Antique Image of the Day: The old goat and young kid- or the Queenborough-novelist, 1798

Click on the image like a spider on a fly.

"The Old Goat and the Young Kid"
Fores, 1798
The British Museum

This satirical print dates to 1798. Entitled “The Old Goat and Young Kid—or the Queenborough-Novelist,” the print was published by S W Fores though for a long time it was attributed to F. Sansom.

We see here a peer on the front steps of his Piccadilly house. He’s leering at a busty girl through a double spy glass. The girl, a country lass, is with her yokel father who is being solicited by a bawdy older gal. She says:

"It’s very lucky I met with you my honest Man if she behaves well she shall be promoted to the service of a Duke.”

He responds, "Very lucky indeed I'se Woundily Obliged to your Ladyship. My Dame always said as how Bet was cut out for Zarvice of your great Volkes."

A delivery man looks up at the leering Duke and says, "Ah! I knew he'd dart out like an Old Spider at a Fly.”

Object of the Day, Museum Edition: Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets, 1802

Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets
April, 1802
James Gillray
This version is in the Victoria & Albert Museum.

James Gillray (1757-1815), a popular British printmaker and satirist, was, perhaps, one of the most prolific in his field during the late Eighteenth and early Nineteenth Centuries. Here, we see one of his cartoons from 1802. The image depicts English theater manager Richard Brinsley as Harlequin. He is shown leading a group of professional actors including the famed performer David Garrick (who was, at the time dead), rising from the grave. Also pictured are the actors Mrs. Billington, P. Kemble and, of course the renowned Sarah Siddons. The troupe is protesting members of the Pic Nic Society—an amateur acting group which had been performing at London’s Tottenham Street Concert Rooms. Apparently, they were in the midst of performing the then-popular show, “Tom Thumb.”

Professional actors and theatre managers at the time considered this amateur gang to be a nuisance—taking away revenue from the professionals with their extravagant and decadent displays. Sheridan was among those who launched an aggressive campaign against them. Here, his mask and pen indicate that he has been writing anonymous complaints about the group.

Gillray has cleverly composed this scene to resemble a page from Migel de Cervantes’ “Don Quixote” wherein the famed title character attacks “Master Peter’s” puppet show because he is convinced that the performance is real. In doing so, he has cast his judgment on the futile actions of Sheridan and his band of protestors. The print was published in April of 1802. The version above is in the collection at the Victoria and Albert Museum. Another is in the British Museum.

Version in the British Museum.

Print of the Day: The Coronation of King Punch, 1821

The Coronation of King Punch
Satirical Print, hand-colored
1821
The British Museum

This hand-colored satirical print was featured in a July, 1821 pamphlet. It’s entitled “The Coronation of King Punch!!” and it was made by J. Lewis Marks.

Made for the coronation of King George IV, the image shows the former Prince Regent sitting before a huge bowl of punch which rests on a three-legged stool. King George IV has one famously gouty leg resting on a cushion and he jovially holds up goblet and ladle while an Archbishop places a chamber-pot on his head. Another archbishop pours dark liquid on to George’s face, saying, “With oil and Treacle—I anoint thee,—and King of jolly dogs—appoint thee.”

As we can guess, George IV, Queen Victoria’s uncle, was not well-liked. Considered debauched and, frankly, corrupt, he inspired many unflattering drawings like this when he ascended the throne.

This image has been nicknamed, “The history of the coronation of Punch, and the humours of his wife Judy.” This refers to George IV’s wife, Queen Caroline, from whom the adulterous king was famously separated. They enjoyed a rather Punch & Judy-like relationship. He refused to recognize her as Queen, and, in fact, barred her from his coronation. And, she, was rightfully bitter about it. That day, she fell ill, and died shortly after, declaring all the while that she believed she had been poisoned by her husband’s goons. 

Antique Image of the Day: The old goat and young kid- or the Queenborough-novelist, 1798

Click on the image like a spider on a fly.

"The Old Goat and the Young Kid"
Fores, 1798
The British Museum

This satirical print dates to 1798. Entitled “The Old Goat and Young Kid—or the Queenborough-Novelist,” the print was published by S W Fores though for a long time it was attributed to F. Sansom.

We see here a peer on the front steps of his Piccadilly house. He’s leering at a busty girl through a double spy glass. The girl, a country lass, is with her yokel father who is being solicited by a bawdy older gal. She says:

"It’s very lucky I met with you my honest Man if she behaves well she shall be promoted to the service of a Duke.”

He responds, "Very lucky indeed I'se Woundily Obliged to your Ladyship. My Dame always said as how Bet was cut out for Zarvice of your great Volkes."

A delivery man looks up at the leering Duke and says, "Ah! I knew he'd dart out like an Old Spider at a Fly.”

Print of the Day: Le Canard a Trois Becs, 1871

Le Canard a Trois Becs
H. Xiat, 1871
The Victoria & Albert Museum

Published in 1871 in Paris, France, this print features a satirical caricature by the artist H. Nérac (also known as H. Xiat) which depicts a duck with three heads. Each head is labeled, in order, “Comite Central,” “Internationale,” and “Commune.” The duck is saddled with a flaming torch which is tied to his body by a red sash.

The print is from a set of caricatures, broadsheets and illustrations in ten volumes printed in France by Jailly and Co. Many of them, like this one, are hand-colored.

An inscription reads:
COMMUNEUX PAR H. NÉRAC.
LE CANARD A TROIS BECS
TABLEAU DE FAMILLE 

The basis of the joke is a visual pun wherein the word “canard” takes a double meaning. It is French for “duck,” but can also refer to a hoax. Three conflicting political figures are uncomfortably crowded onto the body of one duck. 

Print of the Day: The Three Graces; or the three Bums !!of the O!P!ra, 1810

Click image to get bummed

"Three Graces; or the Three Bums !!of the O!P!ra."
Unknown, 1810
The Beard Collection at
The Victoria & Albert Museum

To be honest, I’ve looked and looked, and can find little explanation as to the meaning of this print. Obviously, it’s a political or social commentary. It’s long associated with similar works by Isaac Cruikshank (ancestor of George) and is often included in published groupings with other satirical drawings of 1790-1810, most of them addressing spies and the foibles of the upper class and those termed macaroni.

Entitled “Three Graces; or the three Bums !!of the O!P!ra,” the etching is hand colored with watercolor and dates 15th February 1810. The publisher is listed as D.C.M. (1700-1900).

Object of the Day, Museum Edition: "A Lump of Innocence," 1809

"A Lump of Innocence"
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Really, Gentlemen, if you gaze upon me in this manner you will put me quite to the blush!"

Properly entitled, "A Lump of Innocence," this hand-colored etching by the celebrated Thomas Rowlandson (1757-1827) is dated 30 Sep 1809.  Depicting a rather amply-proportioned woman, the print shows the central figure coyly looking down as she asserts her innocence in any flirtations which might have arisen around her.  Her attire and the objects around her bely her proclamation. She wears gaudy, flashy jewellery and a golden headband,  Meanwhile, she holds a glass of brandy in her right hand as a bottle of brandy stands on the table to her right. Clearly, she has meant to attract a bit of attention.

The print is inscribed in the plate:

109 / Woodward Del. / Price One Shilling coloured / Rowlandson fe / London Pubd/ September 30th 1809 by Thos Tegg No.111 Cheapside

Print of the Day: The Plum Pudding in Danger, c. 1800

Click to enlarge.
The Plum Pudding in Danger
James Gillray
c. 1800
The Victoria & Albert Museum

Illustrated by James Gillray (1757-1815), this satirical drawing was printed around 1800. We see who I believe to be King George III and Napoleon Bonaparte seated at a dining table, carving up the earth which is portrayed as a plum pudding. The meaning is rather obvious.

The piece is really rather attractive, but, then, I like this sort of thing. It is inscribed: 

The Plumb-pudding [sic.] in danger--or--State Epicures taking un Petit Souper.

"the great Globe itself and all which it inherit" is too small to satisfy such insatiable appetites."

Object of the Day, Museum Edition: Votaries of Fashion in the Temple of Folly, 1808

Click Image to Enlarge
Votaries of Fashion in the Temple of Folly
Tegg, 1808
The British Museum

This satirical print dates to 1808 and is entitled, “Votaries of Fashion in the Temple of Folly.” The hand-colored print was made by Thomas Rowlandson after an original by George Moutard Woodward, and published in London by Thomas Tegg.

The print served as the frontispiece to The “Chesterfield Travestie; Or, School for Modern Manners. Embellished with Ten Caricatures, Engraved by Woodward from original Drawings by Rowlandson [sic] . . . 1808.”

In the composition, Folly, a woman of fashion, is enthroned beneath a canopy. She has donned a fool’s motley and holds the bauble of a jester. She’s joined by a Punchinello as a crowd forms to stare at them in the sumptuous room.

Print of the Day: State-Jugglers, 1788

"State-Jugglers"
James Gillray
The British Museum

There's SO much of late Eighteenth-Century political significance happening in this print by James Gillray, that I couldn't possibly begin to do it justice in a short post.  So, let's take a look at it from the top down.  

Teeter-tottering on a post projecting from the facade of St. James Palace (which has been adorned with the sign from the Crown Inn), we see King George III in the guise of Mr. Punch and Queen Charlotte dressed as Judy.  By this point, George was quite out of his head and the monarchy was being supported by a variety of pandering handlers who are depicted here in a pyramid of various fairgrounds activities, including fire-breathing.  Military officers, hold out there hats for donations while the common people are kept at a distance.

Below the title is inscribed:



"Who wrought such wonders as might make
"Egyptian sorcerers forsake
"Their baffled mockeries, & own
''The palm of magick our's alone.''

Churchll, 16 May 1788 Hand-coloured etching

Gratuitous Bertie Dog Picture, Special Edition: The High and Mighty

"That's a nice throne, Vickie."

Click image to enlarge.

Image:  'The High & Mighty Queen receiving an address from the Most Loyal Subjects in the World', London, 1837 to ca. 1845, Mc Lean, Thomas (publisher), Materials and Techniques: hand coloured etching, ink on paper, Credit Line: Accepted by HM Government in Lieu of Inheritance Tax and allocated to the V&A in 2010, The George Speaight Punch and Judy Archive at the Victoria & Albert Museum.

Print of the Day: The Coronation of King Punch, 1821

The Coronation of King Punch
Satirical Print, hand-colored
1821
The British Museum

This hand-colored satirical print was featured in a July, 1821 pamphlet. It’s entitled “The Coronation of King Punch!!” and it was made by J. Lewis Marks.

Made for the coronation of King George IV, the image shows the former Prince Regent sitting before a huge bowl of punch which rests on a three-legged stool. King George IV has one famously gouty leg resting on a cushion and he jovially holds up goblet and ladle while an Archbishop places a chamber-pot on his head. Another archbishop pours dark liquid on to George’s face, saying, “With oil and Treacle—I anoint thee,—and King of jolly dogs—appoint thee.”

As we can guess, George IV, Queen Victoria’s uncle, was not well-liked. Considered debauched and, frankly, corrupt, he inspired many unflattering drawings like this when he ascended the throne.

This image has been nicknamed, “The history of the coronation of Punch, and the humours of his wife Judy.” This refers to George IV’s wife, Queen Caroline, from whom the adulterous king was famously separated. They enjoyed a rather Punch & Judy-like relationship. He refused to recognize her as Queen, and, in fact, barred her from his coronation. And, she, was rightfully bitter about it. That day, she fell ill, and died shortly after, declaring all the while that she believed she had been poisoned by her husband’s goons. 

Object of the Day, Museum Edition: Le Canard a Trois Becs, 1871

Le Canard a Trois Becs
H. Xiat, 1871
The Victoria & Albert Museum

Published in 1871 in Paris, France, this print features a satirical caricature by the artist H. Nérac (also known as H. Xiat) which depicts a duck with three heads. Each head is labeled, in order, “Comite Central,” “Internationale,” and “Commune.” The duck is saddled with a flaming torch which is tied to his body by a red sash.

The print is from a set of caricatures, broadsheets and illustrations in ten volumes printed in France by Jailly and Co. Many of them, like this one, are hand-colored.

An inscription reads:

COMMUNEUX PAR H. NÉRAC.
LE CANARD A TROIS BECS
TABLEAU DE FAMILLE 

The basis of the joke is a visual pun wherein the word “canard” takes a double meaning. It is French for “duck,” but can also refer to a hoax. Three conflicting political figures are uncomfortably crowded onto the body of one duck. 

Object of the Day, Museum Edition: The Wire Master & His Puppets, c. 1740

The Wire Master and His Puppets
English, c. 1740
The George Speaight Archive at
The Victoria & Albert Museum

"The Puppets blindly led away
Are made to act for ends unknown."
                                                                     -- a variation on Swift

Printed in about 1740, “The Wire Master & His Puppets” depicts a wooden platform upon which a variety of men from differing professions are standing. We have clergy, we have a judge, we have tradesmen, among others. Each of them appears to be manipulated by a guide wire attached to his head. Above them, a larger man in a Harlequin-like coat controls the wires. Near his left, the puppet master is pleaded by a bizarre mammal of unknown species who asks, “A little more to the left, my lord.” Meanwhile, the figure of Britannia weeps, “It is sport to you, but Death to me.”

Ah, but it gets worse-or better, depending on your point of view. Beneath the platform, a winged devil clutches a pole. Others mill about around the devil, but seem not to notice him.

Below this image is an excerpt from Johnathan Swift's (1667-1745) poem, “The Puppet Master.”

I should point out that the original verse from Swift’s work reads thusly:

"Others are blindly led away,
And made to act for ends unknown,
By the mere spring of wires they play,
And speak in language not their own."

However, the engraving intentionally misquotes the verse: 

"The Puppets blindly led away
Are made to act for ends unknown."

Print of the Day: Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets, 1802

Blowing up the Pic Nic's, or, Harlequin Quixote attacking the Puppets
April, 1802
James Gillray
This version is in the Victoria & Albert Museum.

James Gillray (1757-1815), a popular British printmaker and satirist, was, perhaps, one of the most prolific in his field during the late Eighteenth and early Nineteenth Centuries. Here, we see one of his cartoons from 1802. The image depicts English theater manager Richard Brinsley as Harlequin. He is shown leading a group of professional actors including the famed performer David Garrick (who was, at the time dead), rising from the grave. Also pictured are the actors Mrs. Billington, P. Kemble and, of course the renowned Sarah Siddons. The troupe is protesting members of the Pic Nic Society—an amateur acting group which had been performing at London’s Tottenham Street Concert Rooms. Apparently, they were in the midst of performing the then-popular show, “Tom Thumb.”

Professional actors and theatre managers at the time considered this amateur gang to be a nuisance—taking away revenue from the professionals with their extravagant and decadent displays. Sheridan was among those who launched an aggressive campaign against them. Here, his mask and pen indicate that he has been writing anonymous complaints about the group.

Gillray has cleverly composed this scene to resemble a page from Migel de Cervantes’ “Don Quixote” wherein the famed title character attacks “Master Peter’s” puppet show because he is convinced that the performance is real. In doing so, he has cast his judgment on the futile actions of Sheridan and his band of protestors. The print was published in April of 1802. The version above is in the collection at the Victoria and Albert Museum. Another is in the British Museum.

Version in the British Museum.

Drawing of the Day: The Caged Pope and the King of Naples, 1848

Click Image to Enlarge

"The Caged Pope and the King of Naples"
Antonio Masutti, 1848
The British Museum

Drawn by North Italian artist Antonio Masutti in 1848, this sketch depicts Ferdinand II King of Naples with the “caged” Pope in Gaeta. A revolutionary figure stands behind them. 1848 The graphite drawing is one of 106 satirical sketches related to the Roman journal "Il Don Pirlone".

Accompanying materials state that the cage contains Pope Pius IX as a parrot while the King of Naples trains the parrot, using a barrel organ so that the pontiff will speak as the King does.

The King is dressed as Pulcinella, presumably to indicate his mischievous intentions.

Print of the Day: Votaries of Fashion in the Temple of Folly, 1808

Click Image to Enlarge
Votaries of Fashion in the Temple of Folly
Tegg, 1808
The British Museum

This satirical print dates to 1808 and is entitled, “Votaries of Fashion in the Temple of Folly.” The hand-colored print was made by Thomas Rowlandson after an original by George Moutard Woodward, and published in London by Thomas Tegg.

The print served as the frontispiece to The “Chesterfield Travestie; Or, School for Modern Manners. Embellished with Ten Caricatures, Engraved by Woodward from original Drawings by Rowlandson [sic] . . . 1808.”

In the composition, Folly, a woman of fashion, is enthroned beneath a canopy. She has donned a fool’s motley and holds the bauble of a jester. She’s joined by a Punchinello as a crowd forms to stare at them in the sumptuous room.

Print of the Day: A Little Tighter, 1791

A Little Tighter
Rowlandson, 1791
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

This wacky Eighteenth Century print by Thomas Rowlandson (1756-1827) was published in May of 1791. The scene is quite clear. A petite dressmaker is trying desperately to fasten the corset of his customer—with little luck.

The print was added to the Royal Collection, likely by King George IV.

Drawing of the Day: By the Seaside, The Sands of Ramsgate, 1856

By the Seaside No. 1
The Sands of Ramsgate
After McConnell
The British Museum

This satirical print was engraved by Joseph Swain after nine original drawings by William McConnell. The drawings date to 1856 and the set is entitled “By the Seaside, No. 1. The Sands at Ramsgate.” The set was published in “The Illustrated Times” in August of 1856. It’s a charming view of the seaside on a summer day. 

 “Snapshots” of individuals from the crowds of people on holiday at the seaside, give us a look at the accepted archetypes of holiday tourists of the era. The attributes of the English seaside of the mid-Nineteenth Century, are readily apparent. We see the bathing machine and the ubiquitous seaside Punch and Judy Show which many will always associate with a carefree summer day.

Antique Image of the Day: The old goat and young kid- or the Queenborough-novelist, 1798

Click on the image like a spider on a fly.

"The Old Goat and the Young Kid"
Fores, 1798
The British Museum

This satirical print dates to 1798. Entitled “The Old Goat and Young Kid—or the Queenborough-Novelist,” the print was published by S W Fores though for a long time it was attributed to F. Sansom.

We see here a peer on the front steps of his Piccadilly house. He’s leering at a busty girl through a double spy glass. The girl, a country lass, is with her yokel father who is being solicited by a bawdy older gal. She says:

"It’s very lucky I met with you my honest Man if she behaves well she shall be promoted to the service of a Duke.”

He responds, "Very lucky indeed I'se Woundily Obliged to your Ladyship. My Dame always said as how Bet was cut out for Zarvice of your great Volkes."

A delivery man looks up at the leering Duke and says, "Ah! I knew he'd dart out like an Old Spider at a Fly.”