The third print in the series "Four Times of the Day" is set at Sadler's Wells. "A dyer and his wife walking with their dog beside the New River; the wife holds a fan with a design of Aphrodite and Adonis, the husband carries a small child, a somewhat older boy stands behind them in tears because his sister is demanding the gingerbread figure he holds; behind them is a young woman holding a shoe and a cow being milked by another woman; to the right is a tavern with the sign of Sir Hugh Middleton's Head, two women and a man are in the tavern garden, other figures are visible through the window, and a grape vine is climbing up towards the roof."--British Museum online catalogue
Description:
Title engraved below image., State and series from Paulson. Third print in a series: Four times a day and Strolling actresses dressing in a barn., "Price 5 shillings"--Following printmaker's name., Sheet trimmed to plate mark., and The print has been touched in red ink by Hogarth(?).
The third print in the series "Four Times of the Day" is set at Sadler's Wells. "A dyer and his wife walking with their dog beside the New River; the wife holds a fan with a design of Aphrodite and Adonis, the husband carries a small child, a somewhat older boy stands behind them in tears because his sister is demanding the gingerbread figure he holds; behind them is a young woman holding a shoe and a cow being milked by another woman; to the right is a tavern with the sign of Sir Hugh Middleton's Head, two women and a man are in the tavern garden, other figures are visible through the window, and a grape vine is climbing up towards the roof."--British Museum online catalogue
Description:
Title engraved below image., State and series from Paulson. Third print in a series: Four times a day and Strolling actresses dressing in a barn., "Price 5 shillings"--Following printmaker's name., Sheet trimmed to plate mark., This impression, face and chest of woman is printed in reddish ink; the man's hands printed in blue., and On page 92 in volume 1. Sheet 488 x 393 mm.
Three elephant folio volumes containing 705 prints and tracings: 469 prints by Hogarth; 236 additional satires after Hogarth's prints by contemporary artists George Bickham, Samuel Ireland, and Paul Sandby. Also included are rare trade cards and coats of arms; Hogarth's shop-card as well as those of his sister, Ellis Gamble, and Edward Vaughan; Harrison's Tobacco Paper; Arms of Sir Gregory Page, Kendal and other coats-of-arms; theatre tickets including tickets for the Theatre Royal. The contents include examples from Hogarth complete oeuvre including: The Harlot's progress, first and later states; The Rake's progress, first and later states, including two unfinished proofs; The four times of day, including an unfinished proof; Strolling players, first and second states; Hogarth's Tour by R. Livesay after Samuel Scott, a set of nine colored, with An Account, five leaves; Some of the Principal inhabitants of the moon, etc. Also with a printed list annotated in Hogarth's hand
Description:
Title assigned by cataloger., Bound in brown calf, rebacked., Date surmised based on Steevens earliest date on interest in Hogarth and Steevens's death date., With the armorial bookplate of William Windham; also with the bookplate of Charles William Dyson Perrins., Items removed from volume 2 stored separately in two solander boxes., and For further information consult library staff.
Three elephant folio volumes containing 705 prints and tracings: 469 prints by Hogarth; 236 additional satires after Hogarth's prints by contemporary artists George Bickham, Samuel Ireland, and Paul Sandby. Also included are rare trade cards and coats of arms; Hogarth's shop-card as well as those of his sister, Ellis Gamble, and Edward Vaughan; Harrison's Tobacco Paper; Arms of Sir Gregory Page, Kendal and other coats-of-arms; theatre tickets including tickets for the Theatre Royal. The contents include examples from Hogarth complete oeuvre including: The Harlot's progress, first and later states; The Rake's progress, first and later states, including two unfinished proofs; The four times of day, including an unfinished proof; Strolling players, first and second states; Hogarth's Tour by R. Livesay after Samuel Scott, a set of nine colored, with An Account, five leaves; Some of the Principal inhabitants of the moon, etc. Also with a printed list annotated in Hogarth's hand
Description:
Title assigned by cataloger., Bound in brown calf, rebacked., Date surmised based on Steevens earliest date on interest in Hogarth and Steevens's death date., With the armorial bookplate of William Windham; also with the bookplate of Charles William Dyson Perrins., Items removed from volume 2 stored separately in two solander boxes., and For further information consult library staff.
Three elephant folio volumes containing 705 prints and tracings: 469 prints by Hogarth; 236 additional satires after Hogarth's prints by contemporary artists George Bickham, Samuel Ireland, and Paul Sandby. Also included are rare trade cards and coats of arms; Hogarth's shop-card as well as those of his sister, Ellis Gamble, and Edward Vaughan; Harrison's Tobacco Paper; Arms of Sir Gregory Page, Kendal and other coats-of-arms; theatre tickets including tickets for the Theatre Royal. The contents include examples from Hogarth complete oeuvre including: The Harlot's progress, first and later states; The Rake's progress, first and later states, including two unfinished proofs; The four times of day, including an unfinished proof; Strolling players, first and second states; Hogarth's Tour by R. Livesay after Samuel Scott, a set of nine colored, with An Account, five leaves; Some of the Principal inhabitants of the moon, etc. Also with a printed list annotated in Hogarth's hand
Description:
Title assigned by cataloger., Bound in brown calf, rebacked., Date surmised based on Steevens earliest date on interest in Hogarth and Steevens's death date., With the armorial bookplate of William Windham; also with the bookplate of Charles William Dyson Perrins., Items removed from volume 2 stored separately in two solander boxes., and For further information consult library staff.
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., Sheet trimmed within plate mark., Lock on wife's forehead added in ink., and On page 113 in volume 2. Sheet trimmed to: 38.6 x 45.6 cm.
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., Sheet trimmed within plate mark., and Image 'touched': Stray hair and lock added in ink, presumably by Hogarth.
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., Sheet trimmed within plate mark., Touched in ink eyelid and stray hair on left but no lock., and Formerly on page 112 in volume 2. Removed in 2012 by LWL conservator.
The second print in the series "Four Times of the Day" is set outside St Giles's-in-the-Fields. On the right an elegant crowd leaves the French Huguenot church; they are dressed in the height of French fashion. Two women kiss on the far right in the customary French way. They are contrasted with Londoners on the left. The two groups are separated by a gutter down the middle of the road; a dead cat lies in the gutter foreground. The Londoners stand outside a tavern with the sign of the Good Woman (one without a head); a woman and man in the second-story window look surprised as the contents of her bowl are tossed out the window. In the foreground, left, under a sign with John the Baptist's head on a platter and reading "Good Eating", a black man embraces a servant girl and a small boy (evidently intended by his curly red hair to be identified as one of the Irish inhabitants of the area) cries because he has broken a pie-dish. A little girl squats as she eats the fallen pie off the ground. The clock in the steeple in the background reads 12:30.
Description:
Title engraved below image., State and series from Paulson. Second in a series: Four times a day and Strolling actresses dressing in a barn., "Price 5 shillings."--Following printmaker's name., Sheet trimmed to plate mark., and On page 91 in volume 1. Sheet 485 x 396 mm.
Publisher:
Wm. Hogarth
Subject (Geographic):
England, London., and England.
Subject (Topic):
Huguenots, Irish, Blacks, Children, City & town life, Churches, Couples, Crowds, Crying, Kissing, Servants, Signs (Notices), Taverns (Inns), and Women
The second print in the series "Four Times of the Day" is set outside St Giles's-in-the-Fields. On the right an elegant crowd leaves the French Huguenot church; they are dressed in the height of French fashion. Two women kiss on the far right in the customary French way. They are contrasted with Londoners on the left. The two groups are separated by a gutter down the middle of the road; a dead cat lies in the gutter foreground. The Londoners stand outside a tavern with the sign of the Good Woman (one without a head); a woman and man in the second-story window look surprised as the contents of her bowl are tossed out the window. In the foreground, left, under a sign with John the Baptist's head on a platter and reading "Good Eating", a black man embraces a servant girl and a small boy (evidently intended by his curly red hair to be identified as one of the Irish inhabitants of the area) cries because he has broken a pie-dish. A little girl squats as she eats the fallen pie off the ground. The clock in the steeple in the background reads 12:30.
Description:
Title engraved below image., State and series from Paulson. Second in a series: Four times a day and Strolling actresses dressing in a barn., "Price 5 shillings."--Following printmaker's name., Sheet trimmed to plate mark., and The face of the parson in the doorway has been touched in ink by Hogarth(?); the left side of his nose and eye, eyebrow and part of his forehead have been scratched out and replaced in ink, to suggest a wall-eyed face -- a portrait of George Whitefield. See Paulson.
Publisher:
Wm. Hogarth
Subject (Geographic):
England, London., and England.
Subject (Topic):
Huguenots, Irish, Blacks, Children, City & town life, Churches, Couples, Crowds, Crying, Kissing, Servants, Signs (Notices), Taverns (Inns), and Women
