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1779


 

Note: Prints from John Bowles' printshop inscribed to "No. 13 Cornhill" can be dated no later than the year of his death, 1779.


Courtesy of the Print Collection, New York Public Library

Down with your DUST. No CURE, No MONEY

F. Maggioto pinxt. W. Humphrey fecit

Printed for John Bowles at No. 13 in Cornhill

A man sits back on a makeshift stage set up on two saw horses, one leg over the short ladder from the ground to the stage. The doctor reaches from behind and looks at his teeth, holding his mouth open with a tongue suppressor or medical instrument. The man reaches up and seizes the doctor's arm and looks up as if imploring the doctor. The scene is a medicine show and the doctor a touring quack as shown by the monkey, right, who sits on a chair and plays with the man's hat and a banner that reads:"Fama Volat/ Walden Van Clausbank/ High German Doctor/ and Wonder Working/ Dentist." To the left on a high table stands a row of beakers and jars and a small chest with vials. The figures are much more skillfully drawn and the modelling more refined than the several other satires on dentistry. The inscription attributes the image to Francesco Maggiotto (1750 -1805), a Venetian artist whose works included such genre paintings.

32 x 24.7 cm.
New York Public Library (MEZYRK Anon und. 5)


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

The Dutch Merchant

Printed for John Bowles_____at No. 13_____in Cornhill

An elderly woman stands in her shop talking to a young boy who points to his selection in a tub of fish. Onion and carrots lie on the counter before her, a basket of eggs hangs behind her, and hams and a braid of garlics are suspended from the ceiling.

33 x 25 cm.
Lewis Walpole Library (959.10.1.52)


Courtesy of the Print Collection, New York Public Library

The Monk. SURPRIZ'D

Naughel Pinxt. Houston Fecit

Printed for John Bowles_____at No. 13_____in Cornhill

The mother delivers her lovely young daughter to a monk for religious instruction. The monk and setting resemble earlier renderings of St. Jerome in the wilderness; the monk is thin and bearded, the landscape craggy and desolate. The monk's cell is crafted from a cave in a high cliff and the altar at which he kneels a crudely cut block of stone, his cross two bound sticks. He is roused from his meditations by the mother's appeal. The verse explains the extent of his amazement:

The Pious Mother seeks the Hermits Aid,
And to his Prayers commends the Lovely Maid.//
Struck by her Charms, the Monk forgets his Vow,
And needs Himself the Grace he should bestow.

32 x 24.7 cm.
New York Public Library (
MEZYRK Anon und.6)


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

The PEASE-SOUP EATER. Or PAIN and LAUGHTER

Picart delint. Dixon fecit.

Printed for John Bowles, at No. 13 in Cornhill, London.

The father (l.) gapes from the pain of hot pea soup as he holds the spoon in his right hand and a bowl in the other. Mother (r.), greatly amused, looks out and points to him with a broad smile. The baby boy in her hands screams as a cat scratches his leg, and the mother's bowl overturns on the table. The verse cautions:

While transient pain , and silly joy
Engross the Parents trifling Mind,//
The Safety of their helpless Boy
With every care is cast behind.

Lewis Walpole Library (764.o.24)


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

A SCENE at VAUXHALL STAIRS

London. Printed for R. Sayer and J. Bennett, Map & Printsellers, No. 53 Fleet Street, as the Act directs 1 Jany 1779.

A crew of amused watermen help a genteel couple disembark from a small boat. They are dressed for Vauxhall, she with a huge hat which may add to their instability. One waterman holds the bow, a second wades to his waist to keep her from toppling into the water. On this the portside she is already up to her ankle, her gown hoisted by the gunwale to her thigh. On the starboard side, a gentleman on shore struggles to keep hold of her hand. Behind her, a gentleman with a terrified look on his moonface is losing his enormous wig, and to recover his balance has thrown his arm and hand holding a walking stick across her shoulder. They both look about to topple into the water. In the stern a boy with a steering oar smiles broadly. Five other persons look on from stairs and windows of nearby buildings.

32 x 24.8 cm.
Lewis Walpole Library (779.1.1.2)


Courtesy of the Print Collection, New York Public Library

The UNGUARDED MINUTE

London. Published Jany 23, 1779 by J. Harris No. 3 Sweetings Alley, Cornhill

A young lady of fashion in her high hair-do and large side-curls has fallen asleep on a canoped bed or couch while reading. The open volume lies on the small table beside her. Her jacket falls away to reveal her breast and her hand rests suggestively in her lap. A gentlemen sneaks into the room, his torso slightly bent with his hands raised face-level as if to seize her. The verse below explains the situation:

Divine Corinna in whose Face,
Smiles every Charm & every Grace,//
He saw the Fair, he ran, he flew,
And round her Neck his Arms he threw.

32.5 x 25 cm.
New York Public Library (Satyr p.199)


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

MISS TIPAPIN GOING FOR ALL NINE

397
From the Original Picture by John Collett in the possession of Carington Bowles. Printed for & Sold by Carington Bowles, at his Map & Print Warehouse, No. 69 in St. Pauls Church Yard, London. Publish'd as the Act directs (erased)

Four young ladies in pleated gowns and hats bowl outside a country inn, one just releasing the ball at a set of ninepins. At the other end of the alley, a little girl is ready to set up more pins. Two young ladies stand together on the left beyond the bowler, one offering the other a bowl of snacks. In the center background, another lady leans over a table with wine bottle and glass and blows the foam off a large cannister of beer she holds in her hands. A spaniel watches the bowling from beneath the table. On a large tree in the background, a tally board, halved by a chalk line, shows the marks of two teams. A ball, a tipped pin, and a clay pipe with broken stem lie in the foreground. Surviving impressions includes the date "2 Feb 1779."

33x 25 cm.
Yale Center for British Art (no date, B1970.3.773)
13.7 x
11 cm.
Lewis Walpole Library (numbered 290, no date, 778.1.1.5)


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

WHO GAINS THE POINT

London Printed for R. Sayer & J. Bennett, Map & Printsellers, No. 53 Fleet, as the Act directs 1st May 1779

A middle-aged gentleman (l.) offers three coins to the procuress who stands between a pretty young woman (r.) and him. The older woman's face reflects displeasure with what the gentleman has offered so far. The girl looks demure with her small hat and fan. The poem suggests that she plays the maid to raise the price.

The sordid wretch will purchase make
With Five where Maidenhead's at stake
Old Mother Cole with frowns disclaim
Whilst young Mock Virtue has her Aim
Miss private jogs to stand him out
His frailty would give way no doubt
But how it ends we'll draw the Veil
And judge that Nature would prevall.

32.1 x 24.9 cm. (Also, a miniature, untitled version, with verse inscribed "London. Printed for R. Sayer & J. Bennettt, No. 53 Fleet Street, as the Act directs May 1, 1779)
Lewis Walpole Library (title and verse only, 779.5.1.3)


Courtesy of the Print Collection, Library of Congress

An English JACK-TAR giving MONSIEUR a Drubbing

Publish'd May 1st 1779

A sailor clasps a Frenchman by the collar and beats him with his walking stick as a grinning ship's boy stands by and points to the battle. The Frenchman has raised his hands, almost as if in prayer, to ward off another blow. His hat has already been knocked off and lies near a broken sword on the cobblestones near his feet. He cries out in distress, his wig dishevelled. In the right foreground, a small English terrier bites at the belly of an upturned poodle. The fight takes place in front of a Portsmouth pub whose facade takes up the left half of the background. The right looks back to the docks where the HMS Victory is moored. From its quarterdeck, two officers watch, their arms crossed. Out the pub window a barmaid hoists a tankard to toast the victor. A fashionably dressed couple stands in the pub door to the far right; he points a finger directing her attention toward the ship. The pub sign reads "Admiral Keppel," with the brews listed over the door:"Keppel's Cordial. Harland's Intire."

The print appeared anonymously with only its publication date, an unusual practice likely accounted for by the subject's political sensitivity. The print sides with Keppel in his contest with Admiral Sir Hugh Palliser following the inconclusive battle off Ushant in August 1778. Palliser, a government supporter, had charged Keppel, an opposition leader in Parliament, with having failed to pursue the French aggressively, prompting a court martial from which Keppel was acquitted with commendation. Keppel had in turn charged Palliser with failure to obey his order, transmitted by signal flags, to lend support. Palliser was also acquitted, but in his case without comment. Though the son of a peer, Keppel had been championed by ordinary seaman and commoners who viewed his acquittal as a victory.

Some nine years later, Robert Sayer reissued the image, now inscribed "Published Novr 11th 1788, by Robt Sayer in Fleet Street, London." The sign over the door, commemorating Keppel and his second-in-command, Harland, was revised to read "Rodney's Cordial. Hood's Intire." in honor of the British victory at Saintes in 1782. The 1779 impression is published in English Caricature 1620 to the Present, Victoria and Albert Museum, p. 66. The1788 impression is reproduced in C.N. Robinson's The British Tar in Fact and Fiction, facing p. 66.

34.9 x 25 cm.
Library of Congress (PC3+1779), Colonial Williamsburg Foundation


© 2001 Art Gallery of Ontario, Toronto

MISS too much for him, or JOHN not master of SIXTEEN STONE

John Collet Pinxit.

London. Printed for R. Sayer & J. Bennett, Map & Printsellers, No. 53, Fleet Street; as the Act directs, 27th May, 1779.

A footman, helping a plump young lady down from her dappled mount, buckles under her weight. She is full-face forward wearing a feathered hat, he in profile with a horrified look on his face. His cocked hat lies beside him. As she tumbles forward, she seizes his queue, which, as he collapses backwards, is also grabbed by a spaniel. In the Art Gallery of Ontario impression, the broadside pasted on the stone wall beside her reads "Wanted an able-bodied Man." The scene through an arch is an inn courtyard, two horses, hers with side-saddle and ornamented harness, trees and clouds visible over the courtyard wall. The sign identifies the inn as the St. George, with a knight on horseback trampling a dragon, on its back and pinioned by the knight's lance, a position about to be echoed by the pinned footman. A related mezzotint image by John Collett is The Favourite Footman, or Miss Well Mounted, printed by Sayer and Bennett, April 6, 1778, impressions at the New York Public Library and Lewis Walpole Library.

31.8 x 25.3 cm.
Art Gallery of Ontario, Toronto; Huntington Library (BMX 1779 Pr.Box211.7/32)


Courtesy of the Print Collection, Library of Congress

Sir JOHN BARLEY CORN'S Arm Supporters

London, Printed for R. Sayer and J. Bennett, Map & Printsellers No 53 Fleet Street, as the Act directs 17th Augt 1779

A large man in coat, apron, and buckled shoes, his pot belly stretching a stripped vest, stands between two smaller men on pedestals. One is a mason pointing his trowel toward the large man's belly as he holds a wine bottle by its neck with his other hand. His counterpart, holding a cannister, is thin and dressed in tattered clothes, a tailor as indicated by his scissors and tapes around his neck. The sign over the pub door behind advertises "Peter Swilltub, Dealer in Foreign Spiritous Liquors." A hanging sign with two heads identifies the pub as "The Politicians." The pedestal under the mason is inscribed, "Pass the Walls of a Drunkard and you see them in Ruins," and that under the tailor reads, "A Remnant of all should be saved." The verse subtext is:

Ask why this Vintner thrives who doth beknave all!
Look in his bosom there you see his save all.
Whole butts have pour'd libations to that paunch
Whole hecatombs have fall'n to plump each haunch.
On either hand behold a true supporter//
One grasps his gin the other grasps his porter
Regardless of his Childrens cries for bread
The mason pulls an old house on his head,
Nine taylors make a man but here you see
A taylor's remnant in epitome.

32.8 x 25 cm.
Library of Congress (PC3+1779)


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