The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., Sheet trimmed within plate mark., Lock on wife's forehead added in ink., and On page 113 in volume 2. Sheet trimmed to: 38.6 x 45.6 cm.
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a disheveled and sleepy servant scratches his cap; the walls are decorated with paintings of religious figures
Alternative Title:
Marriage à-la-Mode, Pl. 2.
Description:
Title etched below image., State from Paulson., After the painting "Tête à Tête" in the National Gallery, London., Sheet trimmed within plate mark., and Image 'touched': Stray hair and lock added in ink, presumably by Hogarth.
The young couple are seen in a large, well-furnished room that is in a state of disorder after a night's entertainment; the Viscount is collapsed in a chair having just arrived, the clock showing 1:20 a.m. His sword lies at his feet, broken, and a bonnet hangs from his pocket, suggesting his infidelity; the lap dog sniffs at him suspiciously. The wife's evening's activities at home are suggested by the book "Hoyle on whist" open on the rug in the middle of the floor, a deck of cards on the floor below a card table in the next room, and in the foreground two violins, one with its case open, on the back of an overturned chair, suggesting the wife's own infidelity. The estate steward walks away in disgust at his apparent failure to engage either the husband or the wife in addressing the wad of bills that he has in his hands or the ledger under his arm; in his pocket he carries a pamphlet entitled "Regeneration." Through an archway, a 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., 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.
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., Sheet trimmed to: 38 x 46.3 cm., and Formerly on page 110 in volume 2. Removed in 2012 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., and Sheet trimmed within plate mark.
"A fat squat and ugly woman sits on a sofa next a tall dandified officer (right) who makes his address, his hand on his breast. She turns to him complacently, her feet awkwardly resting on a stool. Their two dogs face each other, each with shape and manner corresponding with its owner. Two appropriate pictures are on the wall: Bank of England (left) and Seige of Acre (right)."--British Museum online catalogue
Description:
Title etched above image., Second state, with title added above image. For an earlier state before title, see no. 14596 in the Catalogue of prints and drawings in the British Museum, v. 10. For a reissue with Thomas McLean's imprint, published in Cruikshankiana (London : Thomas M'Lean, [1835]), see British Museum online catalogue, registration no.: 1853,0112.247., and Four lines of quoted dialogue below image: "Had I heart for falshood [sic] fram'd, I ne'er could injure you - For tho' your tongue no promise claim'd, your charms would make me true! &c. &c. &c."
Publisher:
Pub. Jany. 10, 1823 by G. Humphrey 27 St. James's Stt
Subject (Topic):
Dandies, British, Military officers, Dogs, Couples, and Courtship
"Two designs on one plate. Top (BMSat 6868): A young woman lies under a tree asleep, partly supported by a small beer barrel; a rake is beside her. Next her a young man sits up yawning and stretching. A dog sits beside them; in the distance are sheep. Below (BMSat 6869): A young woman (right) lies full length on a sofa; next her in the opposite corner of the sofa is an elderly man in regimentals, also asleep. The feet of both rest on a chair (left). A cat sleeps on the floor."--British Museum online catalogue
Alternative Title:
Nap in town
Description:
Title etched below images. Each image signed and dated in image and each with an imprint statement below.
Publisher:
Pubd. by S. Alken, No. 3 Dufours Place, Broad Street, Soho