Citations

Barker-Benfield, G.J. The Culture of Sensibility: Sex and Society in Eighteenth-Century Britain. Chicago and London: University of Chicago Press. 1992.

Bayard, Jane, and Ellen D’Oench. Darkness into Light: The Early Mezzotint. New Haven:Yale University Art Gallery.1976.

Brewer, John. The Pleasures of the Imagination: English Culture in the Eighteenth Century. New York: Farrar Straus Giroux. 1997.

Carretta, Vincent. George III and the Satirists from Hogarth to Byron. Athens and London: University of Georgia Press. 1990.

--------------------. The Snarling Muse: Verbal and Visual Political Satire from Pope to Churchill. Philadelphia: University of Pennsylvania. 1983.

Clayton, Timothy.The English Print, 1688-1802. New Haven and London: Yale University Press. 1997.

Cresswell, Donald T. The American Revolution in Drawings and Prints: A Checklist of 1765-1790 Graphics in the Library of Congress. Washington: Library of Congress. 1975.

D’Oench, Ellen G. "Copper into Gold": Prints by John Raphael Smith, 1751-1812. New Haven and London: Yale University Press. 1999.

----------------------. Prodigal Son Narratives: 1480-1980. New Haven and Middletown: Yale University Art Gallery and Davison Art Gallery, Wesleyan University. 1995.

----------------------. "Prodigal Sons and Fair Penitents: Transformations in Eighteenth-Century Popular Prints," Art History 13 (1990): 318-343.

Dolmetsch, Joan. Eighteenth-Century Prints in Colonial America: To Educate and Decorate. Williamsburg and Charlottesville: Colonial Williamsburg Foundation and University Press of Virginia. 1979.

--------------------. Rebellion and Revolution: Satirical Prints on the Revolution at Williamsburg. Williamsburg and Charlottesville: Colonial Williamsburg Foundation and University Press of Virginia. 1976.

Donald, Diana. The Age of Caricature: Satirical Prints in the Age of George III. New Haven and London: Yale University Press. 1996.

Douglas, Mary."Jokes," Implicit Meanings: Essays in Anthropology. London and Boston: Routledge & Kegan Paul. 1975.

English Caricature:1620 to the Present. London: Victoria and Albert Museum, 1984.

George, M. Dorothy. Hogarth to Cruikshank: social change in graphic satire. London: Penguin, 1967.

Gilpin, William. "An Essay on Prints 1768,"The Eighteenth Century: Art, design, and society, 1689-1789, ed. Bernard Denvir. London: Longman. 1983. 233-237.

Griffiths, Antony. "A Checklist of Catalogues of British Print Publishers," Print Quarterley 1 (1984): 4-22.

Hughes, Therle . Prints for the Collector: British Prints 1500 to 1900. New York: Praeger. 1971.

Lennox-Boyd, Christopher et.al. Theatre: the Age of Garrick: English mezzotints from the collection of the Hon. Christopher Lennox-Boyd. London. Christopher Lennox-Boyd.
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McKendrick, Neil, John Brewer, and J.H.Plumb. The Birth of a Consumer Society: The Commercialization of Eighteenth-Century England. London: Europa. 1982.

Miller, Lillian B. et. al. In the Minds and Hearts of the People, Prologue to the American Revolution: 1760-1774. Greenwich, Connecticut: New York Graphics Society. 1974.

O’Connell, Sheila. The Popular Print in England:1550-1850. London: The British Museum. 1999.

Robinson, Charles N. The British Tar in Fact and Fiction. New York: Harper. 1909.

Solkin, David H. Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England. New Haven and London: Yale University Press. 1993.

Stephens, Frederick G. and George, M.Dorothy. Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings in the British Museum. London:The British Museum. 1873-1954.

Wax, Carol. The Mezzotint: History and Technique. New York: Harry N. Abrams, Inc., Publishers.1990.

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