George Cruikshank

SCENE AT THE LONDON MUSEUM - PICCADILLY

1816

NUREMBERG CHRONICLE, 1493 THE GOLDEN CALF (THE CALF OF GOD) 1493 Woodcut. from "Liber Chronicarum." Printed by Anton Koberger text by Hartmann Sc...

WILLIAM HOGRATH (1767- 1764) THE BATHOS / Tail Piece 1764 (Paulson 1989: 216 I/I Paulson 1965/70: 216 I/I) Engraving Plate 12 7/8 x 13 3/8, sheet 17 ¾ x 18 ¾ Designed & Engrav’d by Wm Hogarth at left and Published according to Act of Parliam’t March 3, 1764 at right. Good condition on thick laid paper Small bit of tape on the left & right sheet edges small stan lower sheet edge all on recto. This Hogarth’s last print is fascinating as it is prophacy about death. Various institutions have interesting commentaries - to wit: Chicago Art Institute: Hogarth created The Bathos toward the end of his life. It is considered one of the bleakest artworks of the 18th century because it depicts the Apocalypse without an afterlife. The Angel of Death even collapses in exhaustion after having destroyed the world. In his hand is an execution decree and around him lies a mass of broken objects. Princeton: Hogarth’s last print, The Bathos,….. is filled with all manner of images denoting the end of life as we know it. Entry no. 216 in Ronald Paulson’s catalogue raisonne Hogarth’s Graphic Works, 3rd revised edition says “This print is the culmination of such pessimistic images . . . . [taking] his general composition, the configuration of objects, and some of the particular items, from Dürer’s engraving, Melancholia; but he also recalls Salvator Rosa’s Democritus in Meditation (which derives from Dürer’s print) with a scroll at the bottom of the etching: ‘Democritus the mocker of all things, confounded by the ending of All Things’ (Antal, p.168).” Newfields (Indianapolis Museum of Art): Hogarth intended this engraving to serve as the tailpiece to bound volumes of his collected engravings and, appropriately, it proved to be his last engraving. Father Time has died and his last will and testament has been witnessed by the three Fates. He is surrounded by a landscape of death, decay, and ruin. Hogarth aimed this print at dealers in “dark” Old Masters paintings who promoted the idea that ruins evoked sublime feelings in viewers—a sentiment, Hogarth wrote, that was reducing the world to ruin. British Caricature...

JOHN MARTIN (1789 – 1854) DEATH OF THE FIRST BORN, Dedicated to His Majesty King Louise Philippe, King of the French, as a Tribute of the Artist’s Grateful...

GIULIO BONASONE (Italian 1500/10-1574) HERCULES FiGHTS ADRAGON center, ACHELOUS CARRYING OFF DEIANEIRA left 1531–76 (Bartsch XV.157.178; Massari 1983, no.230) Engraving. Lettered in roundel held by putto at right: 'Iulio / Bonasone' Sheet 10 5/8 x 16 7/8 inches. Thread margins outside border line. A fair impression. Early annotations lower left verso, as well aa a collectors stamp: Lugt 2773 - A. Freiherr von...

This framed 18th century etching by Giovanni Battista Piranesi is entitled "Dimostransi nella Tav. presente la Pianta, ed Elevazione del Ponte, oggi detto Quattro Capi egli è antichissimo, e chiamavasi Fabrizio da L. Fabrizio Presid. delle Strade, che lo fabbrico' nel fine della Repubblica. "(The Plan and Elevation of the Bridge, today called Quattro Capi. The architect is very ancient, and was called Fabrizio da L. Fabrizio Presid. delle Strade, who built it at the end of the Republic). This is plate 18 in volume 4 of Piranesi's "Le antichita romane opera di Giambatista Piranesi architetto veneziano" (Roman antiquities by Giambatista Piranesi Venetian architect). It was published in Rome in 1756-1757. This etching depicts the plan and elevation of the bridge now called the Ponte dei Quattoro Capi or Ponte Cestio (Bridge of the Four Heads), which in antiquity was called the Bridge of Fabricius after L. Fabricius, the Superintendant of the Streets who built it at the end of the Republic, around 62 BC. It was also been known in the Middle Ages as ‘Ponte Giudeo’ (Bridge of the Jews). The bridge crossed from the left bank or northeast side of the Tiber River to Tiber Island...

Grotesque Figures is an original etching realized by Pierre Firens in the early 17th century It represents two grotesque figures in 17th century clothing. Pierre Firens (1580-1636/...

Ancient Roman Bust,, original etching from the end of the 18th century, made by Various Old Masters. Good condition. Units of measurements typic...

Ancient Roman Bust, original etching from the end of the 18th century, made by Various Old Masters. Good condition. Units of measurements typica...