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1773


Courtesy of the Print Collection, Lewis Walpole Library, Yale University

THE CRIBBAGE PLAYERS

Pub Jany 4th 1773 by W. Humphrey St. Martins Lane

Two men sit across from each other at a table with a woman between them at the table's end, looking on as they play cribbage. The figure on the right may be a gamester since he seems to have the most coin and cards on the table beside him. He is showing the two of clubs and moving a peg as the second man looks on in dismay. He appears to have little left with which to play, only a couple cards and one coin. Both men wear wigs with prominent curls and queues, the gamester's appearing slightly askew. He also has a large nose and is missing a few teeth. The woman is pretty, wears a cloak and a tall, ribboned, and pleated hat. On the wall behind them is a bookshelf with several volumes and an inkwell. The small oval painting on right is of a mother holding a small child.

32.3 x 25 cm.
Lewis Walpole Library (773.1.4.1)


Courtesy of the Print Collection, Lewis Walpole Library, Yale University

THE FEMALE FLORISTS

London. Printed for Robt. Sayer No. 53 Fleet Street, Publish'd as the Act directs 10 Jany 1773.

As she stands by a tall vase with rosebush, a young girl, around nine years old, takes the stem with a blossom between her fingers. A few pedals fall as she turns to her mother who caresses her under her chin. The girl's left hand rests on her mother's left hand as she reaches toward her daughter. Both figures are richly dressed with gowns elaborately decorated with bows. The mother wears a jacket with pleated trim, and both wear pearl necklaces, off-set in the girl's case by a string of pearls woven into her curls. A heavy curtain forms the backdrop; a table is partially covered by a thick velvet cloth on which is set a silver tureen and other ware.

32.5 x 24.7 cm.
Lewis Walpole Library (colour, 773.1.10.1) Metropolitan Museum (colour)


Courtesy of the Print Collection, New York Public Library

The BREAD and BUTTER MANUFACTORY, or the HUMORS of BAGNIGGE WELLS

Printed of Carington Bowles in St. Paul's Church Yard London. Publish'd as the Act directs 15 Jan 1773

The scene is the long room at Bagnigge Wells with a crowd of tea-drinkers all fashionably dressed. A central figure is an elegant woman promenading on the arm of one beau while with her left hand as she gestures toward another who bows with hat in hand. A serving-boy enters from the left with a kettle in one hand and tea tray in the other. The mezzotint is similar to one catalogued by George as Bagnigge Wells (BM 5090). published six months earlier (15 June 1772) by J.R. Smith. This print is a reduced impression of the earlier print with the left quarter cropped so that seven figures--six men with a variety of queue styles and one woman--are removed. The effect is to increase both the focus on the coquette and the two beaux who attend her and the proportion of women to men so that their towering wigs and hats appear to dominate the scattered male figures. The two chandeliers of Bagnigge Wells have been reduced to one, with the large chandelier that points up the central figure removed.

Cat: D'Oench, p. 190

23.5 x 35.5 cm.
New York Public Library (MEZYRK BM5090A)


Courtesy of the Print Collection, Library of Congress

THE ABUSIVE FRUITWOMAN

Pubd 25th Feby 1773 by J.R. Smith No 4 Exeter Court near Exeter Change Strand

A elderly fruitwoman (r.) stands hands-on-hips behind her table, chiding a fashionably dressed, attractive young woman (l.), who looks back at her abuser as she turns to walk away. The fruitwoman is jowly and large nosed with staring eyes and a jeering smile. The table bears two baskets of plums and peaches with other plums scattered on its surface. In the background near the far end of the table, a small boy points to his nose to mock the old woman and reaches to steal some fruit while she is distracted.

32.5 x 24.9 cm.
Library of Congres
s (PC3+1773)


Courtesy of the Print Collection, Lewis Walpole Library, Yale University

THE UNLUCKY BOY

Heny Morland Invent et Pinxt London.

Printed for Robt. Sayer, Map & Printseller, No. 53 Fleet Street, as the Act directs 25 Febr 1773.

A smirking boy, left, reaches a tuft of horsehair to tickle the nose of a sleeping girl. The candlestick on the table between them illuminates both their faces. Sayer had printed a larger (35.5 x 46.5 cm.) mezzotint of this Morland painting six months earlier, September 1, 1772, impression at the Huntington Library. This reduction to the size more common for a droll mezzotint seems designed to profit by the market for these cheaper prints.

32.3 x 24.9 cm.
Lewis Walpole Library(colour,773.2.25.1), Yale Center for British Art (B1977.14.12027)


© The Metropolitan Museum of Art

CHARITY BEGINS AT HOME

A portly, well-fed clergyman waves off an emaciated woman who begs alms from him. She, dressed in rags, carries a sickly looking child on her back and a cane. With his huge head he turns to chide her as he steps by. Inscribed impressions read: "Pubd March 20th 1773 by W. Humphrey opposite Cecil Court, St. Martins Lane."

32 x 24.6 cm.
Metropolitan Museum (colour, title only, 52.585.72)


 

THE HAPPY FAMILY

Greuze Pinxt.

417
Publish'd as the Act directs 5 April 1773. London, Printed for Robt Sayer No. 53 in Fleet Street

The father, an older man, (r.) sits at a large table reading from a thick book, perhaps a Bible. Another man stands behind his chair and around the table, right to left are a boy, a tall man standing, and two women with a small child between them, all of whom appear to be listening intently. To the far left, a servant woman bends down to distract a small boy who reaches back toward a crouching spaniel.

25.2 x 35.3 cm.
Colonial Williamsbur
g Foundation (1968-441)


Courtesy of the Print Collection, Library of Congress

The FAIR PENITENT, or the LOVER's MIND DISCLOS'D

Printed for Carington Bowles, at his Map & Print Warehouse in St. Pauls Church Yard London. Published as the Act directs April 5th 1773

The scene is a gentlewoman's chamber with a canopied bed in the background. A gentleman on one knee before a lady raises his hands to her as if imploring her or reaching to embrace her. She is seated at her dressing table with her right hand raised and open toward him for restraint. Her left elbow on the table for support, she holds her hand to her forehead. Her expression is anguished as she rejects him. His sword and cocked hat lie on the floor in the foreground. A mirror, perfume bottle, powder puff, and small cosmetic boxes sit upon her drapery-trimmed vanity. This may be a scene from Nicholas Rowe's The Fair Penitent (1703), one of the most frequently performed tragedies on the eighteenth-century stage. It is probably the exchange between Lothario and Calista early in Act IV, though if so eighteenth-century staging has moved a garden scene indoors. In this last interview with Lothario, Calista rejects the pleas of the man she loves, though also the one whom she would "curse as my undoer."

35.3 x 25 cm.
Library of Congres
s (PC3+1773)


Courtesy of the Print Collection, Library of Congress

MACARONI Valour display'd, or the Drunken Hero pillag'd

Pub. May 5, 1773 by W. Humphrey Near Cecil Court, St. Martins Lane

A foppish beau stands center foreground with his arms spread to either swing his clenched fist or to resist the thief (r.), who is pulling off his coat from behind. Another thief (l.) turns away and tucks the gentleman's sword away in his overcoat. The empty scabbard dangles at the fop's side. To the far right, behind the man who pulls at the coat stands a woman, who may either the victim's companion or the bait to lead him into a trap. The setting is a street corner with a lamp protruding above from a stone wall.

35.3 x 25 cm.
Library of Congress (PC3+173)


Courtesy of the Print Collection, Lewis Walpole Library, Yale University

RURAL HAPPINESS, HEALTH, FELICITY and CONTENTMENT

Printed for Carington Bowles in St. Pauls Church Yard. Publish'd as the Act directs 29 May 1773

A father in profile returns the fond gaze of his wife who sits with an infant in her lap. Two boys stand (r.), the taller carries a stick and the smaller holds a bird that the infant, turning away from the mother's bared breast, reaches to grasp.

32.5 x 24.8 cm.
Lewis Walpole Library (colour, 773.5.29.2)


Courtesy of the Print Collection, Library of Congress

The ENRAGED MACARONI

Phil Dawe invt. et fecit.

Published July 13th 1773 Printed for John Bowles, at No. 13 in Cornhill.

A fashionably dressed beau in cocked hat, curled wig, and a queue over a yard long begins to draw his sword on an abusive marketwoman who sticks a dried cod in his face. While her attention is diverted, a dog grabs a small flounder from her fishbasket. The flap takes place in front of a pub, marked by signs for WINES and HOLLANDS GIN. From out the pub window, another woman with a gleeful expression grabs the macaroni's queue and hacks at it with a knife. The print is inscribed:

The Billingsgate with rude and cutting Jokes
The Macaroni to fierce Rage provokes;//
Who threatens Blood and Wounds with glaring eyes;
But she with vip'rous Tongue his Rage defies.

32.5 x 24.8 cm.
Huntington Library (BMX 1773 Pr.Box 211.11/1), Library of Congress (PC3+1773), Lewis Walpole Library (773.7.13.1.2), New York Public Library (MEZYRK)

The Library of Congress also holds an untitled print of The Enraged Macaroni, same size, that bears the hand-written inscription: "The Fish-nymph here, the Macaroni there,/ She with a Fish, he Sword, for Fight prepare./ But while each other fiercely they assail,/ She loses Fish, and he his Peruke Tail," and another smaller version without verse, entitled The Trimphant Billingsgates.

24.7 x 13.8 cm.
Library of Congres
s


Courtesy of the Print Collection, Library of Congress

 

The Grinning MATCH, a humourous SCENE at a Country FAIR

Publish'd Sept 5 1773 by W. Humphreys St. Martins Lane

The scene depicts a popular country sport, the grinning match, in which two or more persons compete with their heads thrust through a horse-collar. Here the contestant stands, grinning superciliously, on a chair in the yard before a country inn under a large tree. From a lower limb hangs a cocked hat. A crowd has gathered round, at least nine persons. To the far right a fat man in a flat felt hat and cloak stands with his hands raised shoulder-high as if he has just handed the horse-collar to the grinner. A small child hangs on his coat. A tall woman holding a baby (l.) stands in the foreground, while near the base of the tree, a man in cocked hat with a walking stick has one foot on the chair to steady it. Behind him a portly figure, also in a cocked hat, wig, and what may be a cleric's garb, rests one hand on the squire's shoulder and points at the contestant.

35 x 25.2 cm.
Library of Congress (PC3+1773)


Courtesy of the Print Collection, Yale Center for British Art, Yale University

LADY TIME PRESENT & LADY TIME PAST

Pub'd Octr 11th 1773 by Francis Adams

In an elaborately ornamented room--both carpet and wallpaper bear ornate patterns--two fashionable gentlewomen face each other. The more modest of the two, Lady Time Past wears a ruffled collar and long ribbons that trail from her cap. Lady Time Present wears a massive hairdo, a flowered broach, a more layered gown, and carries a lap dog and fan. The subtext reads: "The Wits of Fine Ladies are ne'er at a Fault/ If they lose it in meal they get it in malt."

30.8 x 23.8 cm.
Yale Center for British Art (B1970.3.819)


Courtesy of the Print Collection, New York Public Library

HEYDAY! Is this my DAUGHTER ANNE!

F.E. Adams invt. et fecit

Publish'd Decr. 6 1773 by John Bowles No. 13 in Cornhill

A country woman meeting her daughter, now transformed by city fashions, and staring at her tall headdress previews a joke that generated several images in 1774. For the frequency of related images in the following year, see the notes to What is this my Son Tom (1774).

This early impression, drawn and engraved by Francis Edward Adams, may be the original of the joke. The accompanying verse reads:

Heyday! The country Matron in surprize,
Is this my Daughter thus bedizell'd cries.
To Town she lately went a Damsel plain:
But scarcely now is to be known again.//
That City to its Vanities has brought her,
And banish the good Housewifery I taught her.
Why, Child, you'll frighten her our honest people:
They'll say you've on your Head a London Steeple.

The BMC includes a reduced image titled Heyday! is this my Daughter Anne (BMC 4538), described by Stephens as a copy of BMC 4537, Be not amaz'd, Dear Mother--It is indeed your Daughter Anne. The BMC impression of 4538 includes an inscription to Carington Bowles, dated "14 June1771." This is doubtful since the number 299 inscribed with 4537, which 4538 purportedly copies, would locate the original in 1774, three years later. Both impressions differ in significant details from the Francis Adams Heyday! Is this my Daughter Anne!

32.9 x 25.3 cm.
New York Public Library (MEZYRK), Yale Center for British Art (B1970.3.970)
13 x 11 cm.
Lewis Walpole Library (published by Robert Wilkinson and dated "11th October 1779," 779.10.11.1)


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