Four lithograph illustrations by the English artist, taken from editions of William Combe's three Dr. Syntax poems, Dr. Syntax in Search of the Picturesque, Dr. Syntax in Search of Consolation, and Dr. Syntax in Search of a Wife. Three of the four prints, "The Revd. Doctor Syntax" [No PN], "Doctor Syntax Made Free of the Cellar" [PN 15], and "Doctor Syntax Returned from His Tour" [PN 28], are from Dr. Syntax in Search of the Picturesque, the latter two dated to 1815 in the publisher's tagline. The fourth print, "The Visit of Dr. Syntax to the Widow Hopefull at York," is from In Search of Consolation, and is dated 1820, though much of the publisher's tagline has been trimmed. Light to moderate foxing to margins and verso of all four prints, with an area of staining to "The Revd. Doctor Syntax" that is especially prominent to verso, but the images themselves are in fine condition. Three prints 9 x 5 inches (22.9 x 12.7 cm.), fourth 6.5 x 10 inches (16.5 x 25.4 cm.).

"The Tour of Dr Syntax in Search of the Picturesque," first published from 1809–1812, "follows the good doctor’s adventures about the countryside in search of the perfect scenery. Like many a traveler before and after him, he suffers his fair share of mishaps—falls in a lake, is pursued by a bull, loses all his money at the racetrack in York. The comic nature of these mishaps is clear enough in Rowlandson’s pictures, reinforced by Combe’s satirical verse. Two more books followed—The Second Tour of Dr Syntax in Search of Consolation (1820) and The Third Tour of Dr Syntax in Search of a Wife (1821). They were all hugely popular, above all in Britain (where figurines, prints, and fabric patterns of Dr Syntax can still be found in museums and antiques shops) but also in France, Germany, and Denmark, where translations of the books appeared. Combe’s verse is certainly entertaining, but Rowlandson’s art comes first in every sense: Combe wrote his poems to illustrate Rowlandson’s pictures, which are often cited as forerunners to the comic strips of later years such as Rodolphe Töpffer’s Histoire de M. Vieux Bois (1837)." (The Public Domain Review)

The caricaturist and printmaker's bawdy satirical images and political cartoons captured the popular imagination of Georgian Britain, and along with fellow artist James Gillray, he ushered in the golden age of British caricature art at the turn of the 19th century. Rowlandson produced sardonic illustrations in ink and watercolor that skewered powerful political figures such as William Pitt and Napoleon Bonaparte and depicted contemporary events in a humorous style. He achieved success working for publishers like Rudolph Ackermann —who commissioned him to create drawings for a wide range of titles —and sold prints and watercolors to wealthy collectors. Rowlandson also produced explicit erotica for select private clients.