The introduction of the Pope to the Convocation at Oxford

description below

“A satire on the approaching election for the Chancellorship of Oxford University. Grenville, dressed as a cardinal, heads a small procession towards the Devil, who wears a robe on which is a large cross, and holds the bland mask with which he has been hiding his face. Grenville, bowing low, and deferentially holding his large hat, holds out a paper: Catholic Petition for the vacant Chancellorship with a Plan for Erecting a New Popish Sanhedrim on the ruins of old Alma-Mater, The Devil says: Well done my Children! This is all the Convocation I would have; in his left hand is a pitchfork. The Marquis of Buckingham, dressed as a Jesuit, stands behind him, one hand on his shoulder, the other holding his barbed tail. Beside him is Canning (unrecognizable) wearing a Jesuit’s biretta. Beside the Devil is a greyhound with the head of Grey, its collar inscribed Popish Gray Hound. Immediately behind Grenville walks the Pope, wearing his tiara, and holding his cross; he holds up Grenville’s robe on which is a large cross. Napoleon crouches behind the Pope, holding on to his robes and hiding under his mantle. He wears a crown, with uniform and spurred boots; his hand is on the hilt of his sword. Behind walk together Temple, enormously fat and dressed as a monk, and his brother, Lord George Grenville, similarly dressed. The former carries the Host, the latter a lighted candle. In the background rows of bishops and clergymen face the procession. Bishops in the front row, humbly sweeping the ground with their mitres, bow low, each clasping a Mass Book, while those behind cheer with raised mortar-board, hand, or Mass Book. On five of the books are the names of bishoprics: York [Vernon], St Asaph [Cleaver], London [Randolph], Oxford [Moss], Norwich [Bathurst]. Above the design (and the bishops): Golgotha, i.e: the place of Skulls.”–British Museum online catalogue.

  • Printmaker: Gillray, James, 1756-1815, printmaker.
  • Title: The introduction of the Pope to the Convocation at Oxford by the Cardinal Broad-bottom [graphic] / Js. Gillray fect.
  • Publication: [London] : Publishd. by H. Humphrey, 27 St. James Street, London, Decr. 1st, 1809.

Catalog Record 

809.12.01.04+

Acquired January 2020

The valley of the shadow of death

description below

“Napoleon, advancing down a gently sloping causeway of rock which traverses water and flames, is halted by ‘Leo Britannicus’ who bounds savagely towards him. He drops a short chain attached to the nose of the ‘Russian Bear’, a huge white creature at his heels. He is beset on all sides by monsters, who emerge from a background of flame, smoke, and cloud, or from the water. Beside the British Lion is a little ‘Sicilian Terrier’, barking ferociously. Death, a skeleton-like corpse, rides a mule which dashes through the air towards Napoleon, snorting flame. He wears a Spanish hat and cloak, and holds up a flaming spear and an hour-glass whose sands have almost run out. The mule’s trappings are inscribed ‘True-Royal-Spanish-Breed’. Outstripping the mule, a savage ‘Portuguese Wolf’, with the end of a broken chain attached to his collar, leaps towards Napoleon. The heads and hulders of two melancholy French officers with their necks chained together emerge from clouds to address Napoleon; they say: “Remember Junot and Remember Dupont.” Above these is the Pope’s tiara, the apex of flames, emitting thunderbolts towards Napoleon, and inscribed ‘Dreadful Descent of ye Roman Meteor’ [cf. BMSat 10970]. Immediately above Napoleon is a crescent moon inscribed ‘British-influence’ enclosing the old (dark) moon, which is ‘French Influence’. This forms the centre of a turban, and is surrounded with fiery clouds flanking the features of the Sultan, looking fiercely down at Napoleon. Blood drips from it. This is ‘The Turkish New-Moon, Rising in Blood’. Beside it (right) the head and arms of a man raising an enormous sword above Napoleon emerge from swirling flames: The ‘Spirit of Charles ye XII’ [of Sweden 1682-1718]. On the r. a double-headed Habsburg eagle swoops towards Napoleon from clouds: “- The Imperial Eagle emerging from a Cloud.” Its collar is inscribed ‘German Eagle’. From the water beyond Napoleon’s causeway, the ‘Ditch of Styx’, project the crown and hands of the drowning ‘Rex Joseph’; he is immediately under the Spanish mule ridden by Death. The water on the nearer side of the causeway, in the foreground, is the ‘Lethean Ditch’. From this (left) rats crawl towards Napoleon: “The Rhenish Confederation of Starved Rats, crawling out of the Mud [cf. British Museum Satires No. 10433].” Three frogs raise their heads from the ditch to spit: “Dutch-Frogs spitting out their spite.” A rattle-snake spits venom, and shakes its tail: “- American Rattle-Snake shaking his Tail.-” On the right, standing on a rock, is a dilapidated eagle with clipped wings, and scanty feathers: “Prussian Scare-Crow attempting to Fly -.””–British Museum online catalogue.

 

  • Printmaker: Gillray, James, 1756-1815, printmaker.
  • Title: The valley of the shadow of death [graphic] / Js. Gillray invt. & ft.
  • Publication: [London] : Publish’d Septr. 24th, 1808, by H. Humphrey, 27 St. James’s Street, London, [24 September 1808]

Catalog Record

808.09.24.01+

Acquired January 2020

Perusing the state papers

description text

“Napoleon, John Bull (a ‘cit’), a British general wearing a star, and the Duke of Portland sit in conference, each holding a large double paper covered with type or script. Napoleon sits on the left, pointing to the text of his paper and saying to his neighbour, “You see Mr Bull the case is simply this If you do so, I’ll do so!” John, much disconcerted, stares at the Emperor, exclaiming “O! O!” The general also looks at Napoleon, perturbed. Portland (right), who sits in an armchair facing the Emperor, with frank dismay says: “If he says O! O! I’m afraid t’is but so! so!”.”–British Museum online catalogue.

 

  • Printmaker: Williams, Charles, active 1797-1830, printmaker.
  • Title: Perusing the state papers, or, Sounding the opinions of John Bull [graphic].
  • Publication: [London] : [publisher not identified], March 1808.

Catalog Record

808.03.00.04+

Acquired November 2020

The grand coronation procession of Napoleone the 1st

description below

“Napoleon and Josephine are in the centre of an elaborate processional design. Individuals and groups are identified by eleven captions in the lower margin. The background is formed of close ranks of French soldiers, with a forest of caps, spears, pikes, and banners receding in perspective. The front row, facing the procession, are grenadiers at attention with bayoneted muskets, the letter ‘N’ in front of their bearskins. They are in shadow; those behind Napoleon are obscured by dense clouds of smoke from a censer; next them (l.) grenadiers blow trumpets and French horns. The procession is led, as by a drum-major, by the posturing and theatrical figure of ‘His Imperial Highness Prince Louis-Buonaparte Marbœuf – High Constable of the Empire’ [Marbeuf was his godfather] on the extreme right. He wears tight-fitting archaic dress, with a feathered coronet, a cloak trailing from one shoulder, buskins, and sabre. He carries a tall staff surmounted by a fleur-de-lis. Next come ‘The Three Imperial Graces, viz. Thier Imp. Highs Princess Borghese [Pauline], Princess. Louis (cher amie of ye Emperor) & Princess Joseph-Bonaparte’ [Hortense and Julie] – three slim young women, very scantily draped, scatter roses. All wear feathered coronets with long snaky curls on their shoulders; they resemble the sisters of Napoleon in BMSat 10072. The ground (l. to r.) is strewn with the flowers they have scattered. Next walks ‘Madame Talleyrand (ci devant Mrs Halhead the Prophetess conducting the Heir Apparent in ye Path of Glory’. A grossly fat woman leads by the hand the little Napoleon-Charles, son of Louis (b. 10 Oct. 1802). The child goose-steps arrogantly, holding out a sceptre in his left hand. He is dressed much like his father, but with the addition of a ribbon and star. Mme Talleyrand wears a feathered coronet and an enormous nosegay; she holds a fan on which is a goat. This, and her patched face, indicate her dissolute past. Slightly behind her, and on her right., hobbles ‘Talleyrand-Perigord. – Prime Minister & King at Arms bearing the Emperor’s Geneology.’ He is burlesqued, with a ‘cheese-cutter’ shin, and a r. foot supported by blocks under the shoe. On his left. shoulder he carries a framed genealogical tree, and hung to his person are crests and symbols in rectangular frames. Napoleon’s family tree issues from ‘Buone Butcher’ and, passing through ‘Buone Cuckold’, terminates in ‘Napoleone Emperor’, which is crowned. The collateral branches are illegible, but one is followed by ‘Hang’d’. …”–British Museum online catalogue.

 

  • Printmaker: Gillray, James, 1756-1815, printmaker.
  • Title: The grand coronation procession of Napoleone the 1st, Emperor of France, from the church of Notre-Dame, Decr. 2d, 1804 [graphic] / Js. Gillray invt. & fect.
  • Publication: London : Publish’d Jany. 1st, 1805, by H. Humphrey, 27 St. James’s Street, [1 January 1805]

Catalog Record

Drawer 805.01.01.06

Acquired January 2020

Tant va la cruche à l’eau qu’enfin elle se brise

description below

“By the efforts of Pitt, who directs Addington, and of a jester wearing cap and bells, an earthenware jug representing George III is lowered into the sea and fatally damaged by striking a rock inscribed ‘Malte’. ‘Addington’ is a man of straw (his body formed of a bundle of straw), a puppet attached to a pole placarded with his name; Pitt (left) pulls threads attached to the dangling arms and legs, but looks round horrified at the disaster resulting from his machinations. The jester crouches on a rock (right); under his foot is a document: ‘Traité d’Amiens’ [see British Musueum Satires No. 9852, &c.]; he holds in both hands the rope, lowering the royal pitcher, but the other end of the rope is round Addington’s hand and thus is manipulated by Pitt. Malta is a small castellated island with a church and a sharp rock which has gashed the pitcher just where it is decorated with a dog-like lion from whose head a crown falls. The mouth of the pitcher is a profile portrait of George III crowned, and looking down with angry dismay at the fatal rock.”–British Museum online catalogue.

 

  • Title:Tant va la cruche à l’eau qu’enfin elle se brise [graphic].
  • Publication:A Paris : Chez Martinet, Rue du Coq, Saint Honoré, [ca. May 1803]

Catalog Record

803.05.00.01+

Acquired May 2020

La derniere cuvée

description below

“French soldiers are being cooked or drowned in a big round vat built of stone, under which a fire is burning. Blücher (left) and Wellington (right) stand over the vat, holding long-handled perforated ladles with which they skim the surface of the water, fishing out the soldiers. Blücher (left), saying “Mon cher Welington je commence a écumer j’espere que vous me Seconderez,” holds on his level ladle a hussar in large busby, braided tunic, and boots. Wellington holds up on his (tilted) ladle a man hanging head downwards. Beside the vat (right) is a rocky cone from a fissure in which the flames of Hell emerge; Cerberus, a monster with three serpentine necks and webbed wings, reaches from the opening towards Wellington’s captive, and devours his legs with two of his great jaws. Wellington answers: “mon ami Blucher je sais pret a vous suivre mais surtout travaille fort cette nuit.” Other soldiers struggle to get out or sink back hopelessly. An eagle (standard) projects from the water, on which float many tricolour cockades. Wellington’s victim, who has a moustache, is not Napoleon, who is a subordinate figure, struggling to get out, and extending his arms towards Wellington.”–British Museum online catalogue.

 

  • Title: La derniere cuvée [graphic].
  • Publication: A Londre [i.e. France?] : [publisher not identified], 1815.

Catalog Record

815.07.00.01+

Acquired May 2020

Le plan de campagne de 1806

description below

A French satire on the British administration, who are gathered around a table with bottles and glasses (two of which are toppled over) and a battle plan (’Plan de Berlin’) drawn on the tablecloth. In1806, French forces under Napoleon occupied Prussia, pursued the remnants of the shattered Prussian Army, and captured Berlin.

 

  • Title: Le plan de campagne de 1806, ou, Les deliberations des politiques anglais sur la guere [graphic].
  • Publication: A Paris : Chez Martinet, [1806]

Catalog Record

806.00.00.54+

Acquired May 2020

Napoleon

Napoleon

An anti-Napoleon broadside including an engraved, cartographic bust of Napoleon above two columns of letterpress in Dutch, German, English and French. The face of Napoleon is formed of carcases of war victims: on the collar are waves of the sea; a “hand” is placed as the epaulet while on the cuff is ‘R’ (for Regent), round the wrist ‘Honi Soit ‘, on the fingers are the letters ‘A’, ‘R’, ‘P’, ‘S’, ‘E’ (for the Allies). A drawing the Rhenish Confedracy [sic] under the flimsy symbol of the cobweb: and the “spider” is a symbolic emblem of the vigilance of the Allies.

 

  • Title: Napoleon [graphic].
  • Publication: [London?] : [publisher not identified], [1814?]

Catalog Record

814.00.00.42+

Acquired June 2019

A pair of specticals

A pair of specticals

Political satire: With billows of smole behind it, a skeleton holding a noose and pointing to his eye dances to the left of Napoleon who stands pointing at it. In the right background is a gallows with a group of soliders standing in the distance below.

Mounted on a former album leaf; newspaper clippings dating from 1817 and 1818 are pasted on verso of mount covering a range of topics including: small pox, post horse duties, poor rate, three cases of debtors, two work related accidents, and a short humorous piece on the streets of Paris and the price of wine.

  • Title: A pair of specticals [sic] easely seen through [graphic].
  • Publication: [London] : Pub. 17 June 1813 by T. Tegg, Cheapside, London, [17 June 1813]

Catalog Record 

813.06.17.01+

Acquired March 2019

Modern plays

Modern plays

Four scenes in one plate, each with a separate title; the subjects are Napoleon’s defeat in Russia, the Prince Regent, a domestic scenes, each characterised by a disaster, the first shows a man in a bedroom beside a coffin, dancing, and last, a man on the floor being beaten by his wife after upsetting the tea table (shown with two demons)

  • Printmaker: Heath, William, 1795-1840, printmaker.
  • Title: Modern plays [graphic].
  • Publication: [London?] : [publisher not identified], [ca. 1815]

Catalog Record 

815.00.00.17+

Acquired October 2018