Copy of Hogarth's 1720s design of a trade card for Ellis Gamble whose shop sign was an angel; with advertisement below. With text in English on the left and French on the right
Alternative Title:
Ellis Gamble orfeure a l'enseigne de l'ange d'or dans Carnbourne-Street Leicester-Fields ...
Description:
Title etched in image below angel., Plate from: Ireland, S. Graphic illustrations of Hogarth, v. 1, opposite page 8., See Paulson, R. Hogarth's graphic works (3rd ed.), no. 23., and On page 5 in volume 1. Plate trimmed to: sheet 193 x 149 mm.
Copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar labelled "Whitfield" echoes the preacher. In the lower right corner, an image of a cross-section of brain, labeled below frame "A Methodist's brain"
Description:
Title etched below image., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. March 15th 1796. [Image of hand with pointing finger]. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery and ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, and on the same piece of copper engraved the plate now in the possession of Messrs. Boydell, entitled Credulity, superstition & fanaticism, a medley., Dedication etched either side of title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., Legend to the left of the title: A. After Raphael Urbino. B. After Rubens. C. After Rembrant. D.E.F.G.H. Are imitations of several other painters., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum, v. 3, no. 2425., and Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210.
Publisher:
Published Novr. 12th, 1795 by John Ireland, No. 3 Poets Corner, Palace Yard, Wesminster
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Reduced copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar without "Whitfield" etched on it echoes the preacher
Description:
Title etched below image., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery & ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, & on the same piece of copper engraved the plate which is copied on the opposite page., Dedication etched below title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., "Page 233"--Above image, right., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and On page 190 in volume 2.
Publisher:
Published March 1798 for John Ireland, Poets Corner, Palace Yard
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar labelled "Whitfield" echoes the preacher
Description:
Title etched below image., State from British Museum catalogue., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. March 15th 1796. [Image of hand with pointing finger]. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery and ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, and on the same piece of copper engraved the plate now in the possession of Messrs. Boydell, entitled Credulity, superstition & fanaticism, a medley., Dedication etched below title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., Legend following advertisement: A. After Raphael Urbino. B. After Rubens. C. After Rembrant. D.E.F.G.H. Are imitations of several other painters., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., Ms. note in pencil in Steevens's hand above print: See J. Ireland's Hogarth illustrated, p. 365., and On page 190 in volume 2.
Publisher:
Published Novr. 12th, 1795 by John Ireland (Author of Hogarth illustrated) No. 3 Poets Corner, Palace Yard, & for Messrs. Boydell, Cheapside & Shakespeare Gallery Pallmall
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Copy of Hogarth's print; interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar labelled "Whitfield" echoes the preacher
Description:
Title etched below image., State from British Museum catalogue., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. March 15th 1796. [Image of hand with pointing finger]. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery and ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, and on the same piece of copper engraved the plate now in the possession of Messrs. Boydell, entitled Credulity, superstition & fanaticism, a medley., Dedication etched below title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., Legend following advertisement: A. After Raphael Urbino. B. After Rubens. C. After Rembrant. D.E.F.G.H. Are imitations of several other painters., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and 1 print : etching ; plate mark 481 x 380 mm.
Publisher:
Published Novr. 12th, 1795 by John Ireland (Author of Hogarth illustrated) No. 3 Poets Corner, Palace Yard, & for Messrs. Boydell, Cheapside & Shakespeare Gallery Pallmall
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Title page of Biographical Anecdotes of William Hogarth (London : Printed by and for J. Nichols, 1782) with the text of an invitation written on a dinner plate with a fork on the left and a knife on the right. Text reads: Mr. Hogarths compts. to Mr. King and desires the Honnor of his company at dinner on Thursday next to Eta Beta P Y.
Alternative Title:
Mr. Hogarths compts. to Mr. King and desires the Honnor of his company at dinner on Thursday next to Eta Beta P Y, Mr. Hogarth's compliments to Mr. King and desires the Honor of his company at dinner on Thursday next to Eta Beta P Y, Biographical anecdotes of William Hogarth, and Invitation card
Description:
Title and printmaker from Dobson., Imprint from publication in which the etching appeared., Ms. note in pencil in Steevens's hand below print: Frontispiece to Mr. Nichols's Book, 3d edit. See p. 63., and On page 219 in volume 3.
Title page of Biographical Anecdotes of William Hogarth (London : Printed by and for J. Nichols, 1782) with the text of an invitation written on a dinner plate with a fork on the left and a knife on the right. Text reads: Mr. Hogarths compts. to Mr. King and desires the Honnor of his company at dinner on Thursday next to Eta Beta P Y.
Alternative Title:
Mr. Hogarths compts. to Mr. King and desires the Honnor of his company at dinner on Thursday next to Eta Beta P Y, Mr. Hogarth's compliments to Mr. King and desires the Honor of his company at dinner on Thursday next to Eta Beta P Y, Biographical anecdotes of William Hogarth, and Invitation card
Description:
Title and printmaker from Dobson., Imprint from publication in which the etching appeared., and Description based on imperfect impression; sheet trimmed with plate mark: sheet sheet 2.0 x 2.7 cm.
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.
Facsimile of a sketch with hand-written descriptions, with outlines of Garrick and Quin from the back, next to a scale of feet, with profiles of a 'short proportion' to the left of Quin, and a 'tall proportion' to the right of Garrick
Alternative Title:
Facsimile of a letter and Facsimile of the proportions of Garrick and Quin
Description:
Title engraved above image., Also lettered with a facsimile hand-writing, including the date "Oct 21 1746", and signed "W H" [i.e., William Hogarth]., Dobson records “from a drawing belonging to Mr. Stevenson or Norwich, after to J. P. Kemble. See Dobson, A. William Hogarth., Copy of no. 2808 in v. 3, Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., and Formerly on page 108 in volume 2. Removed in 2012 by LWL conservator.
Publisher:
Published 12th May 1797 by Robert Laurie & James Whittle, No. 53 Fleet Street, London
Subject (Geographic):
British.
Subject (Name):
Garrick, David, 1717-1779 and Quin, James, 1693-1766
