“Mrs. Clarke (right) sits triumphantly astride the upper end of a see-saw which is supported on an upholstered stool. The Duke of York (left), dropping his sword, falls headlong from the other end which rests on the ground. She waves her arms, pointing a derisive finger at the Duke, and sings: “Here I go up up up and there you go Down Down Downy, The game it is pretty well up, and so you must fall to the Grouny!” The Duke sings: “What a way for to serve your own Sweety, how could you vex your own Deary, If you had not thrown me quite down, you’d have had your 4 hundred a Yeary.” On the ground are the Duke’s cocked hat (left) and (right) a mitre, with a book, ‘Ovid art of Love’, and crosier (see British Museum satires no. 11227), with writing materials and papers: a bundle of ‘Love Letters’ (see British Museum satires no. 11228, &c.) tied like legal documents, against which is a door-plate inscribed ‘for further particulars inquire within’, a bundle docketed ‘Account of Debts Gloucester’ [Place, see British Museum satires no. 11222, &c], a paper headed ‘To Col Wardle’. There is a landscape background irradiated by a setting sun.”–British Museum online catalogue.
Printmaker: Williams, Charles, active 1797-1830, printmaker.
Title: The game of see saw, or, Amusement for John Bull [graphic].
Publication: [London] : Pubd. March 1809 by Walker, No. 7 Cornhill, [March 1809]
“Lord Cornwallis holds a levee in Government House, Calcutta, in a large room divided by a panelled partition which stretches across the design from left to right and is broken by three wide doorways, showing an inner room, crowded with guests, with three large windows between which are pier-glasses in ornate frames. In the spaces between the doorways are four candle-sconces placed above four of Thomas Daniell’s ‘Views of Calcutta’, either the originals or (more probably) the aquatints. [Published by him at Calcutta 1786-8, reproduced in W. Corfield’s ‘Calcutta Faces and Places’. Cf. also ‘Memoirs of William Hickey’, iii. 327, 342.] In the nearer portion of the room the figures are dispersed; Cornwallis stands in the inner room on the right, his right hand on his breast, left in his breeches pocket. He is talking to Cudbert Thornhill, a grotesque-looking civilian who faces him in profile to the right. Behind Thornhill, waiting to approach Cornwallis, is King Collins wearing regimentals. Behind this group is a crowd of unidentified guests. The figures in the foreground (left to right) are: Lt.-Col. Alexander Ross, secretary to Cornwallis, who is talking to Colonel John Fullarton, senior officer at the Presidency (‘East India Kalendar’, 1791, p. 14). Next, a stout civilian, with legs thick to deformity, holds both hands of a very slim and foppish civilian; they are John Haldane and Claud Benizett, [Identified by Wright and Evans as John Wilton.] Sub-Treasurer. The centre figures are a very stout colonel talking to a thin and grotesque civilian holding a long cane; both wear spectacles. They are Colonel Auchmuty and William Pye, Collector of the Twenty-four Pergunnahs. A grotesquely ugly little civilian, standing alone in profile to the left, taking snuff, is W. C. Blaquiere. [Identified by Wright and Evans] On the extreme right an obese man and a cadaverously thin man, both civilians, take each other’s hands in an affected manner; they are Robert MacFarlane, Clerk of the Market, and John Miller, Deputy of Police. From MacFarlane’s pocket hangs a long paper: ‘Price Current Calcutta Market Grain Rice Bran Paddy Agent’. Behind Pye stands the Rev. Thomas Blanshard, a very stout man in profile to the left with his hands behind his back. Behind him a civilian grasps the hands of a Greek priest wearing robes and a high hat. They are Edward Tiretta of the Bazaar and Father Parthanio. …”–British Museum online catalogue.
“Lady Conyngham stands directed to the left, feet apart, dressed as in British Museum satires no. 15720; she amusingly combines the ultra-feminine with masculine attributes and stance. She is immensely fat and wide with small cherubic features and curls; under her left arm is a cocked blunderbuss. She wears a wide-brimmed hat, a neckcloth fastened with a jewelled crown, a coach-guard’s greatcoat, wide open over her tight-waisted dress. A pouch hangs from her shoulder and two coach-horns from her left arm. Above her head: ‘I says to our Governor says I–keep your eye on them ere Leaders George’; i.e. on Lyndhurst and Scarlett, see British Museum satires nos. 15720, 15850. Cf. British Museum satires no. 15716.”–British Museum online catalogue.
“A number of men seated round a circular table over the wine manifesting sleepiness or exhaustion in different ways, while an officer in regimentals harangues them on some campaign. He sits over the table, in profile to the right, gesticulating with outstretched arms over a plan drawn on the table-cloth. Two overturned wine-glasses lie in front of him, two empty bottles stand on the table. On the farther side of the table a man stands up, stretching and yawning violently. His neighbour on his right also yawns; the man on his left supports his head on his hands, scowling at the speaker through half-closed eyes. Next him (right) a man in profile to the left holding a wine-glass yawns widely. Two others in profile to the right are asleep in attitudes of extreme weariness. A very fat man, sitting on the left. I turned away from the table, with outstretched legs in top-boots, yawns violently. From the right enters a servant with tousled hair, wearing a striped jersey; he is bringing in a boot-jack and pair of slippers, he too is yawning violently. In the foreground are two dogs.”–British Museum online catalogue.
Title: A long story [graphic] / H. Bunbury Esqr. invt.
Publication: [London] : [publisher not identified], [ca. 1802?]
“Wetherell (left), an invalid in dressing-gown and night-cap, reclines in an arm-chair, exhausted but laughing. Facing him stands Eldon in deep dejection, saying, with both hands raised, ‘Poor Boroughbridge! how is it with you?’ Cumberland, on the extreme right, stands behind Eldon, covering his face with his handkerchief; he says: ‘Facetious to the last!–It is quite affecting!’ Horace Twiss leans on the back of Wetherell’s chair; Chandos, dressed as a woman, stoops over the patient; both are smiling. Wetherell: ‘All over my friends! just in time to hear my “last speech and dying words”! But dont look so grave about it, I assure you we treat the matter in our house as if it was an excellent joke–to be sent out of the world with a dose of Russell’s purge”! is so droll; & then, we are to have such a merry funeral’. On a commode is a bottle labelled ‘Russell’s purge’. Peel, smiling, and Goulburn, holding a handkerchief to his face and leaning on Peel, watch from the background.”–British Museum online catalogue.
Creator: Doyle, John, 1797-1868, lithographer.
Title: The last of the Boroughbridges [graphic] / HB [monogram].
Publication: London : Published by Thos. McLean, 26 Haymarket, March 7th, 1831.
Manufacture: [London] : Printed by C. Motte, 25 Leicester Sqre.
“Hudibras is sprawled on the ground with Trulla, a large country-woman, astride him fending off angry villagers, including a cobbler and a butcher, wielding clubs; to left, Ralpho is held by a man with a rope and another with a sword”– British Museun online catalogue.
“A handsome young man sells pot-plants to a pretty young woman who stands on a door-step (left); a little girl beside her points eagerly to the flowers. He has a two-wheeled cart drawn by an ass; in it are small shrubs in large pots; two pots of flowering plants are on the ground. The background is formed by part of a palatial house having a portico raised on an arcade.”–British Museum online catalogue.
Printmaker: Merke, Henri, printmaker.
Title: All a growing, a growing, heres flowers for your gardens [graphic] / Rowlandson delin. ; Merke sculp.
Publication: London : Pub. Mar. 1, 1799, at R. Ackermann’s, 101 Strand, [1 March 1799]
“A satirical emblematic design; at centre, ‘The Rock of the True Old English Constitution’, on which sits a small figure of John Bull on a chair, holding a tankard and a pipe, saying, ‘Wellhere I am I John Bull – thrown rather in the back ground this is the blessed effect of parties their pockets are full, and mine are empty. – however – Grievings a Folly so let us be be [sic] jolly – My Service to you.’ To left stands a large grinning figure, ‘Opposition Man’, his hands in his pockets, with papers lettered ‘Jobbing’, ‘Corruption’, and with sums of money; at right stands a similar figure, ‘Ministerial Man’, also grinning and with hands in his pockets, one of which is lettered ‘The Cash The Cash’. With feet on the shoulders of the latter and above Bull is a spreadeagled, large grinning figure, saying ‘No Party Man’, whose pocket is inscribed ‘a little more money if you please’; on his head is balanced a cushion-like object lettered ‘Promises’, which supports the banner, ‘Reform’; on top of this is a similing head wearing a ruff, fool’s cap and ass’s ears.”–British Museum online catalogue.
A satire on the puritanical message of strictly observing the Sabbath. A puritan stands on a barrel marked ‘St. Andrew’, his arms held out making a cross. He cries: ‘Clear the Streets of all Evil doers – Remember ye keep Severely Strict the Sabbath day…’ Surrounding him, portly puritans carrying clubs attack people going about their Sunday business.
Printmaker: Grant, C. J. (Charles Jameson), active 1830-1852, printmaker.
Title: Protecting the Sabbath!!!, or, Coersion for England [graphic].
A macabre caricature divided into two compartments, The Dandy and The Dangle. On the left, a strutting dandy ties his neckcloth in front of a mirror saying: ‘I declare these large Neckcloths are monstrously handy, They [serve] for a shirt too and make one a Dandy.’ The right hand image is of a dandy, head covered in a cloth, dangling from a wooden beam with a tie around his neck. Behind him is a town square and in the foreground, a crowd looks on. The image is accompanied by the text: ‘When a man comes to this there’s little to hope, His neat Dandy Neckcloth is changed for a Rope’.
Title: Fashionable ties, or, Modern neckcloths [graphic].
Publication: [London?] : [publisher not identified], [ca. 1810]