of both and above which a big ducal coronet is suspended. He sings: My Wife shall dance, And I will sing so merry we’ll pass this_ day. She: For I hold it one of the wisest things to drive dull care away–. The musicians are two cynical cupids; one (left) sits on large sacks of sovereigns inscribed Cash; coins pour from a slit in a sack and lie on the carpet with a banker’s money-scoop. He fiddles: Money in both pockets. The other (right), seated on the apex of a huge melon from which a slice has been cut, plays bagpipes: And auld Robin Gray [Coutts] was a gued Old Man to me! with variations.”–British Museum online catalogue.
Printmaker: Heath, Henry, active 1824-1850, printmaker.
Title: The wedding day [graphic] / H. Heath delt
Publication: [London] : [publisher not identified], published June 28, 1827.
An elderly man plays his harp on a hillside surrounded by couples and children. In the distance are mountains and a tower.
Title from the first line of the four-line poem printed below the image.Title continues: “… That not a mountain rears his head unsung. And many an amorous, many a humourous lay, which many a bard had changed many a day.”
Frontispiece to: Jones, E. Bardic Museum. Musical and poetical relicks of the Welsh Bards, v. 2. London : For the author, 1802