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| Matthew Darly Tight-Lacing, or, Hold Fast Behind 1777 hand-colored etching and engraving Metropolitan Museum of Art, New York |
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| Thomas Rowlandson Beauties 1792 hand-colored etching Metropolitan Museum of Art, New York |
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| Thomas Rowlandson Courtship in High Life (George, Prince of Wales and Georgiana Cavendish, Duchess of Devonshire) 1785 hand-colored etching and aquatint Metropolitan Museum of Art, New York |
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| Thomas Rowlandson Maids and Mistresses 1791 hand-colored etching Metropolitan Museum of Art, New York |
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| George Cruikshank An Evening Party 1826 hand-colored etching and engraving Metropolitan Museum of Art, New York |
The Roundel
A roundel is wrought as a ring or a starbright sphere,
With craft of delight and with cunning of sound unsought,
That the heart of the hearer may smile if to pleasure his ear
A roundel is wrought.
Its jewel of music is carven of all or of aught –
Love, laughter, or mourning – remembrance of rapture or fear –
That fancy may fashion to hang in the ear of thought.
As a bird's quick song runs round, and the hearts in us hear
Pause answer to pause, and again the same strain caught,
So moves the device whence, round as a pearl or tear,
A roundel is wrought.
– Algernon Charles Swinburne (1883)
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| Anonymous printmaker Miss Angelina Melius the celebrated giantess attended by her page Señor Don Santiago de los Santos ca. 1820 hand-colored etching British Museum |
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| Anonymous printmaker Miss Julia Smith as Madge ca. 1835 hand-colored lithograph British Museum |
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| William Heath ('Paul Pry') Hat Boxes (Opera Reminiscences) 1829 hand-colored etching Metropolitan Museum of Art, New York |
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| William Heath ('Paul Pry') Monstrosity of 1829 ('Lo, this is their very guise') 1829 hand-colored etching Metropolitan Museum of Art, New York |
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| William Heath ('Paul Pry') Much Ado about Nothing 1828 hand-colored etching Metropolitan Museum of Art, New York |
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| William Heath ('Paul Pry') "We have the exhibition to examine (ah, if one could but see)" ca. 1830-40 hand-colored etching Metropolitan Museum of Art, New York |
from The Quangle Wangle's Hat
On top of the Crumpetty Tree
The Quangle Wangle sat,
But his face you could not see,
On account of his Beaver Hat.
For his Hat was a hundred and two feet wide,
With ribbons and bibbons on every side
And bells, and buttons, and loops, and lace,
So that nobody ever could see the face
Of the Quangle Wangle Quee.
– Edward Lear (1877)
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| Johann Nepomuk Rauch after Marcus Dinkel Portrait of Elisabeth Grossmann ca. 1829-47 hand-colored etching and aquatint British Museum |
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| Johann Gottfried Schadow Woman Dancing ca. 1820-30 hand-colored etching Metropolitan Museum of Art, New York |
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| Sydney Vacher In a French picture gallery before the War ca. 1921 etching British Museum |
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| John Sloan A Thirst for Art 1939 etching British Museum |