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The bruising match, 1730. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds], (London, 1905)
Satan in all his Glory... 1792.Artist: James GillraySatan in all his Glory; - or Peter Pindar crouching to the devil, sketch d from the peep-hole at scalegill, 1792. To the worthy inhabitants of Cumberland
George Morland, 1786. Artist: Thomas RowlandsonGeorge Morland, 1786. Portrait of British artist George Morland (1763-1804). Illustration from Social Caricature in the Eighteenth Century
Shakespeare sacrificed, or the offering to avarice, 1789. Artist: James GillrayShakespeare sacrificed, or the offering to avarice, 1789. Publisher John Boydell commissioned paintings illustrating subjects from Shakespeares plays
The Historian animating the mind of a young painter, 1784. Artist: Thomas RowlandsonThe Historian animating the mind of a young painter, 1784. Illustration from Social Caricature in the Eighteenth Century
Starving poet and publisher, late 18th century. Artist: Thomas RowlandsonStarving poet and publisher, late 18th century. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse
The Macaroni Print Shop, 1772. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)
James Boswell, his wife, and Dr Johnson at tea in Edinburgh, 1773, (1786). Artist: Thomas RowlandsonJames Boswell, his wife, and Dr Johnson at tea in Edinburgh, 1773, (1786). Scots writer James Boswell and his wife Margaret at tea with English lexicographer Dr Samuel Johnson
The Journalist with a view of Auchinleck or The Land of Stones, c 1786. Artist: Thomas RowlandsonThe Journalist with a view of Auchinleck or The Land of Stones, c 1786. Caricature of Scots writer James Boswell (1740-1795) on the coast near his family seat of Auchinleck in Scotland
Dr Johnson in his travelling dress, as described in Boswells Tour, c1773, (1786). Artist: Thomas TrotterDr Johnson in his travelling dress, as described in Boswells Tour, c1773, (1786). The famous English lexicographer wearing tricorne hat, frock coat, waistcoat, breeches and boots
The Paintress of Macaroni s, 1770. Artist: Richard DightonThe Paintress of Macaroni s, 1770. A macaroni was a dandy who wore exaggerated fashions. Illustration from Social Caricature in the Eighteenth Century
Old Wisdom blinking at the stars, 1782. Artist: W RennieOld Wisdom blinking at the stars, 1782. Man of letters and lexicographer Samuel Johnson (1709-1784), as a wise owl, looks at busts of Milton and Pope
The Macaroni Painter, or Billy Dimple sitting for his picture, 1770. Artist: Robert DightonThe Macaroni Painter, or Billy Dimple sitting for his picture, 1770. The painter Richard Cosway paints a macaroni or dandy in this satire on exaggerated fashions of the day
The Reviewers Cave, 1765. Artist: MortimerThe Reviewers Cave, 1765. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)
Sterne and Death. 1768. Artist: Thomas PatchSterne and Death. 1768. Portrait of Irish-born author and clergyman Laurence Sterne (1713-1768) who is best known for his novels The Life and Opinions of Tristram Shandy, Gentleman
Frontispiece to the artists catalogue, c1760s. Artist: Charles GrignionFrontispiece to the artists catalogue, c1760s. Britannia waters Architecture, Painting and Sculpture with water from George IIIs monument
Burlesque sur le burlesque, 1753. Artist: Paul SandbyBurlesque sur le burlesque avec privilege du roi December 1st, 1753. An art critic watches Hogarth painting a cherub pissing on the sparking chamber of a gun
The burning of the Temple at Ephesus, 1753. Artist: Paul SandbyThe burning of the Temple at Ephesus, 1753. The Temple of Artemis (Diana) at Ephesus (in modern Turkey) was destroyed in 356 BC in an act of arson
False Perspective, 1753. Artist: Luke SullivanFalse Perspective, 1753. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)
An Ape painting an Ass, 1753. Artist: George BickhamAn Ape painting an Ass, 1753. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)
The Battle of the Pictures, 1745. Artist: William HogarthThe Battle of the Pictures, 1745. The bearer hereof is entitled (if he thinks proper) to be a bidder for Mr Hogarths pictures, which are to be sold on the last day of this month
Sir Horace Mann, 18th century. Artist: Thomas PatchSir Horace Mann, 18th century. Caricature of British diplomat Mann with Florences Duomo in the background. Uni se humiliat exaltabitut chi si umilia salta salta
Satire on a picture auction, 1730. Artist: William Henry TomsSatire on a picture auction, 1730. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London)
The phiz and character of an Alexandrine hyper-critch and comentator, 1728. His Holiness [The Pope, as a monkey] and his Prime Minister [a donkey]
A Satire on the Altar-piece by Kent in St Clement Danes Church, Westminster, 1725. Artist: William HogarthA Satire on the Altar-piece by Kent in St Clement Danes Church, Westminster, 1725. Illustration from Social Caricature in the Eighteenth Century
Taste: The Gate of Burlington House, 1731. Artist: William HogarthTaste: The Gate of Burlington House, 1731. Contemplations upon a coronet. 1797. Illustration from Social Caricature in the Eighteenth Century
Holdl! - Pizarro - Hear me! If not always justly, at least act always greatly, 1799. Artist: Robert DightonHoldl! - Pizarro - Hear me! If not always justly, at least act always greatly, 1799. Contemplations upon a coronet, 1797. Illustration from Social Caricature in the Eighteenth Century
Contemplations upon a coronet, 1797. Caricature of the actress Elizabeth Farren (c1759-1829) who became Countess of Derby. She admires a coronet on a stand
The Marriage of Cupid and Psyche, 1797. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds]
The Castle Spectre and her ernest admirer, 1793. Scene from The Castle Spectre by Matthew Gregory Lewis. Illustration from Social Caricature in the Eighteenth Century
Actor reciting to a manager, late 18th century. Artist: Thomas RowlandsonActor reciting to a manager, late 18th century. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse
The Prospect before us, 1791. Artist: Thomas RowlandsonThe Prospect before us, 1791. Respectfully dedicated to those singers, dancers and musical professors who are fortunately engaged with the proprietor of the Kings theatre at the pantheon
Chaos is Come Again... 1791Chaos is Come Again: Music hath charms to soothe the savage breast, to soften bricks and bend the knotted oak, 1791. A quote from The Mourning Bride by William Congreve
Melpomene, 1784. Melpomene, meaning to sing or the one that is melodious, was the Muse of tragedy in Greek mythology. Illustration from Social Caricature in the Eighteenth Century
Dr Arne, 1782. Artist: Francesco BartolozziDr Arne, 1782. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)
Satire on Vestris, 1781. Artist: Paul SandbySatire on Vestris, 1781. The French dancer Marie-Jean-Augustin Vestris, known as Auguste Vestris (1760-1842). Illustration from Social Caricature in the Eighteenth Century
Fitz-Giggo: A New English Uproar 1763. Artist: LP BoitardFitz-Giggo: A New English Uproar 1763. Some excited members of the audience are invading the stage. Illustration from Social Caricature in the Eighteenth Century
The Buck Metamorphosed... 1754.Artist: G SmithThe Buck Metamorphosed or Mr Foote in the character of the Englishman return d from Paris, 1754. A comment on French fashions which were seen as foppish by the British
James Boswell, esq in the dress of an armed Corsican Chief, 1769. Artist: James WaleJames Boswell, esq in the dress of an armed Corsican Chief, as he appeared at Shakespeares Jubilee, at Stratford upon Avon, September 1769. Portrait of Scots writer James Boswell (1740-1795)
The Theatrical Steel Yards of 1750, (1751). Artist: Patrick O BrianThe Theatrical Steel Yards of 1750, (1751). Players hang from scales surmounted by the motto Totus mundus agit histrionem, - All the worlds a stage
The Charming Brute, (A satire on Handel), 1754. The German composer Handel, here depicted as a pig, had a huge appetite. Here he is at his organ, sitting on a barrel of ale, surrounded by poultry
Mr Woodward in the character of Mercutio, 1753. Actor Henry Woodward (1717-1777) in the part of Mercutio from Shakespeares Romeo and Juliet
The judgement of the Queens Common Sense, 1736. Address d to Henry Fielding esq. Illustration from Social Caricature in the Eighteenth Century
Richs Glory: or his triumphant entry in Covent Garden, 1732. Artist: William HogarthRichs Glory: or his triumphant entry in Covent Garden, 1732. A procession marking John Richs entry into Covent Garden. On the right a carriage is being pulled by satyrs
The Stages Glory, 18th century. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston (pseudonym of Emily Morse Symonds], (London, 1905)
If musicks charms can hearts enthral, 1730. Artist: William HogarthIf musicks charms can hearts enthral, this consorts sure above em all. How sweet the sound where cats and bears, with brutish noise offend our ears, just so the foreign singers move
The Stage Medley, 18th centuryThe Stage Medley: representing the state of the town and the matchless merits of poet G---Polly Peachum and Captain Macheath, 18th century. Scenes from The Beggars Opera, written in 1728 by John Gay
Berenstat, Cuzzoni and Senesino c1725. Artist: William HogarthBerenstat, Cuzzoni and Senesino c1725. The Italian opera singers Gaetano Berenstadt (c1687-1735), Francesca Cuzzoni Sandoni (1700-1770) and Francesco Bernardi
