Symonds Collection (page 4)

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 Hogarth
Richs 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 Hogarth
If 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 century
The 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 Hogarth
Berenstat, Cuzzoni and Senesino c1725. The Italian opera singers Gaetano Berenstadt (c1687-1735), Francesca Cuzzoni Sandoni (1700-1770) and Francesco Bernardi

The Landing of Senesino, 1720. The Italian castrato opera singer (Francesco Bernardi, 1686-1758) arrives in England. Illustration from Social Caricature in the Eighteenth Century

High Change in Bond Street - ou - la Politesse du Grand Monde, 1796. Illustration from Social Caricature in the Eighteenth Century

People of consequence, 1794. Artist: John O Keeffe
People of consequence, 1794. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)

Such things are, That such things are we must allow, but such things never were till now, 1787. A satire on the unflattering fashions of the day

Comforts of Bath: The Games, or Assembly with Card Players, 1798. Artist: Thomas Rowlandson
Comforts of Bath: The Games, or Assembly with Card Players, 1798. The smart set enjoying the season at Bath, home of the famous Roman baths and Pump Room

And catch the living manners as they rise, 1794. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse

Shepherds, I have lost my waist! Have you seen my body?... 1795. Artist: Richard Newton
Shepherds, I have lost my waist! Have you seen my body? Sacrificed to modern taste, I m quite a hoddy doddy!, 1795. A satire on the unflattering fashions of the day

The Return from St James after the honour of Knighthood, 1792. Illustration from Social Caricature in the Eighteenth Century

Parasols for 1795. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)

A Spencer and a Threadpaper, 1792. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London)

A Sudden Squall in Hyde Park, c1791. Artist: Thomas Rowlandson
A Sudden Squall in Hyde Park, c1791. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London)

A Lady putting on her cap, June 1795. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds]

Exaltation of Faros daughters, 1796. Albinia, Countess of Buckinghamshire (left) and Lady Archer are ridiculed in the stocks, as the mob throw rotten vegetables at them

Characters in High Life... 1795
Characters in High Life sketched at The New Rooms Opera House - Delightful Task! to teach the young idea how to shoot, 1795. Illustration from Social Caricature in the Eighteenth Century

Waggoners Frocks or No Bodys of 1795, 1795. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds]

Modern Elegance: A Portrait, 1796. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London)

The Scotch Wedding, 18th century. In Hollands Exhibition Rooms may be seen the largest collection in Europe of Humorous Prints. Admittance, one shilling

Enter Cowslip with a bowl of cream, 1795. As a cedar tall and slender, sweet cowslips grace, is her nom tive case, and shes of the feminine gender - John O Keefe (1747-1833)

La Belle Assemblee, 1787. Here love his golden shafts employs; here lights his constant lamp; and waves his purple wings reigns here and revels. (Milton)

The Portland Place, 18th century
The Portland Place A- -R. Driving without a beau to R- -Ds perfume warehouse, P-LL, M-LL, 18th century. Illustration from Social Caricature in the Eighteenth Century

Vauxhall Gardens, 1795. Artist: Thomas Rowlandson
Vauxhall Gardens, 1795. Vauxhall Gardens in Lambeth, London, was a pleasure ground open for public amusement, and filled with statues, landscaped walks, theatrical arches, a Rotunda

1784, or the Fashions of the Day, 1784. Artist: Thomas Rowlandson
1784, or the Fashions of the Day, 1784. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds]

St James Park, 1783. Artist: Henry William Bunbury
St James Park, 1783. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)

The Apotheosis of the Duchess of Devonshire, 1784. Georgiana Cavendish, Duchess of Devonshire, flanked by Truth and Virtue, tramples Scandal underfoot

The Two Patriotic Duchesses on their canvass requesting the favour of an early poll, 1784. Artist: Thomas Rowlandson
The Two Patriotic Duchesses on their canvass requesting the favour of an early poll, 1784. Illustration from Social Caricature in the Eighteenth Century

A Meeting of Umbrellas 1782. Artist: J Kent
A Meeting of Umbrellas 1782. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)

The Ton at Greenwich: A la festoon dans le park a Greenwich 1777. Illustration from Social Caricature in the Eighteenth Century

Miss Calash drawn by Miss Calash, 1778. Artist: Miss Calash
Miss Calash drawn by Miss Calash, 1778. Woman wearing a large folding hood to protect her elaborate hairstyle. Illustration from Social Caricature in the Eighteenth Century

Buckles and Buttons: I am the thing, dem-me, 1777. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse

Steel Buttons, Coup de Bouton, 1777. A woman with an elaborate hairstyle is dazzled by extremely shiny buttons on a mans coat. Illustration from Social Caricature in the Eighteenth Century

The Optic Curls, 18th century. Gentleman theatre goers use one of their female companions elaborate curls as opera glasses. Illustration from Social Caricature in the Eighteenth Century

Hints to the ladies to take care of their heads, 1776. An elaborate hairdo catches fire. Illustration from Social Caricature in the Eighteenth Century

The Preposterous Head Dress or The Feathered Lady, 1776. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily

A Masquerade Scene at the Pantheon, 1773. Artist: Charles White
A Masquerade Scene at the Pantheon, 1773. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds]

The Female Coterie, 18th century. Artist: T Bonner
The Female Coterie, 18th century. Well, this is certainly one of the most useful institutions:- Lame Lover. Illustration from Social Caricature in the Eighteenth Century

The Interior of the Pantheon in Oxford Road, 1772. Artist: Richard Earlom
The Interior of the Pantheon in Oxford Road, 1772. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse

Pantheon Macaroni, 1782. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London, 1905)

A Gentlemans Dressing Room, 1771. Artist: J Golder
A Gentlemans Dressing Room, 1771. Illustration from Social Caricature in the Eighteenth Century... With over two hundred illustrations by George Paston [pseudonym of Emily Morse Symonds], (London)

The Present Age... 1767.Artist: LP Boitard
The Present Age: Adress d to the professsors of driving, dressing, ogling writing, playing, gambling, racing, dancing, duelling, boxing, swearing, humming, building, etc, etc, etc, 1767

Lusus Naturae, or Carracturas of the present age 1752. Artist: John June
Lusus Naturae, or Carracturas of the present age. 1752. Lusus naturae means freak of nature. Illustration from Social Caricature in the Eighteenth Century

The Imports of Great Britain from France... 1757.Artist: LP Boitard
The Imports of Great Britain from France: Humbly address d to the laudable association of anti-gallicans, and the generous promoters of the British Arts

The Beau Monde in St Jamess Park, 1750. Artist: LP Boitard
The Beau Monde in St Jamess Park, 1750. The smart set parading in a London park, with a quote from Alexander Pope: The ruling passion be it what it will, the ruling passion conquers reason still

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