“A hand projects from the upper margin, holding the ornate beam of a pair of scales against the irradiated inscription Mene mene–Tekel, &c. [cf. British Museum Satires No. 10072, &c.]. One scale (left) is filled by a large melon from which a slice has been cut, and by a paper: One Million Sterling!! The scale is inscribed The times are Rank Hamlet. This slightly outweighs the other scale which is filled by a ducal coronet and papers: Lt R. N–; Duke E[ar]l Baron; Earl of–; Hery Grd Falconer; Chany; Nell Gwynn!; Hery Regr Chancery! The scale is inscribed A Pledge of Better Times.”–British Museum online catalogue.
Printmaker: Jones, Thomas Howell, active 1823-1848, printmaker.
Title: The new banking company’s scales of equity [graphic] / Aristocracy ivent. ; Democracy fect.
Publication: London : Pubd. by S.W. Fores, 41 Piccadilly, Novr. 1825.
“Prince Leopold (right), in uniform, puts his head through a glassless aperture in a window in the door of his ‘Grecian Establish[ment]–Co[burg]’, to look intently at a fat Turk who stands in profile to the right, elaborately dressed and holding a long pipe with smoking bowl. The door, partly cut off by the right margin, is flanked by a Corinthian pillar and set in a wall on which are placards: ‘This . Shop!!! will shortly open under entire new Management–Vivant [sic] Rex’; a Union Jack poster (partly covered); the Russian eagle, and a fleur-de-lis, the two last inscribed ‘Loan’. The Turk: ‘What have you taken the Shop? well if you take my advice you will not give Your Customers too much Credit for I can tell you they are a queer set to deal with by the bye they nearly ruined me–and mind that you look sharp after your Shopmen’.”–British Museum online catalogue.
“A front elevation of a theatre-box crammed with delighted children fills the design. In the front row are a lady and four little girls. In the middle sits the father, one small boy on his knee, an arm round another child. Eight more children fill the box. Behind them a lady chooses fruit from an old woman’s basket. Two men stand behind. Over the front of the box hangs a playbill: During the Xmas Holidays–Pantomime of Harliquin–Clown by Mr G [Grimaldi].”–British Museum online catalogue.
A copy (cropped) of Hogarth’s fifth plate: Hudibras is sprawled on the ground with Trulla, a large country-woman, astride him fending off angry villagers, including a cobbler and a butcher who are wielding clubs; to the left, Ralpho is flanked by a man with a rope (mostly cropped from this image) and another who holds a sword.
Title: Hudibras vanquish’d and protected by Trulla [graphic] : P. 1. Cant: 3. l. 929.
Publication: [London] : [Robert Sayer], [between 1768 and 1794]
“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.