April 4, 1812. In the Dog Days. Published by T. Rowlandson, 1 James Street, Adelphi.
Now the weather's sultry grown,
Sweating late and early.
Better far to lay alone—
Oh! we swelter rarely!
The representation of an extravagantly corpulent couple, whose rest is apparently fitful; the lines attached to the plate, which is not remarkable for refinement, form its best description.
April 12, 1812. The Ducking Stool. Republished. (See April 12, 1803.)
ITALIAN PICTURE-DEALERS HUMBUGGING MY LORD ANGLAISE.
May 30, 1812. [Italian Picture Dealers Humbugging my Lord Anglaise.] Published by T. Rowlandson, 1 James Street, Adelphi.—'Milord' is a very dandified young sprig of nobility, who is an evident macaroni, with the ambition to shine as a man of taste. A 'foreign nobleman'—that is to say, according to English views at the period—a 'speculative Count,' who is very splendid in exterior, is evidently a confederate of his countryman, the Italian picture dealer, and has accompanied the noble incipient collector as a decoy to puff the wares, and if need be to offer fictitious sums in opposition to 'Milord' and spur his enthusiasm for the fine arts, which are respectably represented around, as far as good names go. A sensuous Magdalen, attributed to Guido, is exciting the admiration of the party and employing the wily dealer's eloquence. Around are supposititious examples of Rubens, Carracci, Titian, Teniers, Salvator Rosa, and other 'undoubted originals,' the major part of which in all probability owe their well-disguised paternity to the versatile 'Van Daub.'