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  • John Bull about to be bled by three doctors; representing Britain's budget manipulated by the cabinet. Coloured etching by J. Phillips?, 1830.
  • The Prince Regent presenting to political ministers the expected baby of Princess Charlotte and Prince Leopold, who urinates in their faces; representing the burden of taxation required by the Royal family. Coloured etching by G. Cruikshank, 1816.
  • The post-boy : from Saturday January 25. to Tuesday January 28. 1723. Numb. 5386, On Saturday arrived the mail from France : Madrid, Jan. 16. N.S. The catholick King, Philip V. having taken a resolution to make an absolute renunciation of the crown of Spain, in favour of his eldest son.
  • The post-boy : from Saturday January 25. to Tuesday January 28. 1723. Numb. 5386, On Saturday arrived the mail from France : Madrid, Jan. 16. N.S. The catholick King, Philip V. having taken a resolution to make an absolute renunciation of the crown of Spain, in favour of his eldest son.
  • A mandarin falls back fainting onto a settee, attended by three ladies and a man all in Chinese dress; representing the King's anguish at the bill (which condemned the Queen's adultery and reduced her rights) being thrown out. Coloured etching, 1820.
  • George, Prince Regent, in uniform holding out a swollen hand which is supported by Wellington; representing the enormous amount of money given to the army compared with the navy. Coloured lithograph, 1816.
  • The Lord Mayor of London kneels before King George III and presents a remonstrance on behalf of the City of London: the king has no time to read it as he is preoccupied with making buttons. Engraving, 1770.
  • Queen Victoria and her family: a composition carte de visite. Photograph.
  • Charles James Fox, dangerously ill, visited by an entourage of interested factions; representing the social and ministerial conflict surrounding him. Aquatint after J. Gillray, 1806.
  • Burdett, Peel, O'Connell and Wellington in the roles of the body-snatchers Burke and Hare, suffocating John Bull with a rope; representing the extinguishing by Wellington and Peel of the constitution of 1688 by Catholic Emancipation. Coloured etching by A. Sharpshooter, 1829.
  • Albert, Prince Consort, on his deathbed at Windsor Castle, with members of the royal family and the royal household in attendance, 14 December 1861. Lithograph by W.L. Walton after Oakley, c.1865.
  • Albert, Prince Consort, on his deathbed at Windsor Castle, with members of the royal family and the royal household in attendance, 14 December 1861. Lithograph by W.L. Walton after Oakley, c.1865.
  • Albert, Prince Consort, on his deathbed at Windsor Castle, with members of the royal family and the royal household in attendance, 14 December 1861. Lithograph by W.L. Walton after Oakley, c.1865.
  • Charles James Fox, dangerously ill, visited by an entourage of interested factions; representing the social and ministerial conflict surrounding him. Coloured etching by J. Gillray, 1806.
  • Wellington and Peel compared with the Siamese twins (above); a rich bishop and a poor parson; and a street vendor of figurines. Etching by W. Heath, 1830.
  • King George IV with Lady Conyngham inspecting wigs on wig-stands presented by a Frenchman; representing a disagreement in the cabinet with the 'Canning-ites' over the Corn bill. Coloured etching by T. Jones, 1828.
  • Wigs classified into five different orders in a parody of the orders of ancient Greek and Roman architecture. Etching by W. Hogarth, 1761.
  • James II and Louis XIV and their allies portrayed as inmates of a lunatic asylum. Etching by R. de Hooghe, 1688.
  • James II and Louis XIV and their allies portrayed as inmates of a lunatic asylum. Etching by R. de Hooghe, 1688.
  • The Regent approaching Lady Hertford who is giving birth to fully dressed little men, Perceval (dressed as a nurse) helps them stand up; representing additions to the ministry after the removal of the Regency restrictions. Coloured etching by C. Williams, 1812.
  • A whale with the head of the Prince Regent spouts two streams inscribed "The liquor of oblivion" and "The dew of favour", referring to his desertion of the Whigs and to favours bestowed on the Tories. Coloured etching by G. Cruikshank, 1812.
  • King Louis XIV receives an enema while sitting on a globe of the earth, thus besmearing it with ordure; around him, chaos reigns; symbolising the events following the Protestant rebellions of 1674 including the flight of the royal family from England in 1689. Engraving by R. de Hooghe, c. 1689.
  • King Louis XIV receives an enema while sitting on a globe of the earth, thus besmearing it with ordure; around him, chaos reigns; symbolising the events following the Protestant rebellions of 1674 including the flight of the royal family from England in 1689. Engraving by R. de Hooghe, c. 1689.
  • William of Orange attacks Louis XIV and James II, who are riding on an ass; Father Petre, confessor to the queen of England, rides on a lobster with the infant Old Pretender; Cardinal Faustenburg falls off a tortoise. Mezzotint by P. Schenck, c. 1689.
  • Francis Bacon and William Brouncker flanking a bust of King Charles II set on a pedestal, surrounded by symbols of scientific learning representing the Royal Society. Etching by W. Hollar, 1667, after J. Evelyn.
  • Francis Bacon and William Brouncker flanking a bust of King Charles II set on a pedestal, surrounded by symbols of scientific learning representing the Royal Society. Etching by W. Hollar, 1667, after J. Evelyn.
  • Francis Bacon and William Brouncker flanking a bust of King Charles II set on a pedestal, surrounded by symbols of scientific learning representing the Royal Society. Etching by W. Hollar, 1667, after J. Evelyn.
  • Lord North and the Earl of Mansfield stand on a platform addressing a group of distressed patriots beyond which ships of war sail and sink. Engraving, 1776.
  • A trio of quack doctors attending to Britannia: the Earl of Bute with an ass's head blindfolds a woman who is vomiting into a bowl held by Louis XV as a baboon: Tobias Smollett takes her pulse;while Henry Fox approaches her with a clyster-pipe; representing the loss of British assets to France in the Treaty of Paris. Etching attributed to Paul Sandby, 1762.