Mid-18th Century Interior Prints

A superb, dark, richly-inked impression of this etching, engraving and open-bite. Fourth state (of 6); Robison's second edition, second through third issues, printed from the early 1...

This is a framed original satirical etching/engraving by William Hogarth, entitled "Some Principal Inhabitants of ye Moon: Royalty, Episcopacy and Law", originally published in London in 1760.The inscription reads: ""Some of the principal inhabitants of [the] moon as they were perfectly discover'd by a telescope brought to [the] greatest perfection since [the] last eclipse; exactly engraved from the objects whereby [the] curious may guess at their religion, manners, &c.". Although this may be an original life-time printing, it may have been published by Baldwin Craddock and Joy in London in 1822 from Hogarth's original copper plate that was reworked where needed by Heath, referred to as the Heath edition. This publication was the last time that Hogarth's plates were used for a printing. Most were subsequently destroyed and those remaining are primarily held by institutions. The scene is presented within a circle, as if seen through a telescope viewing the moon, surrounded by a square border, under which is engraved the title. The figures, who are satirically supposed to be the inhabitants of the moon, sit on a wooden platform suspended above the clouds. Three seated figures are supposed to represent the "Monarchy, Episcopacy, and Law". "Monarchy", representing royalty, sits on a throne wears a crown and he holds a globe and a sceptre. His face is a gold coin. The symbol of perpetuity, is embroidered on the cloth under his throne. "Episcopacy", representing the church, is operating a pump by pulling on a bell-rope fastened around a bible attached to the pump handle. The pump pours out money into a chest representing the church coffers and wealth. The chest is decorated with an armorial escutcheon, containing a knife and fork, topped by a church leader's mitre. Episcopacy's face is a Jew’s Harp and his right foot rests on a pile of three cushions. A cloven foot is seen protruding from under his religious robe. "Law" wears the type of wig worn by 18th century English judges. He holds a large sword on the right, but he does not appear to have a left arm. His face is a hammer resembling that of the Viking god Thor. Behind him a dagger appears to be thrust through the bottom of a sieve. The bodies of the attendants on Monarchy are composed of circular fire-screens, resembling shields. The trunks of the Courtiers are large looking-glasses, the sconces, with candles in them serving for hands and arms. The face of the chief of these is the reverse of a sixpence; and a key significantly appended to his sash at once denotes his sex and office. Under the figure of Law are a male and female modishly dressed. Her head is a tea-pot, her neck is a drinking-glass and her body is a half open fan. The male figure's face is a coat of arms and his legs are fan sticks. He appears to be courting the female. There is a great deal of satirical symbolism in this print and their meaning is not always obvious. Hogarth may have planned to include an explanation since there are letters a, b, c, d, e, f and g placed over or under some of the figures and objects. The reference books by Ronald Paulson, such as "Hogarth's Graphic Works, provide some possible interpretations. The print is presented in an ornate glossy black wood frame with beaded gold-colored outer and inner trim, a beaded gold-colored fillet and a cream-colored silk mat. There is a small defect in the frame's right upper edge. The print was not examined out of the frame, but the visible portions of the print are in excellent condition. The frame and mat style are identical to another old master print listed on 1stdibs, a 17th century portrait of the old master artist Petrus de Jode by Anthony van Dyck. This print can be viewed by placing the 1stdibs reference # LU117327129592 in the search field. These two framed prints would make a striking display grouping. A discount is available for purchase of the pair. Artist: William Hogarth (1697-1764) was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist. Hogarth's work was extremely diverse, ranging from serious realistic paintings and portraits to satire and moralistic pieces filled with symbolism. He often communicated his moral message in a series of paintings and engravings, such as: A Rake's Progress, Marriage A...

This artwork titled "Le Philosophe en Meditation" 1753 is an engraving after Rembrandt Harmensz Van Rijn 1606-1669. The plate was engraved by Pierre Lo...

A hand colored vue d'optique or perspective view engraving of the interior of the Hotel des Invalides in Paris entitled "Vue Perspective du Refectoire de L'Hotel Royal des Invallides a Paris". It depicts the refectory or dining room of the Hotel Royal des Invalides in Paris, where a large group of men, possibly clerics, academics or convalescing soldiers are eating. They are dressed in colorful red, grey, blue and yellow coats. The Hotel Royal des Invalides is a complex of buildings in the 7th arrondissement of Paris, France, containing museums and monuments dedicated to the military history of France, as well as the Saint-Louis des Invalides cathedral. It also houses a hospital and a retirement home for war veterans. It is one of the most important masterpieces of classical French architecture. Jacques...

A pair of etchings created by Giovanni Piranesi depicting Roman architectural details from his "Le Antichità Romane" (Ancient Rome) published in 1756. The first print is entitled "Pr...

This mid-18th century etching by Giovanni Battista (Giambattista) Piranesi (b. 1720-1778) is titled “Spaccato Interno della Basilica di S. Paolo fuori della Mura” (“Cutaway view of the Interior of the Basilica of San Paolo fuori delle Mura”. It is from his most important and famous series, “Vedute di Roma” , the artist’s historically important series of 135 etchings documenting views of ancient and then-contemporary Rome, published from 1745 onward. This work was first published in 1749. This is the 3rd state of 7 published states. In the Hind reference, this is Hind 7/iii. This particular etching is on a thick laid paper with the watermark of a fleurs de lys enclosed by two circles, with a smaller circle above in which is an indistinguishable letter, perhaps a B. This etching is in good condition and a nice crisp image because it is an early state. It is not trimmed, framed, mounted or laid down. There is a ¼” tear along the lower edge. There are a number of slightly thinned areas along all edges, but because the print is on such a thick laid paper, there is very good density and integrity even in the slightly thinned areas on the edges. The center crease, present in all of the Vedute di Roma works is almost invisible; one must look very closely at the horizontal rafters on the top of the print to almost make out the crease. The print measures 16 1/2 x 24 1/8 in. (sheet 18 ¾” in x 26 1/2 in.) The interior of the basilica of Saint Paul outside the walls shows its frescoes, papal portraits, and imperial Roman marble...

Giovanni Battista Piranesi (1720-1778), Veduta dell’interno del Tempio di S. Stefano Rotondo (Interior view of the Church of San Stefano Rotondo), etching, 1756. First Edition, from the series Le Antichita Romane, Bouchard e Gravier 1756, section XXV, figure 2 [signed, numbered and titled in the plate]. References: Focillon 192, Wilton-Ely 327. In good condition, with margins, 5 1/2 x 8, the sheet 6 1/4 x 9 inches. A very good impression, printed on a stiff cream laid paper. Piranesi developed the plates of the Antichita Romane (Roman Antiquities) after eight...

1736 (Heath Edition 1822). Etching and engraving. Paulson 140 iv/iv; British Museum Satires 2285. 10 1/2 x 8 3/16 (sheet: 12 7/8 x 9 3/4). Inscription: in plate below image, lower le...