Title from caption etched within banner below image., "Price 1 s."--Following imprint., "No. 41."--Lower right corner., and Sheet numbered "41" in a contemporary hand in lower right corner.
Publisher:
Publish'd according to act of Parliament by J. Boydell Engraver at the Globe near Durham Yard in the Strand
Title etched above image., The print, after a painting commissioned by Mary Edwards, was made without Hogarth's permission. It is not included in Paulson's catalogue., Copy of: No. 2563 in the Catalogue of prints and drawings in the British Museum. Division I, political and personal satires, v. 3., Ms. note in pencil in Steevens's hand: Copy., and On page 105 in volume 2.
Title etched above image., The print, after a painting commissioned by Mary Edwards, was made without Hogarth's permission. It is not included in Paulson's catalogue., Ms. note in Steevens's hand in pencil above print: See Nichols's book, 3d. edit. p. 259., and On page 105 in volume 2. Sheet trimmed to: 20.9 x 27.2 cm.
Title etched above image., The print, after a painting commissioned by Mary Edwards, was made without Hogarth's permission. It is not included in Paulson's catalogue., Sheet trimmed to: 213 x 278 mm., and Ms. annotation in ink, lower right corner: '6'.
Title etched above image., The print, after a painting commissioned by Mary Edwards, was made without Hogarth's permission. It is not included in Paulson's catalogue., and Hogarth's signature erased from this impression.
A celebration in a sporting club. In the center of the room before a large table, a man in a hat (with a black eye?) raises a gavel in an attempt to bring order as two members begin a fist-fight and others converse and laugh. One member restrains a woman as she attempts to hit a man on the head with a tankard; the man appears already unconscious and injured. Boxing gloves, tankards and glasses, hats, and a stick are scattered on the floor in the foreground. The room is lighted by the candles in a candelier. On the walls are a clock, two pictures of fighers -- one of Humphrys and the other of Mendoza; a broadside "Rules" (damaged); a broadside entitled "Last dying speech & confession of W[...]st the Boxer" with a picture of a gallows at the head; and, a picture of two men boxing (the pictures amplifying the subject). On the table are several tankards, wine glasses and punch bowl, smoking pipes, a broadsheet torn in two (World Diary), and a book "Rules for boxing"., Title and printmaker from British Museum catalogue., The left portion of the plate was later published as 'Frontispiece' (no date) in Carlton House magazine with the title: The ending of the old year., Sheet trimmed within plate mark, with loss of title, printmaker's signature, and partial loss of imprint., Plate from: The Attic miscellany, v. 1, p. 81., Title added in a contemporary hand on the mount below the image: Odd-Fellows-Lodge., and Mounted to 24 x 32 cm.
Publisher:
Published as the act directs, by Bentley & Co.
Subject (Name):
Topham, Edward, 1751-1820, Mendoza, Daniel, 1764-1836, and Humphries, Richard, d. 1827
Title etched below image., State from British Museum catalogue., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. March 15th 1796. [Image of hand with pointing finger]. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery and ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, and on the same piece of copper engraved the plate now in the possession of Messrs. Boydell, entitled Credulity, superstition & fanaticism, a medley., Dedication etched below title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., Legend following advertisement: A. After Raphael Urbino. B. After Rubens. C. After Rembrant. D.E.F.G.H. Are imitations of several other painters., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., Ms. note in pencil in Steevens's hand above print: See J. Ireland's Hogarth illustrated, p. 365., and On page 190 in volume 2.
Publisher:
Published Novr. 12th, 1795 by John Ireland (Author of Hogarth illustrated) No. 3 Poets Corner, Palace Yard, & for Messrs. Boydell, Cheapside & Shakespeare Gallery Pallmall
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Title etched below image., State from British Museum catalogue., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. March 15th 1796. [Image of hand with pointing finger]. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery and ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, and on the same piece of copper engraved the plate now in the possession of Messrs. Boydell, entitled Credulity, superstition & fanaticism, a medley., Dedication etched below title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., Legend following advertisement: A. After Raphael Urbino. B. After Rubens. C. After Rembrant. D.E.F.G.H. Are imitations of several other painters., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum, v. 3, no. 2425., Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210., and 1 print : etching ; plate mark 481 x 380 mm.
Publisher:
Published Novr. 12th, 1795 by John Ireland (Author of Hogarth illustrated) No. 3 Poets Corner, Palace Yard, & for Messrs. Boydell, Cheapside & Shakespeare Gallery Pallmall
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors
Title etched below image., Lettered above the image with text beginning: Hogarth's first thought for the medley. Copied from a very curious print designed and engraved by Hogarth, of which there are only two impressions, both of them in the possession of John Ireland. March 15th 1796. [Image of hand with pointing finger]. After taking the above impressions, Hogarth changed the point of his satire from the superstitious absurdities of popery and ridiculous personification delineated by ancient painters, to the popular credulities of his own day, erased or essentially altered every figure except two, and on the same piece of copper engraved the plate now in the possession of Messrs. Boydell, entitled Credulity, superstition & fanaticism, a medley., Dedication etched either side of title: Humbly dedicated to his Grace the Arch Bishop of Canterbury, by his Graces most obedient humble servant Wm. Hogarth., Text following dedication: Advertisement. The intention of this print, is to give a lineal representation, of the strange effects of literal and low conceptions of sacred beings, as also of the idolatrous tendency of pictures in churches, and prints in religious books, &c., Legend to the left of the title: A. After Raphael Urbino. B. After Rubens. C. After Rembrant. D.E.F.G.H. Are imitations of several other painters., Sheet trimmed to plate mark., Copy of: Catalogue of prints and drawings in the British Museum, v. 3, no. 2425., and Copy of: Paulson, R. Hogarth's graphic works (3rd ed.), no. 210.
Publisher:
Published Novr. 12th, 1795 by John Ireland, No. 3 Poets Corner, Palace Yard, Wesminster
Subject (Name):
Toft, Mary, 1703-1763, Villiers, George, 1690-1748., and Whitefield, George, 1714-1770
Subject (Topic):
Christianity, Superstition, Demonology, Demons, Ghosts, Witches, Sleeping, and Supervisors