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
Leaf 82. Caricatures drawn & etched by those celebrated artists Gillray, Rowlandson, Cruikshanks
Image Count:
1
Resource Type:
still image
Alternative Title:
Kitchen of a French post house ; Playing billiards
Description:
Titles etched below images., Two images on one plate, each with a separate title and signature., Printmaker identified as Rowlandson in the Metropolitan Museum of Art online catalog., Reduced copies of two designs by Bunbury. Cf. No. 4764 in v. 4 and no. 5913 in v. 5 of the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires., Restrike, with added titles and borders. For the earlier state without titles, see Metropolitan Museum of Art online catalog, accession nos.: 59.533.1749 ; 59.533.1747., Plate from: Caricatures drawn & etched by those celebrated artists Gillray, Rowlandson, Cruikshanks, &c. [London] : [Field & Tuer], [ca. 1868?], Plate originally published ca. 1803; see Metropolitan Museum of Art online catalog., and On leaf 82 of: Caricatures drawn & etched by those celebrated artists Gillray, Rowlandson, Cruikshanks, &c.
Depicts a well-dressed lady approaching a table where a striped chair is being held for her by a young black serving boy. At the table are seated a bald and bearded man, and on his left, seated on a sofa, a lady wearing an ermine trimmed robe. The table holds a silver urn and various dishes on a tray. On the walls are two paintings of what appear to be seduction scenes and a wall sconce with mirror
Alternative Title:
One of the tribe of Levi, going to breakfast with a young Christian
Description:
Title from item.
Publisher:
Printed for R. Sayer & J. Bennett ... No. 53 Fleet Street
Subject (Geographic):
England. and England
Subject (Topic):
Jews, Judaism, Relations, Christianity, Sofas, Furniture, Sconces, Paintings, Tableware, Black people, Servants, Interiors, and Clothing & dress
Copy in reverse of the first state of Plate 3 of Hogarth's 'The Rake's Progress' (Paulson 134): A room at the Rose Tavern, Drury Lane (after the painting at Sir John Soane's Museum); to left, Tom, surrounded by prostitutes and clearly drunk, sprawls on a chair with his foot on the table; one young woman embraces him and steals his watch, another spits a stream of gin across the table to the amusement of a young black woman standing in the background; one woman drinks from the punchbowl; another is removing her clothes in order to perform "postures"; to the right, a harpist and a door through which enters a man holding a large dish and a candle, and a pregnant ballad singer holding a sheet lettered "Black Joke"; on the walls hang a map of the world to which a young woman holds a candle and framed prints of Roman emperors, all (except that of Nero) damaged. A second version of the paintings is at the Atkins Museum (Kansas City, Missouri).
Alternative Title:
Rake's progress. Plate 3 and What wretched Fate succeeds his guilty Joys, ...
Description:
Title from text engraved above image., "Plate 3"--Lower right below design., Verses below image in three columns, four lines each: What wretched Fate succeeds his guilty joys, ..., The ornamental borders along the left and right edges are printed from a separate plate (images 25 x 2.8 cm, on plate mark 5.7 x 36.5 cm)., A reissue, with a new publication line and with ornamental borders added, of the third 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 Original publication line: Published with the consent of Mr. William Hogarth by Tho. Bakewell according to Act of Parliament July 1735.
Publisher:
Publish'd wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill
A fashionably dressed woman sits (left) in profile, in an upright chair, while a carriage waits for her as seen through the window of the well-appointed sitting room. Her loose dress, high to the neck, has two embroidered slits to reveal the breasts. A pretty, buxom nurse holds out an infant, who eagerly sucks the breast thus conveniently laid bare. She wears a turban with two erect feathers, and short sleeves; her gloved right hand holds a closed fan. On the wall behind her is a large picture, 'Maternal Love': a seated woman suckles an infant. Through a high sash-window is seen a corner of the waiting coach, a footman holding open the door, a fat coachman on the box. The coach, hammer-cloth, and the lady's chair are decorated with a baron's coronet. A patterned carpet covers the floor
Alternative Title:
Convenience of modern dress
Description:
Title etched below image.
Publisher:
Pubd. Feby. 15th, 1796, by H. Humphrey, New Bond Street
Subject (Topic):
Breast feeding, Carriages & coaches, Clothing & dress, Coach drivers, Hats, Infants, Jewelry, Interiors, Mothers, Parlors, Rugs, and Servants
A fashionably dressed woman sits (right) in profile, in an upright chair, while a carriage waits for her as seen through the window of the well-appointed sitting room. Her loose dress, high to the neck, has two embroidered slits to reveal the breasts. A pretty, buxom nurse holds out an infant, who eagerly sucks the breast thus conveniently laid bare. She wears a turban with two erect feathers, and short sleeves; her gloved right hand holds a closed fan. On the wall behind her is a large picture, 'Maternal Love': a seated woman suckles an infant. Through a high sash-window is seen a corner of the waiting coach, a footman holding open the door, a fat coachman on the box. The coach, hammer-cloth, and the lady's chair are decorated with a baron's coronet. A patterned carpet covers the floor
Alternative Title:
Convenience of modern dress
Description:
Title etched below image., Date from contemporary ms. note., After Gillray., Unsigned copy in reverse of No. 8897 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 7., Watermark: C. Taylor., and Mss. notation in lower margin, dated '1797' in black ink.
Publisher:
publisher not identified
Subject (Topic):
Breast feeding, Carriages & coaches, Clothing & dress, Coach drivers, Hats, Infants, Jewelry, Interiors, Mothers, Parlors, Rugs, and Servants
A portly bewigged gentleman with banknotes under his arm, appears to be hurriedly leaving his house, which has been sold. On the far left stands a man holding the keys, while a black servant in livery appears to be pleading for his freedom to a man holding a whip. On the right a porter in a pigtail queue is packing. On the floor are rolls of paper marked annuities, and a sheet inscribed "James Sellaway, Broker." The portraits of ancestors have on them slips with lot numbers
Alternative Title:
Salutary trip to the south of France
Description:
Title from item. and Sheet trimmed within plate mark.
Publisher:
Published as the Act directs Novr. 2d. 1778 by Mr. Campione, Printseller Oxford
Subject (Geographic):
England
Subject (Topic):
Auctions, Auctioneers, Blacks, Servants, Interiors, Clothing & dress, and Wigs
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 ..."
Description:
Title, printmaker, and state from Paulson., 'Plate 2d.'--Lower right below image., Four columns of four lines each etched below image: Prosperity, (with Harlot's smiles, Most pelasing,w hen she most beguiles,) ..., Ms. note in Steevens's hand in pencil at bottom margin of print: Given me by Mr. Henderson., Ms. note in ink (another hand?) below image at right: Scotin fe: aqua fortis., and On page 67 in volume 1.
Publisher:
Wm. Hogarth
Subject (Topic):
Clothing & dress, Harpsichords, Interiors, Merchants, Musicians, Rake's progress, Servants, Tailors, and Young adults
Plate 9. Queen Charlotte's collection of Hogarth works. Leaf 9. Album of William Hogarth prints.
Image Count:
1
Abstract:
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:
Prosperity, (with Horlot's [sic] smiles, most pleasing when she most beguiles) ..., Prosperity, (with Horlot's smiles, most pleasing when she most beguiles) ..., and Prosperity, (with Harlot's smiles, most pleasing when she most beguiles) ...
Description:
Title, state, and imprint from Paulson., Fourth state with 'Horlot' corrected to 'Harlot'; scrolls over the harpsichodist's shoulder are hatched, but the floor and the dancing master's coat are not yet hatched., 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 ...", Ms. note in Steevens's hand in pencil at bottom margin of print: Given me by Mr. Henderson., Ms. note in ink (another hand?) below image at right: Scotin fe: aqua fortis., and On page 68 in volume 1.
Publisher:
Wm. Hogarth
Subject (Topic):
Clothing & dress, Harpsichords, Interiors, Merchants, Musicians, Rake's progress, Servants, Tailors, and Young adults