Ferdinand VII, seated on a throne on a low platform inscribed “TIRANIA”, is flanked by two advisers, the Devil on the left and a friar on the right. At the friar’s feet, in the foreground, a demon burns newspapers with a firebrand. Tortures of the Inquisition are seen in the background.
A group portrait of various doctors and quacks, including Mrs Mapp, Dr. Joshua Ward and John Taylor. A version of the print also published with lettering “The company of undertakers”. The three named quacks occupy the top, twelve other ‘doctors’ are situated in the lower half; most of them have gold canes held up to their noses, one is dipping his finger into a urinal while another holds it.
Title: Consultation of physicians [graphic] / Wm. Hogarth invt.
Publication: [London] : Printed for Bowles & Carver, No. 69 in St. Pauls Church Yard, London, [ca. 1817]
Engraving of William Hogarth’s 1748 painting ‘O the Roast Beef of Old England’ (London, Tate Britain), which he had himself published as a print. The scene is set at the Gate of Calais (after the painting in the Tate Gallery) with a fat monk prodding a large sirloin of beef carried by a cook, on either side are two French soldiers, one of whom spills his bowl of thin soup as he gazes in amazement at the beef; on the left, three market women with crosses hanging from their necks admire a skate in a basket of fish; on the right, two ragged men carry a large pot of soup while another drinks from a bowl, and a Scottish soldier cowers beneath an archway; in the middle distance, to left, Hogarth himself is seen sketching at the moment when a soldier’s hand takes him by the shoulder; beyond, through the gate, is a religious procession.
Title: O’ the roast beef of old England &c. [graphic] / painted by W. Hogarth.
Publication: London : Printed for Robt. Sayer, No. 53 Fleet Street, [not before 1766]
“A satire on the rebuilding of Drury Lane Theatre. Whitbread, Chairman of the Committee, bestrides a barrel, the head inscribed ‘The Butt M, T’ [empty]. He has long ass’s ears and points to a table beside him on the extreme right where there is a model of a theatre with a pillared portico and pediment. This rests on a paper inscribed ‘Whitbread Copeland Holland Rolls &ca clear gains 450000!!!!!’ Next Whitbread a man sits behind a similar table littered with plans all inscribed ‘Plan of Drury Lane’. He also has ass’s ears, to which a second pair has been added in water-colour. He looks through an eye-glass, resting his right elbow on an anchor, while he holds at arm’s length the model of a theatre whose portico is flanked by two large sphinxes. A carved sun, like the emblem of the Sun Fire-Office, decorates his chair; on the right is a broad post or terminal pillar supporting a man’s head, also with ass’s ears. This rests on a volume inscribed ‘Commons’, and on its face in large letters are the words ‘Ex Nihilo Nihil Fil’; from its upper edge a signpost arm projects to the right inscribed ‘To Coventry’, showing that he is Peter Moore. Behind Whitbread (left) and partly screened by a heavy curtain is a table supporting a third model of a theatre, also with a portico. Whitbread, frowning slightly, says: “These Resolutions once carried good bye Friend Sherry Old Claimants and new Subscribers (aside) Hem! I think I have bullied the Committe [sic] properly.” His neighbour (? Lord Holland) who smiles, has a round good-humoured face; he says: “La! Mr Chairman I think my Sphynxes look Monstrous Pretty.””–British Museum online catalogue.
Printmaker: Williams, Charles, active 1797-1830, printmaker.
Title: Committee of Taste, or, The punishment of a modern Midas [graphic] : dedicated (without permission) to the subscribers to the New Theatre Drury Lane.
Publication: [London] : [publisher not identified], [1812?]
A writing sheet illustrated with scenes from Thomas Dibdin’s pantomime, first performed at the Theatre Royal, Drury Lane, on Boxing Day 1806, a few months before this sheet was issued. There were at least twelve different scenes in Dibdin’s work, from which nine were chosen to illustrate the borders of the sheet. Another illustration at the foot of the sheet shows a carriage and a wagon followed by soldiers on horseback on a bridge over a river.
Title: Harlequin and Mother Goose, or, The golden egg [graphic].
Publication: [London] : Publish’d March 25, 1807, by Laurie & Whittle, 53 Fleet Street, London, [25 March 1807]
“A fat bottle-nosed parson preaches from the upper story of a three-decker pulpit. Below him a lean curate sleeps, spectacles on forehead. A lank-haired rubicund clerk listens alertly. At the base of the design are the heads of a congregation, asleep, except for a flirting couple.”–British Museum online catalogue.
An engraved writing sheet illustrated with seven scenes from Gay’s Fables, each with rhyming couplet below. At head, and the largest scene, is ‘The Shepherd and the Philosopher’; six smaller scenes form the right and left borders below. A garlanded motif, designed to carry a hand-inserted date-line, is at the foot.
Title: Gay’s Fables [graphic].
Publication: London : Published by Robt. Sayer, map, chart & printseller, No. 53 Fleet Street, as the act directs, Novr. 17th, 1787.
On the left, Charles Fox, dressed as an Oriental prince, lies on the ground having fallen off an elephant who has the face of Lord North; Fox’s dice and dice box are scattered on the pavement. In the speech bubble above his head: “Perdition, take thee for the chanse is thing.” To his right, William Pitt sits astride the elephant who stands at the entrance to the East India House, his face turned toward the viewer. Pitt offers in his left hand a “New India Bill” and holds three others under his arm and in his pocket: “Stamp […] act”, “Sup … lies”, and “Military Act …”. The building on the left has been extended to as far as Pitt’s back.
Title: Carlo Khan dethron’d, or, Billy’s triumph [graphic].
Edition: [State with elephant’s face turned towards viewer].
Publication: [London] : Publish’d as the act directs March 24th, 1784, by S. Fores, No. 3 Piccadilly, [24 March 1784]
A view of the interior of a riding-school: A number of men riding round in a circle; those in the foreground ride from right to left, those in the background from left to right. The riding-master stands in the centre, pointing with hand and cane, and grinning at a short fat man in a clerical wig who is running across the room, alarmed at the horses. A short obese man in back-view on the extreme right, who is about to mount his horse has been identified as Captain Grose. Next him is a man with a grotesque impression of alarm riding a plunging horse. Among the riders are two with clerical wigs. One horse is galloping, out of control, the others are quietly ambling round. Two sides of a high rectangular room or hall are visible; in each wall are two high arch-topped windows.
Printmaker: Bretherton, James, approximately 1730-1806, printmaker.
Title: A riding-house [graphic] / Mr. Bunbury del. ; Js. Bretherton f.
Publication: [London] : Published by Js. Bretherton, 15 Feby. 1780.