A fashionable interior (after the painting at Sir John Soane's Museum) with Tom, in elegant indoor dress, surrounded by tradesmen vying for his custom: a poet, a wigmaker, a tailor, a musician at a harpsichord (with a list of presents given by aristocrats to the popular castrato, Farinelli), a fencing master, a prizefighter with quarter-staffs (said to be James Figg), a dancing master, a landscape-gardener (said to be Charles Bridgeman), a bodyguard, a huntsman and a jockey. In the background on the left in an antechamber, a man holds a letter entitled "Epistle to Rake ..."
Alternative Title:
Rake's progress. Plate 2, Prosperity, (with Harlot's smiles, most pleasing when she most beguiles) ..., and Surrounded by artists and professors
Description:
Title and state from Paulson., Fifth state; the floor under the dancing master's feet has been darkened, his coat under his violin has added hatching, and the fold of Rakewell's dressing gown behind the violin is now crosshatched., Restrike of the fifth state of the plate, which was issued in The original works of William Hogarth (London : Sold by John and Josiah Boydell, 1790). It was later 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., Caption below image in four columns begins: "Prosperity, (with Harlot's smiles, most pleasing when she most beguiles), how soon, sweet foe, can all they train of false, gay, frantick, loud & vain ...", 'Plate 2d'--Lower right below image., and Temporary local Medical Library subject terms: Patients, Psychiatric -- Insanity.
Publisher:
publisher not identified
Subject (Topic):
Clothing & dress, Harpsichords, Interiors, Merchants, Musicians, Rake's progress, Servants, Tailors, and Young adults
Copy in reverse 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 2d and To recompense the Sire's continu'd Fast, ...
Description:
Title from Paulson., Added title from text engraved above image., Plate number below image, lower right., Date range for publication based on form of publisher's name in imprint. "Robt. Sayer & Co." is found on prints published during Robert Sayer's final business period (1785-1794), following the Sayer & Bennett partnership (1774-1784) and preceding his death in 1794. See British Museum online catalogue., Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 132., and Matted to: 34 x 46 cm.
Publisher:
Printed for Robt. Sayer & Co., Fleet Street, London
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. Variant and related titles:Title in Paulson: Rake's progress. Plate 8
Alternative Title:
[Rake's progress]. Plate 8 and His Fortune ruin'd, Frenzy wrecks his Mind, ...
Description:
Added title from Paulson., "Plate 7."--Lower right below design., Date range for publication based on form of publisher's name in imprint. "Robt. Sayer & Co." is found on prints published during Robert Sayer's final business period (1785-1794), following the Sayer & Bennett partnership (1774-1784) and preceding his death in 1794. See British Museum online catalogue., See: Paulson, R. Hogarth's graphic works (3rd rev. ed.), no. 138., and Matted to: 34 x 46 cm.
Publisher:
Printed for Robt. Sayer & Co., Fleet Street, London
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 Paulson., Plate number below image, lower right., Date range for publication based on form of publisher's name in imprint. "Robt. Sayer & Co." is found on prints published during Robert Sayer's final business period (1785-1794), following the Sayer & Bennett partnership (1774-1784) and preceding his death in 1794. See British Museum online catalogue., Cf. Catalogue of prints and drawings in the British Museum, v. 3, no. 2212, and Matted to: 34 x 46 cm.
Publisher:
Printed for Robt. Sayer & Co., Fleet Street, London
Copy in reverse of the first state of Plate 1 of Hogarth's 'The Rake's Progress' (Paulson 132). "The Jacobean interior of the house of Tom Rakewell's late father with Tom at left being measured for a suit as he gives a handful of coins to the pregnant Sarah Young; behind him sits a lawyer compiling inventories; on the floor are boxes of miscellaneous goods, piles of mortgages, indentures, bond certificates and other documents; an old woman brings faggots to light a fire and an upholsterer attaching fabric (purchased from William Tothall of Covent Garden) to the wall reveals a hiding place for coins which tumble out."--British Museum online catalogue
Alternative Title:
[Rake's progress]. [Plate 1] and E'er in the grave the miser's corps is cold ...
Description:
Title from Paulson., Added title from text engraved above image., Date range for publication based on form of publisher's name in imprint. "Robt. Sayer & Co." is found on prints published during Robert Sayer's final business period (1785-1794), following the Sayer & Bennett partnership (1774-1784) and preceding his death in 1794. See British Museum online catalogue., Cf. Paulson, R. Hogarth's graphic works (3rd ed.), no. 132., and Matted to: 34 x 46 cm.
Publisher:
Printed for Robt. Sayer & Co., Fleet Street, London
Subject (Topic):
Cats, Debt, Interiors, Lawyers, Memorial rites & ceremonies, Miserliness, Mothers, Pregnant women, Rake's progress, Robberies, Servants, and Tailors
Tom Nero, now a highwayman, has been arrested for the murder. He stands in the churchyard over the body of his pregnant lover, Ann Gill, whose throat and wrist are severed. One from the group of men who have apprehended Tom show him the knife as the others restrain him; they are armed with pitchforks, sticks, and other farm tools. Ann lies on her back on the ground, the bundle of plate that she has stolen from her mistress at Nero's request spilling out at her side. The light from the lantern in the left foreground illuminates the contents of Ann's letter to Tom telling the story of her entanglement and guilt. A box with her initials is open revealing a copy of the Book of Common Prayer and a copy of God's revenge against murder. Also on the ground near the lantern are Tom's pistol and a collection of watches that he has stolen. The clock in the church tower shows 1:00; a bat and owls circle overhead
Description:
Title, state, and series title from Paulson., Restrike; probaby a plate issued in: The original works of William Hogarth. [London] : Sold by John and Josiah Boydell ..., 1790 [that is 1795]., and Third in a series of four: The four stages of cruelty.
Publisher:
Invd. & publish'd by Wm. Hogarth and John and Josiah Boydell
Subject (Topic):
Cemeteries, Criminals, Churches, Homicides, Pregnant women, and Rake's progress
Tom Nero's body is laid out on a round table in a dissecting theatre. In niches on either side are two skeletons labeled "Gentn: Harry" and "Macleane" after two recently hanged criminals. Three doctors work on dissecting Tom's body as a dogs feeds on his entrails. The room is filled with doctors reading and discussing, the whole presided over by the chief surgeon in a large chair emblazoned with the arms of the Royal College of Physicians
Description:
Title and printmaker from British Museum catalogue., Publisher and series title from Paulson., Restrike; probaby a plate issued in: The original works of William Hogarth. [London] : Sold by John and Josiah Boydell ..., 1790 [that is 1795]., and Final plate in a series of four: The four stages of cruelty.
Publisher:
Wm. Hogarth and John and Josiah Boydell
Subject (Topic):
Anatomy, Criminals, Dogs, Dissections, Medical education, Rake's progress, Physicians, and Skeletons
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., In lower left corner: Size of picture 3 ft. by 2 ft. 4 in., After the painting "The Bagnio" in the National Gallery, London., Sheet trimmed to plate mark., No. 5 in a series of 6 images. Series title engraved below image., Copy of: Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3, no. 2748., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 162., and Copy of: Paulson, R. Hogarth's graphic works (1st ed.), no. 232.
Publisher:
Pub. Aug. 1, 1800, by J. & J. Boydell, No. 90, Cheapside & at the Shakspeare Gallery, Pall Mall, London
"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
"'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
