- An Old Soldier's Widow. 6×5½ inches.
- A Fat Man and Death. 5×4.
- The Widower's Consolation. 6×4½.—
- Two bores all at once have taken a trip: I've buried my rib, and got rid of the hip.
- Woman on a rock by a stormy sea, on which is an empty boat, &c. 7×4½.
- Doctor Syntax at a Bookstall. Folio. (Engraved on a reduced scale in the 'Humourist,' by W. H. Harrison.)
- A Nobleman Cutting Down his Timber to Pay his Debts. 10 inches in length.
- A sheet of grotesque heads formed of vegetables, &c.
- Death and the Glutton. Large 8vo.
- Exterior of a Public House. 8vo.
- Sepulchres. 8vo.
- Doctor Eady and his Patients. 8vo.
- Execution Dock. 5×6.
- The Old Blind Sexton. Folio.
- Three figures seated at table; one said to be the portrait of Hamilton, the artist. 8vo.
- The Milkmaid's Tempter. 5×4.
- Drawing-room scene. Milliner displaying a dress. Numerous figures, probably designed as frontispiece for a magazine of fashions.
- Domestic Jars. 9×4 in. Man and woman quarrelling; the former seated in a chair, with a large bass-viol beside him.
LIST OF ORIGINAL DRAWINGS BY THOMAS ROWLANDSON IN THE COLLECTION OF WILLIAM BATES, ESQ., B.A., M.R.C.S, &c., BIRMINGHAM.[33]
- 'Cornish Peasantry.' 10¼×6½. Five peasants, admirably grouped, seated on a sort of timber-cart, drawn by two oxen. Woody background. Signed 'Rowlandson.'
- Acis and Galatea. 8½×6.
- Apollo and Daphne. 8½×6. Companion to the above. A vigorously-drawn recollection of the antique.
- The Cottage Door. 11½×8½. A group of rustics seated at the door of a cottage. On the right hand a man with a donkey laden with vegetables. In the manner of Morland.
- 'The Road to Ruin.' 13½×9½. The young squire is seated at a round table, with his mistress on his knee. Opposite to him is a 'led-captain,' dealing out cards and inciting the squire to bet. In the centre, standing at the table, is a plethoric chaplain, wholly intent upon the manufacture of a bowl of punch, the ingredients for which he is pouring simultaneously from two bottles into the bowl. The complete absorption of each of these personages in his own special object is admirably depicted.
- Brentford Market Place. 17½×12. An admirable drawing, exhibiting hundreds of market-people disposed in groups, with the Town House in the central background and the 'Three Kings' inn on the right hand. The grouping is excellent, the scene full of animation and bustle, the sense of space and general keeping perfect, and the whole equal in power and effect to the works of the Dutch painters.
- Shepherd and Sheep. 17¼×4½. A standing figure in the middle of a group of five sheep; something in the manner of Gainsborough.
- The Funeral. 7×4½. The parson advances, reading the burial service. Next comes the clerk, carrying a child's coffin, and followed by a group of female mourners, wringing their hands, holding handkerchiefs to their eyes, and some carrying umbrellas. To the right a female gravedigger, holding a spade in one hand and tolling the bell with the other. To illustrate the old song of 'The Vicar and Moses':—
- When come to the grave the clerk humm'd a stave, Whilst the surplice was wrapped round the priest; When so droll was the figure of Moses and Vicar, That the parish still laugh at the jest. Singing tol de rol, &c.
- An Oriental Scene. 8½×5½. In the foreground a gibbet, from which is hanging in chains the headless body of a woman. By the side an impaling-stake and wheel. Two men in foreign garb are looking on. In the distance a city, with towers and minarets.
- 'The Industrious Wife and Idle Husband.' 5½×4. The wife is busily engaged at the washtub; a cradle, with twins asleep, at her back; while the husband, with pipe, glass, and jug, sits over the fire with a boon companion. Full of Hogarthian humour.
- Burglars Alarmed. 11×9½. A drawing of extraordinary vigour. A brutal-looking ruffian, in a frieze coat, holding a bloody knife in one hand and enjoining attention with the other, is striding over the corpses of two women, both with their throats cut. A second ruffian, with alarm depicted on his countenance, holds a candle in his right hand and grasps a bloodstained coal-hammer in his left. In the background a fate is seen peeping through a window. A piece that can hardly be looked at without a subsequent attack of nightmare.
- Landscape. Lake scene, hilly background. 9×7. Very broad in treatment.
- Commodore Trunnion and Lieut. Hatchway on their way to the Wedding. 14½×8. (See Smollett's 'Peregrine Pickle,' vol. i. chap. 8.)
- Jolly Companions. 11×8. A group of five, heads and shoulders. A man is apparently singing from a ballad-sheet. A woman at his right hand is blowing with the bellows, and the other faces are on the broad grin.
- The Pipe Dance. 4½×3. Two Punch-and-Judy-like figures dancing, and holding a pipe over head. Small, but very spirited.
- The Forge. 9½×6½. A group of four horses outside a forge. The blacksmith holds up the hoof of one; the farmer stands by, and a woman advances holding a cup of ale. Signed 'Rowlandson, 1791.' As fine as Morland.
- Maternal Solicitude. 6½×4¾. A mother bends over her child on a couch, both entirely nude.
- Nymph and Cupid. 7¼×5½. A naked nymph recumbent; a winged cupid, bow in hand, descends towards her.
- Henpecked Husbands. 10×6¼. A woman has hold of the greatly elongated nose of her husband in one hand, and belabours him with a whip in the other. On the left a group of women toss a husband in a blanket, and on the right a wife is thrashing her husband on the ground, whom she also holds by the nose.
- Death in the Pot. 6×3½. A plethoric figure drinks from a bowl, while a skeleton figure is about to strike him from above.
- Zion Chapel. 13½×8¼. A congregation of over fifty persons, who have just emerged from the portal of 'Zion Chaple' (sic), are passing slowly along. The door is blocked up by the departing worshippers; a fish-woman standing by indulges in some ribald observations, and a pious old lady holds up her hands in horror.
- The Table d'Hôte. 13¾×9. A spirited and characteristic drawing, exhibiting a numerous company of both sexes seated at a dinner-table. French waiters, pig-tailed and nightcapped, are drawing corks, filling glasses, and flying to and fro with dishes, &c. One of the guests is teaching a dog to beg; a woman and girl, with tambourine and triangle, appear on the left to amuse the company.
- Interior of a Prison. 9½×6. From the collection of the celebrated Henry Angelo, the professor of fencing, who in his 'Reminiscences' (vol. ii. p. 324) gives an account of its production. Rowlandson, it appears, had been robbed one night, and went next day in search of the thief. 'We first repaired,' says the reminiscent, 'to St. Giles's, Dyott Street, and Seven Dials. In one of the night-houses four ill-looking fellows, des coupes-jarret, so attracted our attention that, whilst we sat over our noggins of spirits, as he (Rowlandson) always carried his sketch-book with him, he made an excellent caricature group of them for me, introducing a prison in the background.... He afterwards finished it for me in his best style, superior to the greater part of his works. This is now (1830) about forty years ago. The coloured drawing was once included in my collection.' Here we have the four thieves sitting and lying in various positions. Prisoners in another group are playing cards. Another ruffian is stretched at full length asleep in the foreground. The drawing, grouping, and colouring are alike admirable, and would have done honour to Salvator Rosa.
- 'The Miser Lying in State: the Prodigal Heir-Apparent.' 14×9½. The 'heir-apparent,' with his profligate companions, male and female, is seated at a table, on which we see a punchbowl, &c. A coffin occupies an elevated position in the background, and from it appears to be struggling to emerge the supposed defunct miser, while an allegorical figure above seems to be nailing down the lid.
- The Fire. 9½×6. On the right a house on fire, flames issuing from the windows, the doorway crowded with watermen, and persons carrying out bedding and other effects. On the left firemen manipulating the hose and directing the stream against the flaming windows, in ridiculously suggestive attitudes. The central figure is an enormously fat woman, whose night-dress, drawn up to support a mass of crockery, displays her Rubensesque and redundant charms to the watermen, who turn their grinning faces to gaze upon the spectacle.
- 'Leaving the Premises without Consulting the Landlord.' 11×8½. A cart, seen at the back, heaped up with furniture, occupies the centre. A woman on the left laden with gridirons, warming-pans, &c. On the right a girl, graceful as one of Stothard's female figures, places in the cart a birdcage. In the foreground miscellaneous articles of minor furniture, and two children playing with the house-cat.
- Outside the Court-House. 14½×10½. The scene is apparently the Magistrate's Court and the Town Hall in some county town. The ground in front is crowded with various individuals waiting for the cases in which they are interested to be called on. We see the farmer, the parson, a jockey, a huntsman, a footman, a butcher, a soldier, an actor, and many others. The beadle is seated on a step, making love to an old woman, who holds a tankard in her hand. Dogs are scattered about, attendant on their masters.
- Interior of Eating-House. 7¼×5. A dining-table, at which are seated some seventeen people, male and female. One of the guests, a stout, portly man, has left the table, and is seizing his hat, as if offended. A neighbour attempts to restrain him, while the waiters appear amused.
- Bridewell. 9×6. A procession of fifteen female prisoners are escorted through the courtyard of Bridewell from one department of the prison to another, in pairs, in charge of turnkeys, female warders looking on. Penitence, grief, and hardened impudence are admirably depicted on the several faces.
- Returning from a Voyage. 9½×6. A sea beach, with a schooner and sloops at anchor. A boat has just landed a group of passengers, among whom is a girl with a cockatoo on her wrist.
- Pickaback. 4½×3½. A man, carrying a woman on his back, is fording a brook.
- Picture Exhibition. 9×5½. Connoisseurs at an exhibition of pictures.
- Gaming House. 9×5½. A drawing similar to that which serves as frontispiece to the 'Beauties of Tom Brown.'
- Nymphs Bathing. 8¼×5¼. Eight female figures, entirely nude, sporting in a stream, or seated on its banks. Leafy background.
- Nymphs Attiring. 8¼×5¼. Five female figures, entirely nude, seated on the banks of a stream, dressing their hair.
- The Village Politicians. 15×9¾. Dated 1821.