Rakes Progress

Set of eight engravings depicting "A Rake's Progress" by William Hogarth newly framed in red

Color etching and aquatint 19 3/10 x 24 inches Edition of 50 Signed and numbered HOX021A

Edition of 50 plus 10 proofs Signed and numbered in pencil

credits include productions at the Metropolitan Opera (“The Rake’s Progress,” “Fidelio”) and, locally

by William Hogarth in the late eighteenth century in his series of paintings titled The Rake

satirical and moralistic images, A Rake's Progress, followed some years later by Marriage à-la-mode. The

realised through unconventional or experimental studio practice. One such example is Burns’s ‘A Rakes

realised through unconventional or experimental studio practice. One such example is Burns’s ‘A Rakes

realised through unconventional or experimental studio practice. One such example is Burns’s ‘A Rakes

realised through unconventional or experimental studio practice. One such example is Burns’s ‘A Rakes

realised through unconventional or experimental studio practice. One such example is Burns’s ‘A Rakes

unconventional or experimental studio practice. One such example is Burns’s ‘A Rakes Progress’: a series of

A set of eight (later) framed copper-engraved prints published by Baldwin, Cradock & Joy in 1822, the last edition printed from Hogarth's original plates. The path of vice and sel...

It is very good advice to believe only what an artist does, rather than what he says about his work. – David Hockney Exhibition poster printed in 1981, based on an original lithogra...

Each plate numbered and each a satirical scene. Newly framed with acid free paper and new frames.

Whatman laid paper with a partial Fleur de Lys watermark An unrecorded proof for A Rake’s Progress

the background. Hogarth conceived Southwark Fair as a kind of epilogue to A Rake’s Progress, the final

around 1962. David Graves met Hockney at the opening night of The Rake's Progress at the Glyndebourne

opening night of The Rake's Progress at the Glyndebourne Opera, 1975, which Hockney designed. A practising

series like “A Rake’s Progress” (8 tables), “The four stages of cruelty” (4 tables) “Industry and

cycles include LIDL, Maoist Paintings, Cafè Deutschland , and The Rake's Progress. The first body of work

called "modern moral subjects", perhaps best known being his moral series A Harlot's Progress, A Rake

temporary code, but should still work) David Hockney The Rake's Progress Silk Pocket Scarf, ca. 2020 100

Wonderful set of Hogarth prints This is the" Rakes Progress " series typical of the satirical

David Hockney The Rake's Progress Silk Pocket Scarf, ca. 2020 100% silk scarf made in Italy and

David Hockney Hand made Fine Bone China Jewelry/Trinket Box for The Rake's Progress Drop Curtain

Bedlam" from "The Rakes Progress" Text reads: Leave all Love and Hope Behind. Out of sight is out of mind

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress. As with Hockney’s 1961-63 etchings, A Rake’s Progress, William Hogarth’s series of

Rakes Progress". Here the Bedlam scene is depicted, with masked madmen reciting "Leave all love and hope

1993 season of The Rake's Progress, a task he was wary of taking "because of Hockney's famously lauded

Rakes Progress". Here the Bedlam scene is depicted, with masked madmen reciting "Leave all love and hope

Rakes Progress". Here the Bedlam scene is depicted, with masked madmen reciting "Leave all love and hope

Rakes Progress". Here the Bedlam scene is depicted, with masked madmen reciting "Leave all love and hope

Rakes Progress". Here the Bedlam scene is depicted, with masked madmen reciting "Leave all love and hope

Rakes Progress". Here the Bedlam scene is depicted, with masked madmen reciting "Leave all love and hope

Rakes Progress". Here the Bedlam scene is depicted, with masked madmen reciting "Leave all love and hope

Rakes Progress". Here the Bedlam scene is depicted, with masked madmen reciting "Leave all love and hope

Rakes Progress". Here the Bedlam scene is depicted, with masked madmen reciting "Leave all love and hope

Rakes Progress". Here the Bedlam scene is depicted, with masked madmen reciting "Leave all love and hope

British society. While Hogarth is often celebrated for his narrative series, such as A Rake’s Progress and

Graves met Hockney at the opening night of 'The Rake's Progress' at the Glyndebourne Opera, 1975, which

of prints such as 'A Rake's Progress' (1733-1735) had widespread appeal, particularly for the growing

was for Stravinsky's The Rake's Progress. In 1988, the University of Aberdeen, Scotland, awarded him