A copy in reverse of William Hogarth's Plate 4 of A harlot's progress: A scene in Bridewell prison with Moll Hackabout and the other inmates beating hemp under the supervision of a stern warder holding a cane. Moll is still dressed in her finery, but a one-eyed female attendant fingers the lace lappet hanging from her cap and her serving-woman sits before her in Moll's elegant shoes; next to her a fellow inmate picks vermin off her clothes. Next to Moll is a gambler, a torn playing card on the floor in front of him; behind her, a man stands with his hands in a pillory on which hangs a sign "Better to Work than Stand thus." Further down the wall is a whipping post with the words "The Wages of Idleness." On a shudder against the back wall is an effigy of Sir John Gonson ("Sr. J G").
Alternative Title:
Harlot's progress. Plate 4, In Bridewell beating hemp, and Dans la maison de correction a battre le chanvre
Description:
Title in English and French engraved below image., Date of publication based on the series of Rake's progress by Henry Parker dated 25 March 1768 in which these same engraved border pieces are used, here visibly more worn, and reversed on the page., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.5 x 36 cm)., Copy of Hogarth's original plate, engraved in reverse as per the piracy published by Elisha Kirkall in 1732., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2076., and Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 124.
A copy in reverse of William Hogarth's Plate 2 of A harlot's progress: Mary Hackabout (left), now a harlot and mistress of a wealthy London Jew, exposes her breast and kicks over a tea table to divert his attention from the presence of her younger lover who hides behind the door of the room with her maid servant. A monkey and young black servant boy in a feathered turban look on the scene with frighten expressions. The mask and mirror in the lower left corner and the paintings of scenes from the Old Testament (Jonah IV.8 and 2 Samuel VI.1-5) hanging on the wall further amplify the artist's moral message
Alternative Title:
Harlot's progress. Plate 2, In high keeping by a Jew, and Juif l'entretien somptueusement
Description:
Title in English and French engraved below image., Date of publication based on the series of Rake's progress by Henry Parker dated 25 March 1768 in which these same engraved border pieces are used, here visibly more worn, and reversed on the page., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.7 x 36.3 cm)., Copy of Hogarth's original plate, engraved in reverse as per the piracy published by Elisha Kirkall in 1732., Overprinted with left and right border pieces., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2047., and Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 122.
Publisher:
publisher not identified
Subject (Topic):
Black people, Jews, Boudoirs, Biblical events, Masks, Monkeys, Clegy, Horses, Lust, Rake's progress, Prostitutes, Relations between the sexes, Servants, and Young adults
A copy in reverse of William Hogarth's Plate 1 of A harlot's progress: A scene outside the Bell Inn: a country girl, Moll Hackabout, having just arrived on the York Wagon (seen on the right), meets an extravagantly dressed bawd (Mother Needham); a clergyman on horseback fails to notice the encounter, but a lecherous old gentleman (Colonel Charteris) eyes the girl with anticipation. In the lower left the girl's initials "H.M." (M[ary?] Hackabout, initials reversed on this copy) are on her portmanteau, next to which is a basket with a goose with a note around its neck, "For my Loving Cosen in Tems Stret in London", presumably the person who has failed to meet her. In the background a woman hangs out her laundry on a balcony. A clergyman on horseback fails to notice the encounter as his horse feeds on hay next to the wagon. In the back of the wagon, four other country girls sit holding onto a rail
Alternative Title:
Innocence betrayed, or The journey to London and Innocence trahie, ou, Le voyage de Londres
Description:
Title in English and French engraved below image., Date of publication based on the series of Rake's progress by Henry Parker dated 25 March 1768 in which these same engraved border pieces are used, here visibly more worn, and reversed on the page., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.7 x 36.3 cm)., Copy of Hogarth's original plate, engraved in reverse as per the piracy published by Elisha Kirkall in 1732., Overprinted with left and right border pieces., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2031., and Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 121.
Publisher:
publisher not identified
Subject (Name):
Needham, Elizabeth, -1731. and Charteris, Francis, 1675-1732.
Subject (Topic):
Prostitution, Carriages & coaches, City & town life, Clegy, Horses, Lust, Rake's progress, Prostitutes, Signs (Notices), Taverns (Inns), and Young adults
A copy in reverse of William Hogarth's Plate 3 of A harlot's progress: In a shabby room in Drury Lane; Moll Hackabout is shown having risen late (the watch shows 11:45), attended by a serving-woman who has lost part of her nose to syphilis; in the background, the magistrate, John Gonson, enters quietly with officers to arrest her; pinned to the window frame are two portrait prints of the hero and heroines of "The Beggar's Opera", Captain Mackheath and Polly Peacham, (Polly replaces Dr. Sacheverell in Hogarth's print), the wig-box of James Dalton, highwayman, sits above the bed, and one of several beer tankards on the floor carries the name of a Drury Lane tavern. A kitten plays at Moll's feet. A copy of Bishop Gibson's "Pastoral Letter to ..." serves as a butter dish. Above the window on the left is a print after a Titian painting depicting the angel staying the hand of Abraham as he is about to slay Isaac. Medicine bottles on the window sill suggest that Molly is already ill with the disease that will later kill her
Alternative Title:
Harlot's progress. Plate 3, Compleat trull at her lodgings in Drury Lane, and Elle est reduite à la misère dans son logement de Drury Lane
Description:
Title in English and French engraved below image., Date of publication based on the series of Rake's progress by Henry Parker dated 25 March 1768 in which these same engraved border pieces are used, here visibly more worn, and reversed on the page., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.5 x 36 cm)., Copy of Hogarth's original plate, engraved in reverse as per the piracy published by Elisha Kirkall in 1732., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2062., Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 123., and Border piece on the left slight overprinting into the design.
A copy in reverse of William Hogarth's Plate 6 of A harlot's progress: A dilapidated room with Moll Hackabout's friends, mostly prostitutes, gathered around her open coffin, several of them weeping; one young woman stands with her back to the scene as she gazes at herself in the mirror. On the right, a clergyman spills his brandy as he surreptitiously gropes beneath a woman's skirt; Moll's serving woman, standing at the coffin with a wine bottle and glass in hand scowls at the pair. Under the window and to the left, the undertaker flirts with a pretty young prostitute who picks a handkerchief from his pocket. In the foreground Moll's small son plays with a spinning top. Sprigs of yew (rosemary?) decorate her coffin; a plate of yew rests on the floor at the parson's feet, another spring at her son's feet
Alternative Title:
Harlot's progress. Plate 6, Her funeral properly attended, and Pompe de ses funérailles
Description:
Title in English and French engraved below image., Date of publication based on the series of Rake's progress by Henry Parker dated 25 March 1768 in which these same engraved border pieces are used, here visibly more worn, and reversed on the page., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.7 x 36.4 cm)., Copy of Hogarth's original plate, engraved in reverse as per the piracy published by Elisha Kirkall in 1732., Cf. Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2107., and Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 126.
Publisher:
publisher not identified
Subject (Topic):
Prostitution, Children, Clergy, Coffins, Death, Funeral rites & ceremonies, Interiors, Prostitutes, Rake's progress, Seduction, Servants, Syphilis, Undertakers, and Wake services
Copy (not reversed) of the first state of Plate 2 of Hogarth's 'The Rake's Progress' (Paulson 133): a fashionable interior with Tom, in elegant indoor dress, surrounded by tradesmen vying for his custom: a poet, a wigmaker, a tailor, a musician (with a list of presents given by aristocrats to the popular castrato, Farinelli), a fencing master (said to be named Dubois), a prizefighter with quarter-staffs (said to be James Figg), a dancing master (John Essex?), a landscape-gardener (said to be Charles Bridgeman), a bodyguard, a huntsman and a jockey.--British Museum online catalogue
Alternative Title:
Rake's progress. Plate 2 and To recompense the Sire's continu'd fast, ...
Description:
Title from text engraved above image., "Plate 2"--Lower right, below image., A reissue, with a new publication line and with ornamental borders added, of the second of eight prints in a series; all are copies of the first states of Hogarth's plates with new verses in the columns below the image; copies were made with Hogarth's consent in 1735. See Paulson, R. Hogarth's graphic works (3rd ed.), page 90., Original publication line: Published with the consent of Mr. William Hogarth by Tho. Bakewell according to Act of Parliament July 1735., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.7 x 36.5 cm)., and Ornamental borders partially obscure image and plate number.
Publisher:
Publish'd wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill
A loose plagiary (reversed) after Hogarth's plate 7 in the Rake's Progress series; a room in the Fleet Prison; Tom sits at a table to left, on which is a rejection letter from John Rich to whom he has submitted a play; his old wife brandishing her fists beside a weeping Sarah Young, other prisoners in the background
Description:
Title from text above image., Below image, four columns each with six lines of verse: "The compter next our spark receivces ... describes his exit on the wall.", See Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2226-2245., Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 138., and Mounted to: 360 x 423 mm.
"Copy of a room in the Fleet Prison; Tom sits at a table, to left, on which is a rejection letter from John Rich to whom he has submitted a play; his wife clenches her fists, the gaoler asks for garnish money and a boy asks payment for a tankard of ale; to left, Sarah Young has fainted and is being administered smelling salts by one woman while another slaps her hand, her child clings to her skirt; she is supported by an older man with a beard who has dropped a sheet containing a scheme for paying the national debt (a reference to such a scheme put forward by Hogarth's father); in the background an alchemist works at a forge."--British Museum online catalogue
Alternative Title:
Rake's progress. Plate 7
Description:
Title from text engraved above image., Verses, attributed to John Hoadly, below image in three columns, four lines each: His hours of joy are fled with rapid speed, And scenes of anguish in a jail succeed ... Can his person from restraint enlarge., The seventh of eight prints in a series; all are copies of the first states of Hogarth's plates with new verses in the columns below the image; copies were made with Hogarth's consent in 1735. See Paulson, R. Hogarth's graphic works (3rd ed.), page 90., and "Plate 7."--Lower right below design.
Publisher:
Published with the consent of Mr. William Hogarth by Tho. Bakewell
Copy (reversed) of the first state of Plate 7 of Hogarth's 'The Rake's Progress' (Paulson 138): A room in the Fleet Prison (after the painting at Sir John Soane's Museum); Tom sits at a table, to right, on which is a rejection letter from John Rich to whom he has submitted a play; his wife clenches her fists, the gaoler asks for garnish money and a boy asks payment for a tankard of ale; to left, Sarah Young has fainted and is being administered smelling salts by one woman while another slaps her hand, her child clings to her skirt; she is supported by an older man with a beard who has dropped a sheet containing a scheme for paying the national debt (a reference to such a scheme put forward by Hogarth's father); in the background an alchemist works at a forge."--British Museum online catalogue
Alternative Title:
Rake's progress. Plate 7 and His hours of joy are fled with rapid speed
Description:
Title from text engraved above image., "Plate 7"--Lower right below design., Verses below image in three columns, four lines each: His hours of joy are fled with rapid speed, ..., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.7 x 36.5 cm)., A reissue, with a new publication line and with ornamental borders added, of the seventh of eight prints in a series; all are copies of the first states of Hogarth's plates with new verses in the columns below the image; copies were made with Hogarth's consent in 1735. See Paulson, R. Hogarth's graphic works (3rd ed.), page 90., Original publication line: Published with the consent of Mr. William Hogarth by Tho. Bakewell according to Act of Parliament July 1735., and Ornamental borders partially obscure image and text on right.
Publisher:
Publish'd wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill
Subject (Name):
Fleet Prison (London, England),
Subject (Topic):
Children, Debt, Jails, Poverty, Rake's progress, and Unmarried mothers
A loose plagiary (reversed) after Hogarth's first plate in the Rake's Progress series; the interior of the house of Tom Rakewell's late father (after the painting at Sir John Soane's Museum) with Tom being measured for a suit as he gives a bag of coins to the pregnant Sarah Young; to the right a table with the papers related to the estate and coins; on the floor are boxes of miscellaneous goods; an upholsterer attaching fabric to the wall reveals a hiding place for coins which tumble out
Description:
Title from verses below image. Verses (in four columns, each with six lines) continue: " ... And thou hast left graceless son to wast thy fund of ill got stores .... plate, gloves and hoarded cash descend.", See Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2259-2272., Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 132., and Mounted to 358 x 435 mm.
Publisher:
publisher not identified
Subject (Name):
Hogarth, William, 1697-1764. and Hogarth, William, 1697-1764
Subject (Topic):
Avarice, Corruption, Interiors, Miserliness, Mothers, Pregnant women, Rake's progress, Servants, Tailors, and Young adults
published according to act of Parliament, Feb. 1, 1751 [that is, between 1790 and 1835]
Call Number:
Print20072
Image Count:
1
Resource Type:
still image
Abstract:
In a London street, young boys inflict various forms of cruelty upon animals. In the centre, a boy (Tom Nero), identifiable by the badge on his shoulder as a pupil of St. Giles's Parish School, thrusts an arrow into a dog's anus; he ignores the offer of a large tart from a sympathetic young gentleman (said by Paulson to be a compliment to the young George III). To his left on the front of the balustrade, a boy draws a prophetic picture of Tom hanging from the gallows. Below Tom, another boy ties a bone to a dog's tail. In the lower left, a dog disembowels a cat. In the center foreground another boy kneels on the cobblestones, about to release a cock, as another boy prepares to a stick at it; the boy behind him holds a second cock. On the balustrade one boy holds a torch while his companion blinds a bird with a wire. Further to the left on the balustrade a group of boys laugh at the sight of two cats fight as they are hung by their tails from a gibbet-shaped lamp post. Above them a cat with a pair of wings tied to its back has been tossed out the attic window to see if it could fly
Description:
Title engraved above image., State from Paulson., Second state, with price mostly burnished from plate. This state of the plate was first issued in The original works of William Hogarth (London : Sold by John and Josiah Boydell, 1790). It was reissued, with some lines strengthened by the engraver James Heath, in The works of William Hogarth (London : Printed for Baldwin, Cradock, and Joy ..., 1822); another edition was published by Baldwin & Cradock in 1835. See Paulson., First in a series of four: The four stages of cruelty., Quotation engraved below image: "While various scenes of sportive woe, the infant race employ, and tortur'd victims bleeding shew, the tyrant in the boy. Behold! A youth of gentler heart, to spare the creature's pain. O take, he cries - take all my tart, but tears and tart are vain. Learn from this fair example - you whom savage sports delight, how cruelty disgusts the view while pity charms the sight.", and Temporary local Medical Library subject terms: Prevention of cruelty to animals.
published according to act of Parliament, Feb. 1, 1751.
Call Number:
Folio 75 H67 764 (Oversize)
Collection Title:
Plate 76. Queen Charlotte's collection of Hogarth works. Leaf 52. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
In a London street, young boys inflict various forms of cruelty upon animals. In the centre, a boy (Tom Nero), identifiable by the badge on his shoulder as a pupil of St. Giles's Parish School, thrusts an arrow into a dog's anus; he ignores the offer of a large tart from a sympathetic young gentleman (said by Paulson to be a compliment to the young George III). To his left on the front of the balustrade, a boy draws a prophetic picture of Tom hanging from the gallows. Below Tom, another boy ties a bone to a dog's tail. In the lower left, a dog disembowels a cat. In the center foreground another boy kneels on the cobblestones, about to release a cock, as another boy prepares to a stick at it; the boy behind him holds a second cock. On the balustrade one boy holds a torch while his companion blinds a bird with a wire. Further to the left on the balustrade a group of boys laugh at the sight of two cats fight as they are hung by their tails from a gibbet-shaped lamp post. Above them a cat with a pair of wings tied to its back has been tossed out the attic window to see if it could fly
Description:
Title engraved above image., State, publisher, and series title from Paulson., First in a series of four: The four stages of cruelty., Quotation engraved below image: "While various scenes of sportive woe, the infant race employ, and tortur'd victims bleeding shew, the tyrant in the boy. Behold! A youth of gentler heart, to spare the creature's pain. O take, he cries - take all my tart, but tears and tart are vain. Learn from this fair example - you whom savage sports delight, how cruelty disgusts the view while pity charms the sight.", 1 print : etching and engraving on laid paper ; plate mark 38.5 x 32.1 cm, on sheet 59 x 46 cm., and Plate 76 in the album: Queen Charlotte's collection of Hogarth works.
published according to act of Parliament, Feb. 1, 1751.
Call Number:
Folio Greenberg 75 H67 753
Collection Title:
Plate 76. Queen Charlotte's collection of Hogarth works. Leaf 52. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
In a London street, young boys inflict various forms of cruelty upon animals. In the centre, a boy (Tom Nero), identifiable by the badge on his shoulder as a pupil of St. Giles's Parish School, thrusts an arrow into a dog's anus; he ignores the offer of a large tart from a sympathetic young gentleman (said by Paulson to be a compliment to the young George III). To his left on the front of the balustrade, a boy draws a prophetic picture of Tom hanging from the gallows. Below Tom, another boy ties a bone to a dog's tail. In the lower left, a dog disembowels a cat. In the center foreground another boy kneels on the cobblestones, about to release a cock, as another boy prepares to a stick at it; the boy behind him holds a second cock. On the balustrade one boy holds a torch while his companion blinds a bird with a wire. Further to the left on the balustrade a group of boys laugh at the sight of two cats fight as they are hung by their tails from a gibbet-shaped lamp post. Above them a cat with a pair of wings tied to its back has been tossed out the attic window to see if it could fly
Description:
Title engraved above image., State, publisher, and series title from Paulson., First in a series of four: The four stages of cruelty., Quotation engraved below image: "While various scenes of sportive woe, the infant race employ, and tortur'd victims bleeding shew, the tyrant in the boy. Behold! A youth of gentler heart, to spare the creature's pain. O take, he cries - take all my tart, but tears and tart are vain. Learn from this fair example - you whom savage sports delight, how cruelty disgusts the view while pity charms the sight.", 1 print : etching and engraving on laid paper ; plate mark 38.6 x 32.1 cm, on sheet 56 x 45 cm., and Leaf 52 in: Album of William Hogarth prints.
published according to act of Parliament, Feb. 1, 1751.
Call Number:
Kinnaird 53K(a) Box 215
Collection Title:
Plate 76. Queen Charlotte's collection of Hogarth works. Leaf 52. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
In a London street, young boys inflict various forms of cruelty upon animals. In the centre, a boy (Tom Nero), identifiable by the badge on his shoulder as a pupil of St. Giles's Parish School, thrusts an arrow into a dog's anus; he ignores the offer of a large tart from a sympathetic young gentleman (said by Paulson to be a compliment to the young George III). To his left on the front of the balustrade, a boy draws a prophetic picture of Tom hanging from the gallows. Below Tom, another boy ties a bone to a dog's tail. In the lower left, a dog disembowels a cat. In the center foreground another boy kneels on the cobblestones, about to release a cock, as another boy prepares to a stick at it; the boy behind him holds a second cock. On the balustrade one boy holds a torch while his companion blinds a bird with a wire. Further to the left on the balustrade a group of boys laugh at the sight of two cats fight as they are hung by their tails from a gibbet-shaped lamp post. Above them a cat with a pair of wings tied to its back has been tossed out the attic window to see if it could fly
Description:
Title engraved above image., State, publisher, and series title from Paulson., First in a series of four: The four stages of cruelty., Quotation engraved below image: "While various scenes of sportive woe, the infant race employ, and tortur'd victims bleeding shew, the tyrant in the boy. Behold! A youth of gentler heart, to spare the creature's pain. O take, he cries - take all my tart, but tears and tart are vain. Learn from this fair example - you whom savage sports delight, how cruelty disgusts the view while pity charms the sight.", and Sheet trimmed to 382 x 313 mm.
published according to act of Parliament, Feb. 1, 1751.
Call Number:
Hogarth 751.02.01.03.1+ Box 200
Collection Title:
Plate 76. Queen Charlotte's collection of Hogarth works. Leaf 52. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
In a London street, young boys inflict various forms of cruelty upon animals. In the centre, a boy (Tom Nero), identifiable by the badge on his shoulder as a pupil of St. Giles's Parish School, thrusts an arrow into a dog's anus; he ignores the offer of a large tart from a sympathetic young gentleman (said by Paulson to be a compliment to the young George III). To his left on the front of the balustrade, a boy draws a prophetic picture of Tom hanging from the gallows. Below Tom, another boy ties a bone to a dog's tail. In the lower left, a dog disembowels a cat. In the center foreground another boy kneels on the cobblestones, about to release a cock, as another boy prepares to a stick at it; the boy behind him holds a second cock. On the balustrade one boy holds a torch while his companion blinds a bird with a wire. Further to the left on the balustrade a group of boys laugh at the sight of two cats fight as they are hung by their tails from a gibbet-shaped lamp post. Above them a cat with a pair of wings tied to its back has been tossed out the attic window to see if it could fly
Description:
Title engraved above image., State, publisher, and series title from Paulson., First in a series of four: The four stages of cruelty., Quotation engraved below image: "While various scenes of sportive woe, the infant race employ, and tortur'd victims bleeding shew, the tyrant in the boy. Behold! A youth of gentler heart, to spare the creature's pain. O take, he cries - take all my tart, but tears and tart are vain. Learn from this fair example - you whom savage sports delight, how cruelty disgusts the view while pity charms the sight.", This impression stamped '6d' following price '1s'., and 1 print : etching & engraving on laid paper ; plate mark 380 x 320 mm, on sheet 470 x 384 mm.
published according to act of Parliament, Feb. 1, 1751.
Call Number:
Sotheby 69++ Box 315
Collection Title:
Plate 76. Queen Charlotte's collection of Hogarth works. Leaf 52. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
In a London street, young boys inflict various forms of cruelty upon animals. In the centre, a boy (Tom Nero), identifiable by the badge on his shoulder as a pupil of St. Giles's Parish School, thrusts an arrow into a dog's anus; he ignores the offer of a large tart from a sympathetic young gentleman (said by Paulson to be a compliment to the young George III). To his left on the front of the balustrade, a boy draws a prophetic picture of Tom hanging from the gallows. Below Tom, another boy ties a bone to a dog's tail. In the lower left, a dog disembowels a cat. In the center foreground another boy kneels on the cobblestones, about to release a cock, as another boy prepares to a stick at it; the boy behind him holds a second cock. On the balustrade one boy holds a torch while his companion blinds a bird with a wire. Further to the left on the balustrade a group of boys laugh at the sight of two cats fight as they are hung by their tails from a gibbet-shaped lamp post. Above them a cat with a pair of wings tied to its back has been tossed out the attic window to see if it could fly
Description:
Title engraved above image., State, publisher, and series title from Paulson., First in a series of four: The four stages of cruelty., and Quotation engraved below image: "While various scenes of sportive woe, the infant race employ, and tortur'd victims bleeding shew, the tyrant in the boy. Behold! A youth of gentler heart, to spare the creature's pain. O take, he cries - take all my tart, but tears and tart are vain. Learn from this fair example - you whom savage sports delight, how cruelty disgusts the view while pity charms the sight."
published according to act of Parliament, Feb. 1, 1751.
Call Number:
Folio 75 H67 800 v.2 (Oversize)
Collection Title:
Plate 76. Queen Charlotte's collection of Hogarth works. Leaf 52. Album of William Hogarth prints.
Image Count:
1
Resource Type:
still image
Abstract:
In a London street, young boys inflict various forms of cruelty upon animals. In the centre, a boy (Tom Nero), identifiable by the badge on his shoulder as a pupil of St. Giles's Parish School, thrusts an arrow into a dog's anus; he ignores the offer of a large tart from a sympathetic young gentleman (said by Paulson to be a compliment to the young George III). To his left on the front of the balustrade, a boy draws a prophetic picture of Tom hanging from the gallows. Below Tom, another boy ties a bone to a dog's tail. In the lower left, a dog disembowels a cat. In the center foreground another boy kneels on the cobblestones, about to release a cock, as another boy prepares to a stick at it; the boy behind him holds a second cock. On the balustrade one boy holds a torch while his companion blinds a bird with a wire. Further to the left on the balustrade a group of boys laugh at the sight of two cats fight as they are hung by their tails from a gibbet-shaped lamp post. Above them a cat with a pair of wings tied to its back has been tossed out the attic window to see if it could fly
Description:
Title engraved above image., State, publisher, and series title from Paulson., First in a series of four: The four stages of cruelty., Quotation engraved below image: "While various scenes of sportive woe, the infant race employ, and tortur'd victims bleeding shew, the tyrant in the boy. Behold! A youth of gentler heart, to spare the creature's pain. O take, he cries - take all my tart, but tears and tart are vain. Learn from this fair example - you whom savage sports delight, how cruelty disgusts the view while pity charms the sight.", and On page 155 in volume 2. Sheet trimmed within plate mark to: 37.6 x 30.8 cm.
"Piracy of plate IV of Hogarth's Rake's Progress with considerable differences: a scene in St James's Street with the Rake (here named Ramble) emerging from a sedan-chair to be arrested for debt; figures in the foreground include a Welshman, probably the creditor, honouring St David's day (March 1st) with a leek in his hat, "Nanny" offering a handful of money to reprieve her former lover, and a lamp-lighter carelessly spilling oil on the Rake's coat; in the distance to left, a group of street-boys point to "Taffy", a mannikin, perched on a lamp-post, and beyond the gate of St James's Palace."--British Museum online catalogue
Description:
Title engraved below image., Printmaker and publisher from the Wellcome Collection online catalogue, Wellcome Library no. 38342i., Date of publication from British Museum online catalogue., Sheet trimmed within plate mark., Four columns of verse beneath title., Not in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., Cf. Paulson, R, Hogarth's graphic works (3rd ed.), page 90., and Window mounted to 29 x 44 cm.
Publisher:
John Bowles
Subject (Geographic):
Saint James Westminster, London, England : Parish),
Subject (Name):
Hogarth, William, 1697-1764.
Subject (Topic):
Dogs, Debt, Ethnic stereotypes, Lampposts, Law enforcement, Puppets, Rake's progress, Sedan chairs, and Street lights
"Plate from a pirated series of Hogarth's Rake's Progress, not based on one of the original prints: Covent Garden with St Paul's church and the buildings at the north-western corner of the piazza; the Rake (here called Ramble) and drunken friends are accosting women passers-by and the watch has arrived to set about them with staves."--British Museum online catalogue
Description:
Title engraved below image., Printmaker and publisher from the Wellcome Collection online catalogue, Wellcome Library no. 38341i., Date of publication from Paulson and the British Museum catalogue., Sheet trimmed within plate mark., Four columns of verse beneath title: Young Ramble, without witt or dread, Does non a drunken party head ... Uplifted staves, drawn swords oppose, And stabs are well repaid with blows., Cf. Paulson, R. Hogarth's graphic works (3rd ed.), page 90., and Window mounted to 29 x 43 cm.
Publisher:
John Bowles
Subject (Geographic):
Covent Garden (London, England),, England, and London.
Subject (Name):
Hogarth, William, 1697-1764.
Subject (Topic):
Fighting, Intoxication, Rake's progress, Watchmen, and Women
Copy in reverse of the first state of Plate 5 of Hogarth's 'The Rake's Progress' (Paulson 136): Tom and a wealthy old woman are being married in the dilapidated church of St. Marylebone. The bride has only one eye and growths on her forehead; the IHS on the wall behind her serve as a mock halo. In contrast the old woman is attended by a beautiful young woman who has already caught Tom's eye. In the background on the left, the elderly pew opener pushes Sarah Young, carrying Tom's child in her arms, and Sarah's mother; she shakes her keys in their faces to prevent them from entering the church to stop the marriage. Two dogs in the lower left of the image mirror the courtship of Tom and his bride; the courted dog has only one eye. The clergyman is assisted at the altar by a clerk, and a charity-boy kneels at the bride's feet offering a hassock. The Poor Box on the left is covered with a cobweb; there is a crack down the center of the slab with the Commandments on the wall behind the clergyman
Alternative Title:
Rake's progress. Plate 5 and Youth to reimburse his squander'd gold
Description:
Title from text engraved above image., "Plate 5"--Lower right below design., Verses below image in three columns, four lines each: The youth to reimburse his squander'd gold, ..., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.7 x 36.5 cm)., A reissue, with a new publication line and with ornamental borders added, of the fifth of eight prints in a series; all are copies of the first states of Hogarth's plates with new verses in the columns below the image; copies were made with Hogarth's consent in 1735. See Paulson, R. Hogarth's graphic works (3rd ed.), page 90., Original publication line: Published with the consent of Mr. William Hogarth by Tho. Bakewell according to Act of Parliament July 1735., and Ornamental borders partially obscure image on the left and last word on the right.
Publisher:
Publish'd wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill
Subject (Name):
St. Marylebone Church (Marylebone, London, England)
publish'd according to act of Parliament, May 1st, 1769.
Call Number:
769.05.01.01+
Collection Title:
Page 64. New London spy, or, A twenty-four hours ramble through the bills of mortality.
Image Count:
1
Resource Type:
still image
Abstract:
Print shows an interior view of a room; a duke has arrived home drunk at 5 a.m. (as shown on the longcase clock beside the door) accompanied by two attendants and watchman only to find his bedchamber occupied by another man. Through the open curtains around the bed can be seen a bare-breasted duchess. On the floor near the bed is an open book, "Memoirs of a woman of pleasure" (a reference to John Cleland's Fanny Hill ...) beside the chamber pot. As the duke with sword drawn, staggers forward, his rival climbs through a window in the background, leaving his clothes behind on a chair. A monkey dashes onto the table near the window on the heels of the husband's rival but pulls down the tablecloth causing the items on the table to be strewn across the floor in the foreground; a book opened to pages “Chastity in the nobility a farce. Dedicated to their Graces the Duke & Dutchess xxx”, breaking a broken mirror, and sending the bottles and jars onto the floor. The bottles have labels "Viper drops" and "Surfeit water" and the jar is labeled "Lip salve".
Description:
Title engraved below image., Text preceding publication statement: A recent transaction., "Price 1s. but given gratis to the purchasers of the Court Miscellany."--Following imprint., Eight lines of verse beneath image, four on either side of title: Persons in exalted station, Should patterns be of imitation; But if a duke must have his punk, And from the bagnio ride home drunk. What wonder if her wanton grace, Invites another in his place? He draws his sword raps out his oaths, But what redress? his rival's cloaths., Not in the Catalogue of prints and drawings in the British Museum., The reference to the duke is probably Henry Frederick, Duke of Cumberland, 1745-90., and Probably a 19th century impression, based on the quality of the paper.
publish'd according to act of Parliament, May 1st, 1769.
Call Number:
Quarto 724 771N
Collection Title:
Page 64. New London spy, or, A twenty-four hours ramble through the bills of mortality.
Image Count:
1
Resource Type:
still image
Abstract:
Print shows an interior view of a room; a duke has arrived home drunk at 5 a.m. (as shown on the longcase clock beside the door) accompanied by two attendants and watchman only to find his bedchamber occupied by another man. Through the open curtains around the bed can be seen a bare-breasted duchess. On the floor near the bed is an open book, "Memoirs of a woman of pleasure" (a reference to John Cleland's Fanny Hill ...) beside the chamber pot. As the duke with sword drawn, staggers forward, his rival climbs through a window in the background, leaving his clothes behind on a chair. A monkey dashes onto the table near the window on the heels of the husband's rival but pulls down the tablecloth causing the items on the table to be strewn across the floor in the foreground; a book opened to pages “Chastity in the nobility a farce. Dedicated to their Graces the Duke & Dutchess xxx”, breaking a broken mirror, and sending the bottles and jars onto the floor. The bottles have labels "Viper drops" and "Surfeit water" and the jar is labeled "Lip salve".
Description:
Title engraved below image., Text preceding publication statement: A recent transaction., "Price 1s. but given gratis to the purchasers of the Court Miscellany."--Following imprint., Eight lines of verse beneath image, four on either side of title: Persons in exalted station, Should patterns be of imitation; But if a duke must have his punk, And from the bagnio ride home drunk. What wonder if her wanton grace, Invites another in his place? He draws his sword raps out his oaths, But what redress? his rival's cloaths., Not in the Catalogue of prints and drawings in the British Museum., The reference to the duke is probably Henry Frederick, Duke of Cumberland, 1745-90., 1 print : engraving and etching ; sheet 22.2 x 33.1 cm., Imperfect; sheet trimmed within plate mark with loss of imprint statement from bottom edge., On laid paper. Folded to 22.2 x 25 cm; mounted to 32 x 26 cm., and Mounted on page 64 in a copiously extra-illustrated copy of: King, R. The new London spy, or, A twenty-four hours ramble through the bills of mortality. London : Printed for J. Cooke [and 3 others], [1771?].
Copy in reverse of the first state of Plate 4 of Hogarth's 'The Rake's Progress' (Paulson 135): In this scene two baliffs, one with an arrest notice in his hand, have stopped Tom Rakewell's sedan chair in St. James's Street; Tom is presumably on his way to White's gaming house which can be seen in the background. They are foiled in their attempt to arrest Tom for debt as Sarah Young, the young woman whom he had seduced and abandoned, offers the bailiffs her purse instead. Sarah is now a dealer in millinery as is suggested by the notions falling from her purse. In the right foreground a shoe-black apparently taking advantage of the situation to take hold of Tom's elegant walking stick. Above them a careless lamplighter spills some oil on Tom's head. To the left a Welshman, probably the creditor, honouring St David's day (March 1st) with a leek in his hat, accompanied by his manicured dog, simply watches the scene. In the distance is the gate of St James's Palace with a crowd of sedan-chairs approaching to celebrate the birthday of Queen Caroline
Alternative Title:
Rake's progress. Plate 4 and Tho' prest with debts, [the] Beau maintain's his state, ...
Description:
Title from text engraved above image., "Plate 4"--Lower right below design., Verses below image in three columns, four lines each: Tho' prest with debts, [the] Beau maintain's his state, ..., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.7 x 36.5 cm)., A reissue, with a new publication line and with ornamental borders added, of the fourth of eight prints in a series; all are copies of the first states of Hogarth's plates with new verses in the columns below the image; copies were made with Hogarth's consent in 1735. See Paulson, R. Hogarth's graphic works (3rd ed.), page 90., Original publication line: Published with the consent of Mr. William Hogarth by Tho. Bakewell according to Act of Parliament July 1735., and Ornamental borders partially obscure image on left and plate number and text on right.
Publisher:
Publish'd wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill
Subject (Topic):
Interiors, Bailiffs, Dogs, Children, Lamps, Lust, Seduction, Sedan chairs, Seamstresses, Street vendors, Young adults, Ethics, Rake's progress, and Traffic congestion
Copy (reversed) of the first state of Plate 8 of Hogarth's 'The Rake's Progress' (Paulson 139), after the painting at Sir John Soane's Museum.: A scene in Bedlam with Tom half-naked and in a state of distress attended by Sarah Young, a clergyman, and a warder; in the background, an inmate who believes himself to be God has cheap prints of saints pinned to his cell wall. Two elegantly dressed female visitors whisper together, the one holding a fan against her face to shield from her view an inmate in a cell who believes he is King and sits naked, save for a crown, urinating on his straw bed. The wall and the banister of a staircase to the right are covered with various graffiti including calculations of longitude
Alternative Title:
Rake's progress. Plate 8 and His fortune ruin'd, frenzy wrecks his mind
Description:
Title from text engraved above image., "Plate 8"--Lower right below design., Verses below image in three columns, four lines each: His fortune ruin'd, frenzy wrecks his mind, ..., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 25.7 x 36.5 cm)., A reissue, with a new publication line and with ornamental borders added, of the eighth of eight prints in a series; all are copies of the first states of Hogarth's plates with new verses in the columns below the image; copies were made with Hogarth's consent in 1735. See Paulson, R. Hogarth's graphic works (3rd ed.), page 90., Original publication line: Published with the consent of Mr. William Hogarth by Tho. Bakewell according to Act of Parliament July 1735., and Ornamental borders partially obscure image on left and plate number on right.
Publisher:
Publish'd wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill
"'The Marriage Settlement' (after the painting by Hogarth in National Gallery); a grand interior where Earl Squander and a city merchant arrange the marriage of their son and daughter; the extravagantly dressed young man looks at his reflection in a glass while his future bride listens to the lawyer's soft words; through the window is a view of a palatial house under construction."--British Museum online catalogue
Alternative Title:
Marriage settlement
Description:
Title from British Museum online catalogue., Title engraved below image., "Size of picture ft. 3 by 2 ft. in. 4.", Copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2692., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 158., and Copy of: Paulson, R. Hogarth's graphic works (1st ed.), no. 228.
Publisher:
Pubd. June 4, 1795 by J. & J. Boydell, No. 90, Cheapside, & at the Shakspeare Gallery, Pall-Mall, London
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 dishevelled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures. The decor includes an elaborate ormulu clock, chinese porcelain and figures (including a Buddha), a bust of a Roman matron, old master paintings (one, evidently erotic, is screened by a curtain).
Alternative Title:
Marriage a-la-Mode. Plate 2
Description:
Title engraved below image., State from Paulson, and After the painting "Tête à Tête" in the National Gallery, London.
Plate 16. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction, presumably for the new couple as the plans are labelled "A Plan of the New Building of the Rt. Honble..." The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., After the painting "The Marriage Settlement" in the National Gallery, London., 1 print : etching on laid paper ; plate mark 38.2 x 46.8 cm, on sheet 46 x 59 cm., and Plate 16 in the album: Queen Charlotte's collection of Hogarth works.
Plate 16. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction, presumably for the new couple as the plans are labelled "A Plan of the New Building of the Rt. Honble..." The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., After the painting "The Marriage Settlement" in the National Gallery, London., and On page 111 in volume 2. Sheet trimmed to: 37.9 x 46.5 cm.
Plate 16. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction, presumably for the new couple as the plans are labelled "A Plan of the New Building of the Rt. Honble..." The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., and After the painting "The Marriage Settlement" in the National Gallery, London.
Plate 16. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction, presumably for the new couple as the plans are labelled "A Plan of the New Building of the Rt. Honble..." The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., After the painting "The Marriage Settlement" in the National Gallery, London., 1 print : etching on laid paper ; plate mark 38.2 x 46.8 cm, on sheet 46 x 59 cm., and Plate 16 in the album: Queen Charlotte's collection of Hogarth works.
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction. The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., and Sheet trimmed within plate mark.
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction. The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title and state from Paulson., Sheet trimmed within plate mark., Ms. note in Steevens's hand in pencil on folio page: See Nichols's book, 3d edit, p. 262, &c., Ms. note in Steevens's hand in pencil at bottom of print: Given me by Mr. Henderson [?]., Ms. note in brown ink below image at bottom right: Scotin fe. aqua forti., and Formerly on page 109 in volume 2. Removed from Steevens volume by LWL conservator.
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction. The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., Sheet trimmed within plate mark., 1 print : etching on laid paper ; plate mark 38.4 x 46.3 cm, on sheet 45 x 56 cm., and Leaf 16 in: Album of William Hogarth prints.
The Earl Squander and a city merchant arrange the marriage of their son and daughter in a grand sitting room. The Earl, whose coronet is stamped on all his possessions, unfolds a diagram of his illustrious family tree as the alderman focuses on the marriage contract and his payment. The extravagantly dressed young groom-to-be looks at his reflection in a glass while his future bride listens intently at the lawyer's soft words. Through the window is a view of a palatial house under construction. The walls of the room are covered with paintings of Roman and Old Testament scenes as well as the screaming face of Medusa. In the foreground on the right, two dogs are chained together, one lying down but looking out the corner of his eyes at the viewer, the other looking off to the right
Alternative Title:
Marriage a-la-mode. Pl. I
Description:
Title engraved below image., State from Paulson., Sheet trimmed within plate mark., Sheet trimmed to: 38 x 46.3 cm., and Formerly on page 110 in volume 2. Removed in 2012 by LWL conservator.
Plate 18. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson). and After the painting "The Inspection" in the National Gallery, London
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Title devised by cataloger., Series title engraved below image., State from Paulson., 1 print : etching and engraving on laid paper ; plate mark 38.5 x 46.6 cm, on sheet 46 x 59 cm., and Plate 18 in the album: Queen Charlotte's collection of Hogarth works.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, Skeletons, and Rake's progress
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson).
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Ttitle and number engraved below image., State from Paulson., Sheet trimmed within plate mark., 1 print : etching and engraving on laid paper ; plate mark 38.4 x 46.6 cm, on sheet 45 x 56 cm., and Leaf 18 in: Album of William Hogarth prints.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Rake's progress, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, and Skeletons
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson).
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Ttitle and number engraved below image., State from Paulson., and Sheet trimmed within plate mark.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Rake's progress, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, and Skeletons
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson).
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Ttitle and number engraved below image., State from Paulson., Sheet trimmed within plate mark., and On page 115 in volume 2. Sheet trimmed to: 38.8 x 46.2 cm.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Rake's progress, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, and Skeletons
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson).
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Ttitle and number engraved below image., State from Paulson., Sheet trimmed within plate mark., Sheet trimmed to: 38.3 x 46.4 cm., and Formerly on page 114 in volume 2. Removed in 2012 by LWL conservator.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Rake's progress, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, and Skeletons
Plate 18. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The scene is the interior of a dispensary with the Viscount sitting in a chair, his child-mistress at his knee. The young girl holds a handkerchief to her mouth as if to hide a sore. With his right hand he holds a pill-box out to the doctor; with his left, he threatens him with his raised cane. A large, well-dressed woman looks angrily at the young man and opens a knife, while the quack polishes his glasses, at his side a skull on the table. The room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, two mummies, a skeleton, and two pictures, one of a two-headed hermaphrodite and the other an anthropophagi (see Paulson). and After the painting "The Inspection" in the National Gallery, London
Alternative Title:
Marriage a-la-mode. Plate 3
Description:
Title devised by cataloger., Series title engraved below image., and State from Paulson.
Publisher:
Wm. Hogarth
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Physicians, Prostitutes, Quacks, Scientific equipment, Sexually transmitted diseases, Skeletons, and Rake's progress
Plate 19. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.5 x 46.6 cm, on sheet 46 x 59 cm., and Plate 19 in the album: Queen Charlotte's collection of Hogarth works.
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., Sheet trimmed within plate mark., 1 print : etching and engraving on laid paper ; plate mark 38.7 x 46.3 cm, on sheet 45 x 56 cm., and Leaf 19 in: Album of William Hogarth prints.
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., and Sheet trimmed within plate mark.
Plate 19. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., and After the painting "The Toilette" in the National Gallery, London.
Plate 19. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., 1 print : etching and engraving on laid paper ; plate mark 38.5 x 46.6 cm, on sheet 46 x 59 cm., and Plate 19 in the album: Queen Charlotte's collection of Hogarth works.
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., Sheet trimmed within plate mark., Sheet trimmed to: 38.6 x 46.1 cm., and Formerly on page 116 in volume 2. Removed in 2012 by LWL conservator.
Plate 19. Queen Charlotte's collection of Hogarth works.
Image Count:
1
Resource Type:
still image
Abstract:
The countess holds a morning levée in her lavishly decorated bedroom. Her hairdresser curls her hair as she chats with her lawyer, Silvertongue, who is making arrangements to meet her at a masquerade (as shown on the screen). Others in the room include a female friend and her husband; a castrato singer accompanied by a flautist; a young black man who serves chocolate to the party; and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid and a plate with the scene of Leda and the swan; playing cards and invitations are on the floor in the lower right. On the walls are paintings of biblical stories and mythology, including Lot's Daughters, Jupiter and Io, and Rape of Ganymede
Description:
Title engraved below image., State from Paulson., After the painting "The Toilette" in the National Gallery, London., and On page 117 in volume 2. Sheet trimmed to: 38.3 x 46.4 cm.
In a bedroom of The Bagnio, the mortally-wounded Earl leans on a table, the countess kneeling before him with clasped hands. Behind her on the right Silvertongue escapes through the window. On the left the watchmen stand in the doorway with startled expressions. The floor is strewn with clothing including a hooped petticoat, masks, the countess's shoes and her stays. The painting above the door, the mural on the back wall, and the portrait near the window illustrate the theme
Description:
Title engraved below image., The engraver's initials 'R.F. Ravenet' are a mistake for 'S.F.' or Simon François., and Sheet trimmed within plate mark.
Consists of the "interior of a dispensary where the viscount has brought his child-mistress to visit M.de la Pillule whose remedy has not cured her venereal disease; a large, well-dressed woman (perhaps a procuress) looks angrily at the young man and opens a knife, while the quack polishes his glasses; the room contains numerous medical and scientific objects, including machines for straightening shoulders and for drawing corks, a dried crocodile, a narwhal's tusk, and two mummies."--British Museum online catalogue and After Hogarth's painting "The Inspection" in the National Gallery, London
Description:
Title engraved below image., In lower left corner: Size of picture 3 ft. by 2 ft. 4 in., Sheet trimmed to plate mark., No. 3 in a series of 6 images, known as "The inspection.", Copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2717., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 160., and Copy of: Paulson, R. Hogarth's graphic works (1st ed.), no. 230.
Publisher:
Published Jany. 1, 1798, by J. & J. Boydell, N. 90, Cheapside ; & at the Shakspeare Gallery, Pall Mall, London
Subject (Topic):
Children, Crocodiles, Medical equipment & supplies, Nobility, Physicians, Prostitutes, Quacks, Rake's progress, Scientific equipment, Sexually transmitted diseases, and Skeletons
"A grand bedroom with the countess holding a morning levée attended by her hairdresser while the lawyer, Silvertongue, arranges to meet her at a masquerade; others in the room include a female friend and effeminate men who pay rapt attention to a castrato singer accompanied by a flautist, a young black man who serves chocolate to the party, and a small black boy who points to the horns of a figure of Actaeon purchased at an auction with other objects, including a fake mermaid; playing cards and invitations lie on the floor."--British Museum online catalogue
Alternative Title:
Toilette
Description:
Title etched below image., After Hogarth's painting "The Toilette" in the National Gallery, London., In lower left corner: Size of picture 3 ft. by 2 ft. 4 in., No. 4 in a series of 6 images, known as "The toilette.", Series title engraved below image., 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. 2375., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 161., and Copy of: Paulson, R. Hogarth's graphic works (1st ed.), no. 231.
Publisher:
Pub. Jany. 1, 1798, by J. & J. Boydell, N. 90, Cheapside & at the Shakspeare Gallery, Pall Mall, London
