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 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...

The four plates in this "Four Times of the Day" set were created utilizing both engraving and etching techniques by William Hogarth in 1738. Hogarth's original copper plates were refurbished where needed by James Heath and these engravings were republished in London in 1822 by Braddock, Cradock & Joy. This was the last time Hogarth's original copper plates were used for printing. Most were melted down during World War I for the construction of bombs. Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. The inscription below each print reads "Invented Painted & Engraved by Wm. Hogarth & Publish'd March 25. 1738 according to Act of Parliament". These large folio sized "Four Times of the Day" engravings/etchings are presented in complex gold-colored wood frames with black bands and scalloped gold inner trim. A majority of each thick impressive frame is covered with glass applied near the outer edge. Each frame measures 25.75" high, 22.25" wide and 1.88" deep. There are a few small dents in the edge of these frames, which are otherwise in very good condition. "Morning" has two focal areas of discoloration in the upper margin and some discoloration in the right margin, a short tear in the left margin and a short tear or crease in the right margin. "Noon" has a spot in the upper margin that extends into the upper image, but it is otherwise in very good condition. "Evening" has a faint spot in the upper margin, but it is otherwise in very good condition. "Night" is in excellent condition. The "Four Times of the Day" 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 Victoria and Albert Museum. Through this series Hogarth is portraying early 18th century London street life at "Four Times of the Day". His characters are exhibiting their personalities, quircks, strange activities, but he also wants to draw attention the disparities between the wealthy aristocracy and the common working class. Plate 1, "Morning" depicts morning in Covent Garden in the winter in front of Tom King...

The Industrious Prentice - Lord Mayor of London is an original etching print realized by William Hogarth in 1747 Signature on the plate on the lower right, with the description on t...

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...

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...

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...

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...

Character is an original drawing in China ink and watercolor, realized by an anonymous artist of the 19th century, applied on greenish paper. The state of preservation is good. The...

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...

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 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...

Etching from the series titled "A Harlots Progress" by William Hogarth. The series consists of six paintings and engravings. The story is about a woman named M. Hackabout who arrived in London and started working as a prostitute. The third plate is of her getting arrest for her choice in profession. The series is a satirical story that emphasizes the dangers of being a prostitute and the health risks that come from it. In 18th century engraving, the detail of the black mole on women and men's face is a symbol of the deadly venereal disease, syphilis. In this plate, Hackabout has already contracted the disease and that is why the black dot is visible on her forehead as well as her madam's. In 1828, William Innell Clement published Harlot's Progress in columns on a single page of his newspaper Bell's Life in London #330. The detail with the cross seen in earlier reproductions of the engraving. Dimensions without Frame: H 14.5 in x W 16.5 in. Artist Biography: William Hogarth ( 10 November 1697 – 26 October 1764) was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist. His work ranged from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", perhaps best known to be his moral series A Harlot's Progress, A Rake's Progress and Marriage A...

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 ...