“A fashionably-dressed young woman reclining to left on a garden bench, looking provocative; roses and a sign-post lettered ‘Spring Guns set here’ behind to right, and a tree behind to left.”–British Museum online
Title: A man-trap [graphic].
Publication: [London] : Printed for Carington Bowles, No. 69 in St. Pauls Church Yard, London. Publish’d as the act directs, [between 1766 and 1789]
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.
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
Lord Westmorland flies in profile to the left, clutching a closed green umbrella. Spiky, umbrella-like wings are strapped to his shoulders. From between his legs a large (gold and onyx) seal, labelled Privy Seal, falls to the ground. His profile and dress (top-hat, leather breeches, and top-boots) are copied from Dighton’s portrait (BM Satires 14265). At the base of the design and backed by trees are the heads and shoulders of two men and a woman gazing up. Each top-hatted man scowls, holding his nose with a gloved hand; one says “What is that?”; the other, “There he goes!” The woman, pleasurably amused, exclaims: “Ha! Ha! Oh! My!”
Printmaker: Cruikshank, Robert, 1789-1856.
Title: The flying privy [graphic] : from Westmoreland / R.C. fecit.
Published: [London] : Pubd. by G. Humphrey, 24 St. Jamees’s [sic] St., June 1827.