GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND
PORTRAIT DE WILLIAM HOGARTH. Engra
The original painting of 1745 is in the National Gallery
1749
WILLIAM
HOGARTH
HIS ORIGINAL ENGRAV-
INGS AND ETCHINGS
WILLIAM HEINEMANN
LONDON 1013
BOOKS OF REFERENCE
TRUSLER, J. Hogarth moralised. London 1768 (later editions 1821, 1831,
1833, and 1841)
NICHOLS, John. Biographical Anecdotes of William Hogarth, and a
Catalogue of his Works (written by Nichols the publisher, George
Steevens, and others). London 1781 (later editions 1782, 1785)
IRELAND, John. Hogarth Illustrated. 2 vols. London 1791 (later editions
I793> J 79 8 I8o6 > l812 )
Samuel. Graphic Illustrations of Hogarth. 2 vols. London 1794.
COOK, Thomas. Hogarth Restored. The whole works of Hogarth as
originally published. Now re-engraved by T. C. Accompanied with
Anecdotes . . . and Explanatory Descriptions. London 1802
THE WORKS OF WILLIAM HOGARTH, from the Original Plates restored by
James Heath, to which are prefixed a Biographical Essay . . . and
Explanations of the Subjects of the Plates, by John Nichols. Printed
for Baldwin, Cradock, and Joy, by John Nichols & Son. London
1822. Fol. Also a later edition, printed for Baldwin and
Cradock, by G. Woodfall, n.d. (1835-37 r)
NICHOLS, John Bowyer. Anecdotes of William Hogarth, written by
himself, with Essays on His Life and Genius, selected from Walpole,
Gilpin, J. Ireland, Lamb, Phillips, and others. To which are added
a Catalogue of his Prints, List of Paintings, Drawings, etc. London
1833
SALA, George Augustus. William Hogarth. London 1 866 (originally
appeared in the Corn hit I Magazine, 1860)
FEUILLET DE CONCHES, F. William Hogarth. Gazette des Beaux- Arts,
XXV (1868), 185
THE WORKS OF WILLIAM HOGARTH, reproduced from the Original Engravings
in permanent Photographs and newly described (by Cosmo Monk-
house and Austin Dobson), with an Essay on the Genius and
Character of Hogarth, by Charles Lamb. London 1872
DOBSON, Austin. William Hogarth. London 1879 (and numerous later
editions. The standard book on Hogarth, containing full Biblio-
graphy and Catalogue)
WEITENKAMPF, Frank. A Bibliography of William Hogarth. Cambridge
(Mass.) 1890
WILLIAM HOGARTH
Son of Richard Hogarth (d. 1718), schoolmaster and
scholar ; born in London, Nov. 10, 1697 ; apprenticed
to Ellis Gamble, a goldsmith and silver-plate engraver
at the sign of the Golden Angel in Cranbourne Street,
Leicester Fields (see plate i) ; established on his own
account as an engraver in 1720 ; his early work chiefly
in heraldic plates and book illustrations ; married Jane,
daughter of the painter Sir James Thornhill, in 1729 ;
from 1/33 was living in Leicester Fields, in a house
on the spot now occupied by Archbishop Tenison's
school ; also purchased in 1749 a house at Chiswick,
where he lived thenceforward for the greater part of
each summer ; appointed Serjeant-Painter to the King,
1757 ; died Oct. 25, 1764, at Leicester Fields, and
buried at Chiswick.
ECOLLECTION of the manner in which those prints
used to affect me,' wrote Charles Lamb, c has often made
me wonder when I have heard Hogarth described as a mere
comic painter, as one whose chief ambition was to raise a laugh.
To deny that there are throughout the prints which I have
mentioned circumstances introduced of a laughable tendency, would
be to run counter to the common notions of mankind ; but to sup-
pose that in their ruling character they appeal chiefly to the risible
faculty, and not first and foremost to the very heart of man, its best
and most serious feeling, would be to mistake no less grossly their
aim and purpose. A set of severe satires (for which they are not so
much comedies, which they have been likened to, as they are strong
and masculine satires), less mingled with anything of mere fun, were
never written upon paper, or graven upon copper. They resemble
Juvenal, or the satiric touches in " Timon of Athens."
4 1 was pleased with the reply of a gentleman, who being asked
which book he esteemed most in his library, answered " Shake-
speare " ; being asked which he esteemed next best, replied
" Hogarth." His graphic representations are indeed books ; they
have the teeming, fruitful, suggestive, meaning of words. Other
pictures we look at his prints we read.'
And finally :
'I say not that all the ridiculous subjects of Hogarth have
5
GREAT ENGRAVERS
necessarily something in them to make us like them ; some are in-
different to us, some in their natures repulsive, and only made
interesting by the wonderful skill and truth to nature in the painter;
but I contend that there is in most of them that sprinkling of the
better nature, which, like holy-water, chases away and disperses the
contagion of the bad. They have this in them besides, that they
bring us acquainted with the everyday human face, they give us
skill to detect those gradations of sense and virtue (which escape the
careless or fastidious observer) in the countenances of the world about
us ; and prevent that disgust of common life, that taedlum
quotldianarum formarum^ which an unrestricted passion for ideal
forms and beauties is in danger of producing. In this as in many
other things, they are analogous to the best novels of Smollett and
Fielding/
We make no apology for quoting at such length from Charles
Lamb's famous essay on the Genius and Character of Hogarth,* as
illuminating and human as everything that he wrote. It goes with-
out saying that it was on the side of its humanity and intellect that
he most appreciated Hogarth's genius. In claiming for his works
the right to be placed on a level with the more assuming dignity and
the idealised compositions of the English Historical School, Lamb
lays chief emphasis on the quantity of thought crowded into every
picture, describing the Gin Lane (XLII) at some length as an extreme
example of Hogarth's direct and vigorous satire.
Personally I feel that the vitality of Hogarth's creation sprang
more from a supreme sense of observation than from any inherent
depth of thought. Hogarth himself speaks of the discipline to which
he subjected his powers of observation, how he endeavoured to
habituate himself to the exercise of a sort of technical memory, so
that, by repeating in his mind the parts of which objects were com-
posed, he could by degrees combine and put them down with his
pencil. He never much favoured < cold copying ' from nature, and
sometimes failed on that account to convince his academic con-
temporaries of his powers. But he was undoubtedly right in regarding
the habit of retaining in one's mind what one intends to imitate as
the only sure basis for freedom in composition. Slight sketches
made on his thumb-nail in the street, seem to have been one of the
few direct aids by which he supported his habitual exercise of
memory.
Few of his contemporaries refused to admit his peculiar genius for
* Originally printed in The Reflector, No. Ill, 1811.
WILLIAM HOGARTH
satire and subjects from daily life, but they were remarkably sparing
of any generous appreciation of his art in comparison with the
historical and portrait painters chiefly in repute.
The irregularity of his education as a painter goes far to account
for the variable quality of his production, but his best portraits are
worthy to be placed beside the great academic painters of the
eighteenth century. Such, for example, is the portrait of himself in
the National Gallery (reproduced in his own engraving, see frontis-
piece)^ as solid and convincing as anything of Reynolds ; while in
portraits such as his Sister Ann (Mrs. Salter), and his Six Servants,
both in the National Gallery, there is a refreshing freedom of touch,
and a command of colour and light that anticipate the best of
modern portraitists. In his subjects and figures, as well as in
his love for the play of white lights, he caught something of the
Italian spirit, the spirit that descended from Tiepolo to Hogarth's
younger contemporary Alessandro Longhi. And some of his best
subjects from daily life, where the spirit of satire is thrown aside,
such as the Green Room, Drury Lane (in the collection of Lord
Glenconner) match Chardin in their peculiar charm. Hogarth
affected to despise the foreign artist in England, particularly when
he was a success like J. B. Vanloo ; but Mercier and Gravelot, with
their genuinely personal reflection of Watteau's manner, were un-
doubtedly a real influence in stimulating certain touches of almost
Gallic grace and refinement which often appear in Hogarth's best
work. If he was influenced in his painting by Frenchmen of his
own century, it was certainly a Frenchman of an earlier period, the
famous etcher Jacques Callot, who inspired his treatment of figures in
many of his plates, such as the Masquerades and Operas (v).
Hogarth's early work was chiefly that of a heraldic engraver, but
his friendship with John Thornhill brought him into contact with
his famous father, Sir James Thornhill, and no doubt gave him
opportunity of working in his spare moments from the life in
ThornhiU's academy in Covent Garden, a privilege only interrupted
for a short time, it appears, by his run-away match with Sir James's
daughter Jane. After ThornhiU's death in 1734, Hogarth became
possessed of the apparatus of the Academy, which he removed to
Peter's Court, in St. Martin's Lane. It is a curious irony of fate
that Hogarth, with his declared antipathy to academies, should
throughout his life have been in sort the director of a school which
was the real forerunner of the Royal Academy, to which its stock-
in-trade passed in 1768. Hogarth's picture of the Life School at
7
GREAT ENGRAVERS
Peters Court, now in Burlington House, is an interesting record of
his own establishment.
As a vehicle for his satire, Hogarth naturally found engraving
the surest road to publicity. He was never a great engraver,
but his contemporary fame rested far more on his prints than
on his canvases. The popularity of Masquerades and Operas :
/ 'Burlington Gate (v) immediately resulted in pirated copies, and
Hogarth relates how the printsellers returned him his original
impressions and sold the copies at half-price. The engravers of
the period had reason to be grateful to his later action in
concert with George Vertue, Gerard Vandergucht and others in
petitioning Parliament, and obtaining in 1735 the first English Bill
dealing with the copyright of engravings. The phrase 'Published
according to Act of Tarliament, which first appeared on Hogarth's
Irakis Progress in 1735 (seexvmand xix), and on many subsequent
prints by Hogarth and others, refers of course to this Act.
The large number of contemporary and later copies of Hogarth's
engravings which exist, render it essential for the collector to be
wary. Those who are primarily interested in the subjects may find
some satisfaction in copies, e.g. in the large series of facsimile en-
gravings by Thomas Cook, issued in 1802, as Hogarth ^Restored, or in
contemporary copies, such as the set published by Thomas Bakewell,
with Hogarth's consent, in 1735, after *ARakes Progress^ but no lover
of fine prints, and no appreciator of Hogarth's genius, could be
content with anythingJess than the originals.
Hogarth, according to his own statement, regularly retouched and
repaired his copper-plates, adding, " that in some particulars they
became better than when first engraved." But the collector may
well be content to deny himself these improvements for the sake of
the quality of the earlier impressions. Differences of state are
described in some detail in Mr. Dobson's catalogue, but when these
are non-existent or unimportant, the sense of quality is the only
guide. Hogarth's widow continued to issue prints from the original
coppers until her death in 1789, and then her cousin, Mary Lewis,
who inherited the property, sold the plates to Boydell in return for a
life annuity of 250. Later still they were in the possession of
Messrs. Baldwin, Cradock and Joy, of Paternoster Row, by whom
they were issued in 1822, reworked by the engraver James Heath,
and again by Baldwin and Cradock about 1835-1837, but by this
time they are of no concern to the Hogarth collector, and their
subsequent history is unknown to me.
WILLIAM HOGARTH
Our illustrations are thoroughly representative of Hogarth's en-
gravings and etchings throughout his life, and the notes attached to
them render it unnecessary for us to attempt any survey of his
various works in this introduction. Students of his work will find
the most authoritative and accessible catalogue in Mr. Dobson's
admirable book, and much again in the various issues of John
Nichols's "Anecdotes of William Hogarth" (1781, etc.) and in the
more comprehensive edition of J. B. Nichols (1833). But in all the
existing catalogues we feel the lack of connecting links between the
pictures and prints, each being described in a separate section. Of
course, the difficulty of collating a scattered work is enormous, and
Hogarth's practice of painting several versions of the same subject*
renders it even more difficult to state with certainty the original
picture on which particular prints are based. In other cases,
generally when the inscription runs designed (or invented] and engraved
by W. Hogarth, or W. Hogarth invenit et sculpsit, we must only
look for original drawings, not pictures, as, for example, in the series
of Industry and Idleness (see xxxn, etc.), and in Beer Street and Gin
Lane (XLI, XLII). But one cannot expect to make any rigid rule. For
example, it would seem as if the small painting of the Bench, now in the
Fitzwilliam Museum, an extraordinarily good example of Hogarth's
work, must be the original on which the print was based, though the
print is only inscribed designed and engraved by W. Hogarth. If a
later version by Hogarth, it is more likely that the master would have
painted the subject in the same direction as the print (LIII). On the
other hand, with the famous etching of Lord Lovat (xxxi) inscribed
Drawn from the life and etched in Aquafsrtis by William Hogarth, I
am inclined to be extremely sceptical of the painting of the same
subject in the National Portrait Gallery. It is in the highest degree
unlikely that Hogarth did anything but sketches from the life pre-
paratory to this etching, and the painting seems to me a later version
entirely without the convincing qualities of the etched portrait.
With Hogarth we must perhaps be sometimes prepared to accept
hack-work as well as productions of real genius, but we do not think
that he would have lost all grit in a later repetition as in this
example.
As a line-engraver Hogarth, like most of his contemporaries in the
* But we should always be chary of accepting the description replica if
a picture has not the master's quality. If all so-called replicas were
original, the great masters would have been thoroughly tired of their own
compositions.
9
GREAT ENGRAVERS
craft, freely intermingled etched lines. And he never finished his
engravings with the precision that is part of the line-engraver's con-
vention. His inventive genius would have found a much more
responsive medium in the freer touch of pure etching. As it is, in
the majority of his plates he merely adapted the methods of engraving
on which he had been brought up as an apprentice to a freer and
hybrid handling, in which graver work was blunted and coarsened,
while etching seldom had effective play. In the majority of his
plates we feel that Hogarth commands our admiration as an inventive
genius, in spite rather than by aid of his medium.
Hogarth seems to have regarded pure etching in a more trivial
light than engraving, for the most part using it as an expeditious
method of producing the subscription tickets and receipt forms for
his larger engravings. To our mind some of these slighter etchings,
e.g. the Laughing Audience (xvn), used as a subscription ticket for
the Rakis Progress and Southwark Fair, are among his most
attractive works. And at the very top of his production, alongside
the best of his painted portraits, we would place such admirable
etchings as the John Wilkes (LVI), ruthlessly true and scathing in its
characterisation, and the portrait of the notorious Lord Lovat (xxxi) to
which we have already alluded, drawn from the life shortly before his
execution in 1 746. These, and the best of his pictures, place Hogarth
in the very front rank of eighteenth-century art.
10
LIST OF PLATES
Hogarth's original engravings and etchings (included in plates I-LVII)
are arranged in chronological order. The dates are given in brackets
except when they appear on the print. The few engravings by others
after his designs among our illustrations are placed at the end of the series
(LVIII-LXIV). All the plates are reproduced from impressions in the
British Museum. For various references in this list and attached to the
plates I am indebted to Mr. Austin Dobson and Mr. Fairfax Murray.
Portrait of William Hogarth. En-
graved by himself. 1749. After
the original painting (of 1745) in
the National Gallery. Frontispiece
Ellis Gamble's Shop Card. i. From
an impression with the lettering
blocked out. Ellis Gamble was the
goldsmith and silver-plate engraver
to whom Hogarth was apprenticed.
The Shop Card (which is a rare
plate) is probably quite an early
plate by Hogarth, and in any case
must have been engraved before
Gamble's bankruptcy in 1733
An emblematical print on the South
Sea Scheme, n. (1721)
A Scene in the Seraglio, in. From
the Travels of Aubry de la
Motraye. 1723
Frontispiece to the "New Metamor-
phosis ; or, Tleasant Transformation
of the Golden Ass of Lucius dpuleius.
1724. iv
Masquerades and Operas, Burlington
Gate. v. 1724. First state, with
Pasquin No. XC7 on the roll
hanging over the wheelbarrow
(altered later to Ben John[son\)
A Just View of the British Stage, or
Three Heads are Better than One.
Scene, Newgate, by M. D-V-to.
(1725.) vi. Represents Booth,
Wilks, and Gibber, of Drury Lane
Theatre, contriving a pantomime
Hudibras in Tribulation. Plate 6
of a set of twelve large prints for
Butler's Hudibras. 1726. vn
Burning ye Rumps at Temple Barr.
Plate 11 of a set of twelve large
prints for Butler's Hudibras.
1726. vin
The Beggar's Opera Burlesqued.
1728. ix. First state, before the
large lettered title at the top.
Boys Peeping at Nature. (1731 ?)
x. Subscription ticket for A
Harlofs Progress
Arrival in London. Plate I of d
Harlot's Progress. 1732. xi. The
six original pictures of this series
are said to have been wholly or
partially destroyed in the fire at
Fonthill (the seat of William
Beckford) in 1755. Two, how-
ever, believed to have been
preserved from the fire, corres-
ponding to plates 2 and 5 in the
engraved series, are now in the
collection of the Earl of Rose-
bery
The Quarrel. Plate 2 of A Harlofs
Progress. 1732. xn
A Chorus of Singers ; or, The
Rehearsal of the Oratorio of
Judith. (1732.) xin. Subscrip-
tion ticket for A Midnight Modern
Conversation
A Midnight Modern Conversation.
II
GREAT ENGRAVERS
(1733.) xiv. First state, before
the correction of Moddern
Portrait of Sarah Malcolm. (1733.)
xv. The original picture, from the
collection of Horace Walpole, is
now in the National Gallery of
Scotland
Sancho's Feast. 1733. xvi
The Laughing Audience. (1733.)
xvn. Subscription ticket for the
Rake's Progress and Southtuark Fair
The Levee. Plate 2 of the series of
eight prints, entitled, A Rake's
Progress. 1735. xvm. The
original paintings of the series are
in the coane Museum, Lincoln's
Inn Fields
The Marriage. Plate 5 of J Rake's
Progress. 1735. xix
Southwark Fair. (1735.) xx. The
plate is dated 1733, but it is known
not to have been issued until 1735.
There is a painting of this subject
in the collection of the Duke of
Newcastle
The Distressed Poet. 1736. xxi.
The original painting is in the
collection of the Duke of West-
minster
The Sleeping Congregation. 1736.
xxn. A painting of the subject
is in the collection of Sir Frederick
Cook, Bart.
Scholars at a Lecture. 1737. xxm
Morning. Pl&tciofTAtFoxrTimfs
of the Day. 1738. xxiv. The
original pictures of Morning and
Night belong to Lieut. -Col. G. R.
Heathcote, Bighton Wood, Aires-
ford, Hants.
Noon. Plate 2 of The Four Times
of the Day. 1738. xxv. The
original picture is in the collection
of the Earlof Ancaster
12
Evening, xxvi. Plate 3 oTfo Four
Times of the Day . 1738. First
state, before the figure of a little
girl was added next to the crying
boy. The original picture is in
the collection of the Earl of
Ancaster
Strolling Actresses Dressing in a Barn.
1738. xxvn. First state, with
three holes in the roof, two being
filled up in the second state
The Enraged Musician. 1741.
xxvin. Second state. The first
state (before the cats, steeple, and
play bill) is very rare. The
original paintingof thesubject is in
the Ashmolean Museum, Oxford
Portrait of Martin Folkes. 1742.
xxix. Proof before letters. The
original painting belongs to the
Royal Society
The Battle of the Pictures, xxx.
Admission ticket to an auction of
his original pictures held by the
artist. 1745
Simon, Lord Lovat. *746. xxxi.
First state (before the addition of
price i shilling in left corner of
margin). There is an original
study in chalk for the head and
shoulders in the British Museum.
There is a picture of the same
subject, probably a later version
based on the etching, in the
National Portrait Gallery
The Industrious 'Prentice perform-
ing the Duty of a Christian.
Plate 2 of a series of twelve prints
entitled, Industry and Idleness.
1747. xxxii
The Industrious 'Prentice out of his
time and married to his master's
daughter. Plate 6 of Industry
and Idleness. 1747. xxxm
The original rough sketch for Plate
8 of Industry and Idleness, xxxiv.
British Museum. There are
studies (in several cases rough
sketches as well as final drawings)
in the British Museum for all the
subjects of the series except Plate
12. The present illustration, a
first idea of the composition,
should be contrasted with a more
finished drawing for another of
the series (Plate xxxvi.) All the
studies except the present example
are in reverse to the prints. There
are also studies in the British
Museum for two further subjects
which were not engraved
The Industrious 'Prentice grown
rich, and Sheriff of London.
Plate 8 of Industry and Idleness.
1747. xxxv
The original study for Plate 11
of Industry and Idleness, xxxvi.
British Museum
The Idle 'Prentice executed at
Tyburn. Plate 11 of Industry
and Idleness. 1747. xxxvi i
The Industrious 'Prentice Lord-
Mayor of London. Plate 12 of In-
dustry and Idleness. 1747. xxxvin
The Stage Coach ; or, Country Inn
Yard at the Time of an Election.
1747. xxxix. Second state with
No Old <Baby added on flag in
background. The motto is sup-
posed to refer to John Child
Tylney, Viscount Castlemaine,
who contested Essex at the age of
twenty
Calais Gate ; or, O the Roast Beef of
Old England. 1749. XLt En-
graved by C. Mosley and the
painter after the original picture
in the National Gallery
WILLIAM HOGARTH
Beer Street. 1751. XLI. This and
the following are only inscribed
Designed by W, Hogarth, but the
engraving is also generally attri-
buted to him. The two original
drawings, in red chalk, are now in
the collection of Mr. Pierpont
Morgan (from the Joly and Fair-
fax Murray collections)
Gin Lane. 1751. XLII. See note
to its pendant, the preceding plate.
Paul before Felix. 1751. XLIII.
First state, inscribed : Designed
and scratched in the true Dutch taste
by Wm. Hogarth. In the second
state the inscription is changed to
Designed and etcJid in the rediculous
[sic] manner of Rembrandt. Used
as a receipt for payment for two
prints, the larger Paul before Felix
and Moses brought to PharoaKs
Daughter
Columbus Breaking the Egg. (1752).
XLIV. Subscription ticket for
Hogarth's book the Analysis of
Beauty, 1753
A Statuary's Yard. Plate I in Ho-
garth's book, the Analysis of
Beauty, 1753. XLV. First state,
with inscription, Et tu Brute, on
the pedestal, and before the en-
graved numbers, which are given
in manuscript on the present im-
pression. There is a study for
the crying child in the British
Museum
A Country Dance. Plate 2 in the
Analysis of Beauty, 1753. XLVI.
Second state, with a figure added
beneath thepictureof Henry VIII,
and with alterations in the chief
pair of dancers
An Election Entertainment. 1755.
One of Four Prints of an Election.
GREAT ENGRAVERS
XLVII. First state, before the
lettering. See Plates XLVHI, XLIX
and LXII. The original paintings
of this series are in the Soane
Museum, Lincoln's Inn Fields
The Polling. Engraved by Hogarth
and Le Cave. 1758. One of
Four Prints of an Election. XLVIII
Chairing the Members. Engraved
by Hogarth and F. Aveline. One
of Four Prints of an Election. XLIX
The Invasion. Plate 1st. 1756. L
The Invasion. Plate 2nd. 1756. LI
Hogarth painting the Comic Muse.
1758. LII. Second state inscribed,
The Face Engraved by William
Hogarth (this part of the inscrip-
tion omitted in the fourth state).
The original painting is in the
National Portrait Gallery
The Bench. 1758. LIII. The
original painting, in reverse,
formerly in the Cheney and
Fairfax Murray collections, is now
in the Fitzwilliam Museum,
Cambridge
The Cockpit. 1759. LIV
The Times. Plate I. 1762. LV.
First state ; Pitt on stilts in the
character of Henry VIII, blow-
ing up the flames. Lord Bute is
represented in the centre, syringed
by the two men from garret
windows (Wilkes and Charles
Churchill). This caricature in-
cited Wilkes to a venomous attack
on Hogarth in the North Briton
(Sept. 25, 1762), and Churchill,
Wilkes's champion, replied with
equal savagery in his well-known
Epistle to William Hogarth (1763).
Hogarth's reprisals are seen in
the two following plates : the
cruel, but life-like portrait etch-
ing of Wilkes, and in the plate of
Churchill as The Bruiser
Portrait of John Wilkes. 1763. LVI
The Bruiser, C. Churchill. 1763.
LVII. First state with a Modern
(changed in second state to
Russian) Hercules in the inscrip-
tion. This is the same copper-
plate as the Portrait of Hogarth
(see frontispiece} altered
The Contract. Plate I of the
Marriage-h-la-Mode. 1745. LVIII.
Engraved by Gerard Scotin. The
series of six original paintings is in
the National Gallery
The Toilet Scene. Plate 4 of the
Marriage -a- la- Mode. 1745. LIX.
Engraved by Simon Francois
Ravenet, the elder
Taste in High Life (1746). LX. By
an anonymons engraver after
Hogarth. The original painting
of 1742 was done for a certain
Miss Edwardes of Kensington,
who intended to punish the
critics of her own originalities of
costume by a burlesque of the
eccentric fashions of 1742. The
man is said to be Lord Portmore,
and the lady on the left Kitty
Fisher
A representation of the March ot
the Guards towards Scotland in
the year 1745 (commonly called
the March to Finchley). En-
graved by Luke Sullivan. 1750.
LXI. First state, unfinished.
The original picture is in the
Foundling Hospital. Drawings,
probably by Sullivan, for the
whole and for various heads in
the engraving, are in the British
Museum
Canvassing for Votes. Engraved by
Charles Grignion. 1757-
Unfinished state. One of Four
Prints of an Election, of which
Hogarth engraved the three
others, two in collaboration with
other engravers. See Plates
XLVII, XLVIII, and XLTX
The Shrimp Girl. 1781. LXIII.
Stipple engraving by Francesco
Bartolozzi after the picture in the
National Gallery
The Beggar's Opera, Act III. En-
graved by William Blake. 1790.
LXTV. After the picture (clone
WILLIAM HOGARTH
about 1728-29) in the collection
of the Duke of Leeds. There is
another painted version of the
subject in the National Gallery
(once belonging to Mr. John
Murray)
The title-page border is taken
from Ellis Gamble's Shop Card
(see i)
The accompanying tail-piece, Mask
and Palette (1745), is the subscrip-
tion ticket to the engraving of
Ga'rtck in the character of Richard
III (1746)
I. ELLIS GAMBLE'S SHOP CARD
From an impression with the lettering blocked out. Ellis Gamble was
the goldsmith and silver-plate engraver to whom Hogarth was apprenticed.
The shop card (which is a rare print) is probably quite an early plate by
Hogarth, and in any case must have been done before Gamble's bank-
ruptcy in 1733
II I
II. AN EMBLEMATIC PRINT ON THE SOUTH SEA SCHEME. (1721)
IV. FRONTISPIECE TO THE NEW METAMORPHOSIS ; OR, PLEA-
SANT TRANSFORMATION OF THE GOLDEN ASS OF LUCIUS
APULEWS. 1724
V. MASQUERADES AND OPERAS. BURLINGTON GATE. 1724
First state, with Pasquin No. XCV on the roll hanging over the wheel-
barrow (altered later to Ben John[son])
A hit among other things at William Kent, whose figure stands between
Raphael and Michelangelo above the gate of Burlington House, somewhat
prophetically inscribed Accademy of Arts. Kent was the author of the
notorious altar-piece (now lost) of St. Clement Danes, which Hogarth
pitilessly satirised in another engraving
VI. A JUST VIEW OF THE BRITISH STAGE, OR THREE HEADS
ARE BETTER THAN ONE. SCENE NEWGATE, BY
M. D V TO (1725)
Represents Booth, Wilks, and Gibber, of Drury Lane Theatre, con-
triving a pantomime. M. D V TO is the scene-painter, John Devoto
(who is represented in a portrait engraved by John Fabcr II, after
Damini, 1738)
VII. HUDIBRAS IN TRIBULATION. PLATE 6 OF A SET OF
TWELVE LARGE PRINTS FOR BUTLER'S HUDIBRAS. 1726
VIII. BURNING YE RUMPS AT TEMPLE BARR. PLATE 11 OF A
SET OF TWELVE LARGE PRINTS FOR BUTLER'S HUDI-
BRAS. 1726
IX. THE BEGGAR'S OPERA BURLESQUED. 1728
First state, before the large lettered title at the top
For a serious rendering of a scene from the same opera, see plate LXIV
H 2
X. BOYS PEEPING AT NATURE. (1731 ?)
Subscription ticket for A Harlots Progress
Indicii^ monArare receiitibutf ahdita renim ,
dabituvque X>iccntiA Sunrpta pudeater.
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XI. ARRIVAL IN LONDON. PLATE 1 OF A HARLOTS PROGRESS.
1732 _
The six original pictures of this series are said to have been wholly or
partially destroyed in the fire at Fonthill (the seat of William Beckford),
in 1755. Two however, believed to have been preserved from the fire,
corresponding to plates 2 and 5 of the engraved series, are now in the
collection of the Earl of Rosebery
XII. THE QUARREL. PLATE 2 OF A HARLOTS PROGRESS. 1732
XIII. A CHORUS OF SINGERS ; OR, THE REHEARSAL OF THE
ORATORIO OF JUDITH. (1732)
Subscription ticket for A Midnight Modern Conversation
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JfaMr^tfooriMfa,fa
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XIV. A MIDNIGHT MODERN CONVERSATION. (1733)
First state, before the correction of Moddern
XV. PORTRAIT OF SARAH MALCOLM. (1733)
The original picture, from the collection of Horace Walpole, is now in
the National Gallery of Scotland
XVI. SANCHO'S FEAST. (1733)
XVII. THE LAUGHING AUDIENCE. (1733)
Subscription ticket for the Rake's Progress and Soutbwark Fair
H 3
XVIII. THE LEVEE. PLATE 2 OF A SERIES OF EIGHT PRINT!
ENTITLED A RAKE'S PROGRESS. 1735
The original paintings of this series are in the Soane Museurr
Lincoln's Inn Fields
XIX. THE MARRIAGE. PLATE 5 OF A RAKE'S PROGRESS. 1735
XX. SOUTHWARK FAIR. (1735)
The plate is dated 1733, but it is known not to have been issued until
1735. A painting of this subject is in the collection of the Duke of
Newcastle
XXI. THE DISTRESSED POET. 1736
The original painting is in the collection of the Duke of Westminster
XXII. THE SLEEPING CONGREGATION. 1736
A painting of the subject is in the collection of Sir Frederick Cook,
Bart.
I
XXIII. SCHOLARS AT A LECTURE. 1737
XXIV. MORNING. PLATE 1 OF THE FOUR TIMES OF THE DAT.
1738
The original pictures of Morning and Night belong to Lieut. -Col.
G. R. Heathcote, of Bighton Wood, Alresford, Hants
XXV. NOON. PLATE 2 OF THE FOUR TIMES OF THE DAT. 1738
The original picture is in the collection of the Earl of Ancaster
H 4
XXVI. EVENING. PLATE 3 OF THE FOUR TIMES OF THE DAT.
1738
First state, before the figure of a little girl was added next to the
crying boy. The original picture is in the collection of the Earl of
Ancaster
XXVII. STROLLING ACTRESSES DRESSING IN A BARN. 1738
First state, with three holes in the roof (two being filled up in the
second state)
XXVIII. THE ENRAGED MUSICIAN. 1741
Second state. The first state (before the cats, steeple, and play
bill) is very rare. The original painting of the subject in the
Ashmolcan Museum, Oxford
XXIX. PORTRAIT OF MARTIN FOLKES. 1742. PROOF BEFORE
LETTERS
The original -painting belongs to the Royal Society
XXX. THE BATTLE OF THE PICTURES. ADMISSION TICKET TO
AN AUCTION OF HIS ORIGINAL PICTURES HELD BY
THE ARTIST. 1745
XXXI. SIMON, LORD LOVAT. 1746
First state (before the addition of Price I Shilling in left corner ot
margin.) There is an original study in chalk for the head and
shoulders in the British Museum. A picture of the same subject
in the National Portrait Gallery is probably a later version (by
another hand ?) based on the etching
Simon Fraser, I2th Lord Lovat (b. ab. 1667) was an adventurer, who
played a notoriously double game between the Jacobite and Govern-
ment causes. He sided with the Government in 1715, but was one
of the chief instigators of the Rising in 1745. He was executed on
Tower Hill in 1746
XXXII. THE INDUSTRIOUS 'PRENTICE PERFORMING THE DUTY
OF A CHRISTIAN. PLATE 2 OF A SERIES OF TWELVE
PRINTS ENTITLED INDUSTRT AND IDLENESS. 1747
XXXIII. THE INDUSTRIOUS 'PRENTICE OUT OF HIS TIME, AND
MARRIED TO HIS MASTER'S DAUGHTER. PLATE 6
OF 1NDUSTRT AND IDLENESS. 1747
XXXIV. THE ORIGINAL ROUGH SKETCH FOR PLATE 8 OF
INDUSTRT AND IDLENESS. British Museum
There are studies (in several cases rough sketches as well as final
designs) in the British Museum for all the subjects of the series
except plate 12. The present illustration, a first idea of the
composition, should be contrasted with a more finished drawing for
another of the series (plate XXXVI). All the studies, except the
present example, are in reverse to the prints. There are also
studies in the British Museum for two further subjects which were
not engraved
XXXV. THE INDUSTRIOUS 'PRENTICE GROWN RICH,
SHERIFF OF LONDON. PLATE 8 OF INDUS1RT
IDLENESS. 1747
XXXVI. THE ORIGINAL STUDY FOR PLATE 1 1 OF INDUSTRY
AND IDLENESS
British Museum
XXXVII. THE IDLE 'PRENTICE EXECUTED AT TYBURN.
PLATE ]1 OF INDUSTRY AND IDLENESS. 1747
XXXVIII. THE INDUSTRIOUS 'PRENTICE LORD-MAYOR OF
LONDON. PLATE 12 OF INDUSTRT AND IDLENESS.
1747
XXXIX. THE STAGE COACH ; OR, COUNTRY INN YARD AT THE
TIME OF AN ELECTION. 1747
Second state, with No Old Baby added on flag in background. The
motto is supposed to refer to John Child Tylney, Viscount Castle-
maine, who contested Essex at the age of twenty
XL. CALAIS GATE OR, O THE ROAST BEEF OF OLD ENGLAND.
1749
Engraved by C. Mosley and the painter after the original picture in
the National Gallery
Charles Mosley, line-engraver ; d. ab. 1770 ; worked in London
XLI. BEER STREET. 1751
This and the following are only inscribed Designed by W. Hogarth, but
the engraving is also generally attributed to him. The two original
drawings, in red chalk, are now in the collection of Mr. Picrpont
Morgan (from the Joly and Fairfax Murray collections)
!i K K H S T If K, F. T .
H. 6
XLII. GIN LANE. 1751
See note to its pendant, the preceding plate
XLIII. PAUL BEFORE FELIX. 1751
First state, inscribed Designed and scratched in the true Dutch taste
by Wm. Hogarth. In the second state this inscription is changed to
Designed, and etcVd in the rediculous (sic) manner of Rembrandt. Used
as a receipt for payment for two prints, the larger Paul before Felix
and Moses brought to Pharaoh's Daughter. There is a pencil study
for this print in the British Museum
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1
XLIV. COLUMBUS BREAKING THE EGG. (1752)
Subscription ticket for Hogarth's book, the Analysis of Beauty (1753)
B The Pn<v viU fo ravii a/kr Ifit Juiwif>tt(>n ucvtr.^
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XLV. A STATUARY'S YARD. PLATE 1 IN HOGARTH'S BOOK,
THE ANALYSIS OF BEAUTY. 1753
First state, with inscription Et tu Brute on the pedestal, and before the
engraved numbers, which are given in manuscript on the present
impression. There is a study for the crying child in the British
Museum
XLVI. A COUNTRY DANCE. PLATE 2 IN THE ANALYSIS OF
BEAUTT. 1753
Second state, with a figure added beneath the picture of Henry VIII,
and with alterations 'in the chief pair of dancers. There are studies
for parts of this plate (Figs. 60 and 61) in the British Museum
XLVII. AN ELECTION ENTERTAINMENT. 1755. ONE OF FOUR
PRINTS OF AN ELECTION
First state, before the lettering. See plates XLVIII, XLIX and
LXII. The original paintings of this scries are in the Soane
Museum, Lincoln's Inn Fields
XLVIII. THE POLLING. ENGRAVED BY HOGARTH AND LE
CAVE. 1758. ONE OF FOUR PRINTS OF AN ELECTION
P. Le Cave, water-colour painter, etcher, and engraver ; worked
ab. 1758-1803, in London
XLIX. CHAIRING THE MEMBERS. ENGRAVED BY HOGARTH
AND F. AVELI NE. ONE OF FOUR PRINTS OF AN ELEC-
TION
Francois Antoine Aveline ; line engraver ; b. 1727 (1718 ?) ; d. 1762 ;
worked in Paris, and London
H. 7
L. THE INVASION. PLATE 1. 1756
LI. THE INVASION. PLATE 2. 1756
LII. HOGARTH PAINTING THE COMIC MUSE. 1758
Second state, inscribed, The Face Engraved by William Hogarth. The
original painting is in the National Portrait Gallery
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LIII. THE BENCH. 1758
The original painting, in reverse, formerly in the Cheney and Fairfax
Murray collections, is now in the Fitzwilliam Museum, Cambridge
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LIV. THE COCKPIT. 1759
LV. THE TIMES: PLATE l. 1762
First state ; Pitt on stilts in the character of Henry VIII blowing up
the flames. Lord Bute is represented in the centre, directing a fire-
hose, and syringed by two men from garret windows (Wilkes and
Charles Churchill). This caricature incited Wilkes to a venomous
attack on Hogarth in the North Briton (September 25, 1762), and
Churchill, Wilkes's champion, replied with equal savagery in verse in
his well-known Epistle to William Hogarth (1763). Hogarth's reprisals
are seen in the two succeeding plates : in the cruel, but evidently
lifelike, portrait etching of Wilkes, and in the plate representing
Churchill as the Bruiser
LVI. PORTRAIT OF JOHN WILKES. 1763
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LVII. THE BRUISER, C. CHURCHILL. 1703
First state, with a Modern (changed in second state to a Russian)
Hercules in the inscription. This is the same copper-plate as the
Portrait of Hogarth (frontispiece) altered
H. 8
LVIII. THE CONTRACT. ENGRAVED BY GERARD SCOTIN.
PLATE 1 OF THE SERIES OF SIX SUBJECTS, ENTITLED
MARRIAGE-A-LA-MODE. 1 745
The series of original paintings is in the National Gallery
Gerard Jean Baptiste Scotin II, line-engraver ; b. 1698 ; d. after
J 745 5 worked in Paris, and London
LIX. THE TOILET SCENE. ENGRAVED BY SIMON FRANCOIS
RAVENET, THE ELDER. PLATE 4 OF MARRIAGE-A-LA-
MODE. 1745
Simon Frai^ois Ravenet I, line-engraver ; b. 1721 (or ab. 1706 ?) ;
d. 1774 ? worked in Paris, and London
LX. TASTE IN HIGH LIFE. BY AN ANONYMOUS ENGRAVER
AFTER HOGARTH. (1746)
The original painting, done in 1742, is in the collection of Mr. Fairfax
Murray. The painting was commissioned by a certain Miss Edwardes
of Kensington, who intended thereby to punish the critics of her own
originalities of costume by a burlesque of the eccentric fashions of
1742. The man is said to represent Lord Portmore ; the lady on the
left Kitty Fisher
LXI. A REPRESENTATION OF THE MARCH OF THE GUARDS
TOWARDS SCOTLAND IN THE YEAR 1745 (COMMONLY
CALLED THE MARCH TO FINCHLET). ENGRAVED BY
LUKE SULLIVAN. 1750
First state : unfinished. The original picture is in the Foundling
Hospital. Drawings, probably by Sullivan, for the whole, and for
various heads in the engraving, are in the British Museum
Luke Sullivan, line-engraver ; b. 1705 ; d. 1771 ; worked in Ireland,
and London
LXII. CANVASSING FOR VOTES. ONE OF FOUR PRINTS OF AN
ELECTION, OF WHICH HOGARTH ENGRAVED THE
THREE OTHERS, TWO IN COLLABORATION WITH
OTHER ENGRAVERS. ENGRAVED BY CHARLES
GRIGNION. 1757
Unfinished state. See plates XLVII, XLVIII, and XLIX
Charles Grignion, line-engraver; b. 1717; d. 1810; worked in
London
_
LXIII. THE SHRIMP GIRL. ENGRAVED IN STIPPLE BY
FRANCESCO BARTOLOZZI. 1781
After the picture in the National Gallery
Francesco Bartolozzi, engraver in line and stipple ; b. 1728
d. 1813 ; worked in Florence, Venice, Rome, London, and Lisbon
LXIV. THE BEGGAR'S OPERA, ACT III. ENGRAVED BY WILLIAM
BLAKE. 1790
Two paintings of this subject may be mentioned ; one in the Nationa
Gallery (formerly belonging to Mr. John Murray) ; the other
slightly larger, in the collection of the Duke of Leeds. The engrav-
ing is based on the latter. This now forgotten opera, which ha:
scored by Dr. Pepusch from old ballads and popular songs of th<
day, had an immediate success on its first production in 1728. Botl
pictures date about this time, though the National Gallery versior
was still unfinished in 1731. Polly Peachum, played by Lavini;
Fenton, is seen on the right, kneeling before her father ; on the lef
Lucy, with her back turned, before Lockit. Macheath is the centra
figure. The Duke of Bolton, who married Miss Fenton, is repre-
sented seated on the extreme right. There is a charming Hogartl
portrait of Miss Fenton, as Polly, in the National Gallery
William Blake, painter, line-engraver, and etcher ; famous for hi
imaginative designs, and prophetical books ; b. 1757 ; d. 1827
worked in London, and Felpham
PRINTED AT THE BALLANTYNE PRESS
a.UN 2 1990,
