William Hogarth Art

WILLIAM HOGARTH (BRITISH 1675 – 1764) BEER STREET 1751(Paulson 185 iii/iii) Etching and engraving Design’d by W, Hogarth lower left, Publish’d according to act of Parliament...

WILLIAM HOGRTH (1697 - 1764) MR. GARRICK IN THE CHARACTER OF RICHARD THE 3RD (Shakespear Act 5 Scene 7) (Paulson 1970.165 ii/ii; Paulson 1989.165 ii/ii;, Dobson and Armstrong p. 20...

Tailors and Young Man is an original etching print realized by William Hogarth in 1735. Signature on the plate on the lower right, with the description on the lower. Cat. Burkle No...

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...

The Polling is an original etching realized by William Hogarth in 1758. The etching was engraved also by Francois Morellon de la Cave. Original title: The Polling, Plate III: Four P...

The two plates in this set were created utilizing both engraving and etching techniques by William Hogarth in 1753, originally as illustrations of his book on aesthetics, entitled "Analysis of Beauty". Due to their popularity, these plates were later published separately. The publication line in the lower right reads: "Designed, Engraved, and Publish'd by Wm. Hogarth, March 5th 1753, according to Act of Parliament." Hogarth's original copper plates were refurbished where needed by James Heath and engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's copper plates were used for printing. Most were melted during World War I for the construction of bombs. These large folio sized "Analysis of Beauty" engravings are presented in antiqued gold-colored frames with double mats; the outer silk mats are light brown-colored and the inner mats are dark brown. Each frame measures 27.38" x 31.25" x 1.13". There is one tiny spot in the right margin of plate 1 and another in the lower margin; the latter could be from the printing process. The prints are otherwise in excellent condition. The "Analysis of Beauty" series is in the collection of many major museums, including: The British Museum, The Metropolitan Museum of Art, The Tate Museum, The Chicago Art Institute and The Fine Arts Museums of San Francisco. The first engraving (Plate 1) depicts a courtyard of statues which is filled with some of the most famous works of classical sculpture. The most important sculptures are surrounded by less impressive works. The Medicean Venus (#13) is in the center with a statue of Julius Caesar (#19) to the right, elevated on a pulley with a short, overdressed Brutus stands over the falling Caesar. The Apollo Belvedere (#12) is next. A judge stands to the right with his foot on a cherub (#16). Another crying cherub holds a gallows and wipes his tears with the judge's robe. A sphinx (#21) and the drunken Silenus (#107) are below the Venus. Michaelangelo's torso (#54) and a statue of Antonius (#6) are seen in the foreground. The Farnese Hercules (#3) and a bust of another Hercules (#4) under two statuettes of Isis are also included in the scene. The key to these objects is included in the form of a serpentine line winding around a cone (#26), Hogarth's "Line of Beauty". For Hogarth the winding line is an essential element of beauty in art. Hogarth's theory of beauty is communicated in this plate. Plate 2 is thought to represent the Wanstead Assembly, with the Earl of Tynley and his household. It is an adaptation of a scene in the Happy Marriage series, which complements Hogarth's Marriage à la Mode...

The print was published as a companion to the ‘Distressed Poet’, the original of which is in the City Museum and Art Gallery, Birmingham. When advertising its publication in the pres...

The original design for the top half was formally attributed to William Hogarth, according to the Met Museum, and published by John Bowles in 1728. The edition here has a second half...

William Hogarth's illustration of John Gay's "The Begger's Opera". In this plate, the character of Macheath stands in the center shackled. On either side of him is his lover and wife...

A very fine 18th century copper plate engraving from William Hogarth and Charles Grignion (1721–1810). Hogarth depicts his close friend, the actor David Garrick, as Richard III wakin...

An Election Entertainment is an original etching realized by William Hogarth in 1755. The etching was engraved also by Francois Morellon de la Cave. Original title: An Election Entertainment, Plate I: Four Prints of an Election. Signature on plate: "Painted and the Whole Engraved by Wm. Hogarth. / Published 24th Febry. 1755, as the Act directs". Inscription on plate: "To the Right Honourable Henry Fox, &c. &c. &c. This plate is humbly Inscrib'd by his most Obedient Humble Servt. Wm. Hogarth". Includes passepartout and frame (62 x 2 x 74 cm). Good conditions, except for a browning of paper due to the signs of aging. The print is from the series The Humours of an Election (1754-58), the artist's last painted cycle regarding contemporary affairs. The paintings are now in Sir John Soane's Museum, London. Unlike the other three engravings in the series, An Election Entertainment does not reverse the original painting, as in the case of when Hogarth made engravings...

The Polling is an original etching realized by William Hogarth in 1758. The etching was engraved also by Francois Morellon de la Cave. Original title: The Polling, Plate III: Four Prints of an Election. Signature on plate: "Engrav'd by W. Hogarth & Le Cave...

Big In-folio Volume Baldwin and Cradock, London Majestic work collection most of Hogarth’s graphic production, printed from the original plates. Restored by James Heath. The Volume ...

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...