Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

Date: 1763

From: Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

Reference: D-020-100

Description: A carcitaure of John Wilkes who was the member for Aylesbury in Buckinghamshire. Represented as a foolish grinning man with demonic horns formed by his wig. He is seated on a chair and twirling the cap of Liberty (a fool's cap) upon the end of a stick. On the table beside him are two papers of the New Briton, Nos 17 and 45. His squint is just slightly exaggerated to turn his grin into the leer of a cynic; his wig is just slightly curled back into the horns of a devil. Source of descriptive information - Jenny Uglow. Hogarth, a life and a world. London, 1997; Northwestern University Library internet site; and other published sources.. Inscriptions: Recto - beneath image - Title John Wilkes, the libertine supporter if William Pitt the Elder, and editor of the New Briton newspaper, was arrested and imprisoned for his fierce attack on King George II and his Prime Minister, the Scottish, Lord Bute. He was charged with seditious libel attack on the King's speech on the opening of Parliament in the 23 April 1763 issue of the New Briton (No 45). On 19 Jan 1764 he was expelled from the House of Commons and arrested. For many he was a martyr of liberty. Quantity: 1 b&w art print(s). Physical Description: Engraving, 353 x 230 (platemark), one of two prints on cream wove paper, 485 x 650 mm

Date: 1735 - 1763

From: Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

Reference: D-020-036

Description: The scene shows Tom in Bedlam (a lunatic asylum, originally called Bethlehem but later shortened). Several types of lunatics are represented. Each of these reflect the sins of the Rake in their own way and ultimately the follies of the age: the mad tailor's vanity, abuse of religion by a religious maniac (Cell 54), his strive for power by a naked madman with a crown on his head and carrying a stick as a sceptre (Cell 55). A blind astronomer looks through a paper telescope, a violinist plays with his sheet music resting on his head, and another man scrawls on the wall. Some are victims of love like the brooding man who has scribbled `Charming Betty Careless' on the stair rails (William Ellis, who was unhinged by his passion for the prostitute Betty Careless). Tom lies semi-naked on the floor, the manacle on his leg being loosened by the turnkey. The patch on his breast hints he has tried to stab himself. Sarah Young kneels weeping at his side while the surgeon looks down with pity. Bedlam was open to visitors, and the two women in the middle of the picture are a well-to-do lady and her maid. Verse below - Madness, ye chaos ye brain, what art? .... Source of descriptive information - Jenny Uglow. Hogarth, a life and a world. London, 1997. Other Titles - Scene in Bedlam Inscriptions: Recto - beneath image - Text and title Quantity: 1 b&w art print(s). Physical Description: Engraving, 356 x 405 mm, on sheet 470 x 652 mm

Date: 1760 - 1795

From: Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

By: Ireland, John, -1808

Reference: D-020-022

Description: An example of Hogarth's early emblematic style. It was an attack of the excesses of Methodism and shows a convulsed, crippled flock before an hysterical preacher, whose Nonconformist wig flies off in a sunburst, revealing a papist tonsure, and whose open robes expose Harlequin colours. Puppets of God and the Devil dangle from the preacher's hands. More puppets hang like bodies at Tyburn around his pulpit: Adam & Eve, Peter & Paul, Moses & Aaron - the icons of Renaissance and Dutch art. Out of a bug-like brain, a thermometer soars from Madness and Despair to a point above Revelation, where Joyful and Pleased only just outride Angry and Wrathful. Above it hangs a scale to measure the preachers' rant. It is suspended by a ring, through a nose, and the gaping mouth foams with the accented words, `Chroist, Blood blood blood blood!' Any notion of love in the congregation is cancelled out by the nobleman groping the girl, who stands parallel to `Lust-Hot' on the scale. As he arouses her, the Christ-doll she holds folds and bends like paper. A branded thief sniffles into a bottle of tears held by a tiny Christ figure. A howling dog as `Whitefield' on his collar. A converted Jew cracks a flea between his nails as he leans on the Bible, open at an illustration of Abraham and Isaac. On the floor, convulsed with ecstacy like a baroque saint, lies a woman who resembles Mother Douglas of `The March to Finchley', cradling her Christ like a dead child. This was all very topical: in June 1761, when Mother Douglas died, the papers were full of the wealth and pictures the pious bawd left. But as the women of Hogarth's congregation munch, gnaw, chew and gulp at the limbs and body of the rigid images of Christ, the irruption of the surreal moves the satire into a realm of tormented unreason. Even the poor box is a steel-sprung mousetrap. And over the whole scene, with its air of a feverish Black Mass, swings a lamp with the face of despair. Its mouth is marked `Eternal Damnation Gulf'. Ironically dedicated to the Archbishop of Canterbury Source of descriptive information - Jenny Uglow. Hogarth, a life and a world. London, 1997. Inscriptions: Recto - beneath image - Title; Recto - beneath image - On right in ink - A Methodists brain In 1762 Hogarth published a completely re-worked version entitled `Credulity, superstition and fanaticism'. Compare with D-020-097. Quantity: 1 b&w art print(s). Physical Description: Engraving, 510 x 360 mm

Date: 1746

From: Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

Reference: D-020-108

Description: The engraving March to Finchley was based on a historic moment, probably witnessed by Hogarth himself. It depicted British troops being marched out of London to their place of rendezvous on Finchley Common in December 1745, to defend the city against the threat of Jacobite invasion. The engraving was given as a receipt to the subscribers of the print `The March to Finchley'. It represents a stand of various weapons, bagpipes, etc, and a pair of scissors cutting out the arms of Scotland, all arranged on a short plinth. Other - The March to Finchley is held at D-020-071 Other Titles - The receipt plate for March to Finchley Inscriptions: Recto - beneath image - Title Quantity: 1 b&w art print(s). Physical Description: Engraving, 185 x 232 mm (platemark), one of three engravings on cream wove paper, 650 x 485 mm

Date: 1759

From: Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

Reference: D-020-095

Description: Apart from the pun of cock-pit(t), the print was a clear political comment : the `Cockpit' was the name of a Whitehall building where politicians gathered and a synonym for the Treasury itself. Hogarth shows a blind gambler, tense and still before the pit where two cocks are about to fight. The man on the gambler's left is stealing one of the notes from out of the gambler's upturned hat. Around him the crowd presses and screams, shoves and whistles, but the unmoved central figure deflects the uproar without a tremor. The blind gambler was recognized as Lord Albermarle Bertie, second son of the rich and powerful Duke of Ancaster. The figures in the crowd include a Quaker and a newspaper-seller, a Negro servant and a rich tradesman, a jockey and a hangman (or perhaps his victim, with a gibbet drwan on his back). A French noble taking snuff on the left is balanced by a dandified chimney-sweep on the right, also taking snuff. On each side men yell into each other's ears. On the left and right, the toes of the men who feed and cajole the cocks poke into the mat-covered ring. The print is all about `eyes', with everyone looking quickly, intently, fiercely some way or other - while the artist, and through him his audience, look down on them all, pulled into the circle. Source of descriptive information - Uglow, Jenny. Hogarth, a life & a world. London, 1997 Other Titles - Cock match Inscriptions: Recto - beneath image - Title The scene is set in the Royal Cockpit in Birdcage Walk, St James's, London. Quantity: 1 b&w art print(s). Physical Description: Engraving, 315 x 385 mm (platemark) on cream wove paper, 482 x 650 mm

Date: 1756

From: Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

Reference: D-020-093

Description: This print shows the French preparing their ships, and a monk bringing the idols and torture instruments of Popery, watched by frightening soldiers. The monk is testing the sharpness of his ax beside the tools of torture he will use to coerce the Britsh into Catholism. Behind them an inn with the sign of a wooden shoe, `La Sabot Royal', sells `Soup meagre'. At one side an officer is roasting frogs on his sword, gesturing at a banner that reads `Vengence et le bon bier et bon beuf d'Angleterre'. Source of descriptive information - Uglow, Jenny. Hogarth, a life & a world. London, 1997 Inscriptions: Recto - above image - Title; Recto - beneath image - Verse by Garrick In 1756 the Seven Years' War began. England and Prussia fought against Catholic France and Austria. Moreover France and England were at war over colonial possessions in America. The prints were timely, but instead of invading England, the French fleet sailed from Brest to North America. Quantity: 1 b&w art print(s). Physical Description: Engraving, 315 x 390 mm (platemark) on cream wove paper, 485 x 650 mm

Date: 1751

From: Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

Reference: D-020-076

Description: The subject is the wanton cruelty to animals and humans. It follows the `progress' of a young man, Tom Nero, who takes delight in various forms of extreme cruelty and ends up victim of his own example. The third stage of Tom's `progress' shows his brutality to animals leading inexoriably to brutality to humans. Tom Nero is being arrested in a country churchyard for having murdered Ann Gill, a servant from the house in the background. Tom has seduced Ann into stealing her mistress's silver plate and other valuables, as her letter to him, taken from Tom's pocket by the man kneeling to his right, tells us. Tom has slit her throat, wrist and finger to obtain the spoils. The knife has been retrieved and is flourished in front of Tom by one of those who apprehend him, while his open coat reveals the further weaponry of a pistol in his inside pocket. Stolen watches and a second pistol on the ground indicate his `career' as a highwayman. Those who have arrested him either throw up their hands in despair or threaten him with their fists at his savagely callous deed. The clock on the church tower shows it is 1 am. An owl, a bat, the moon and a toped yew tree add touches of gothic horror to the scene, as does the skull and crossbones on the tombstone against the fence. Ann has brought all her wordly treasures with her in a box marked `A.G.' Her Book of Common Prayer and a treatise entitled `God's revenge against murder' spill out of it, showing her as a basically good person beguiled into wickedness. The verse below the image is attributed to James Townley Source of descriptive information - Literary Encyclopaedia (www.litencyc.com) Inscriptions: Recto - above image - Cruelty in perfection; Recto - beneath image - Verse and publication details The four prints were published on 21 Feb 1750/51. They were published in two versions: one on ordinary paper for one shilling and the other for collectors on finer paper at one shilling and sixpence. Quantity: 1 b&w art print(s). Physical Description: Engraving, 385 x 320 mm (platemark), on cream wove paper, 650 x 485 mm

Date: 1738

From: Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

Reference: D-020-103

Description: Illustration of a scene from Miguel Cervantes' book "Don Quixote". Don Quixote is lying on a bed in a hay-loft his armour hanging from a nail above, having his wounds attended to by the innkeeper's wife and her beautiful daughter. Maritones, the deformed and half-blind servant is holding a candle nearby. Sancho stands to one side. Inscriptions: Recto - beneath image - Title Quantity: 1 b&w art print(s). Physical Description: Engraving, 250 x 183 mm (platemark), one of three engravings on sheet 650 x 485 mm

Date: 1749

From: Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

By: Mosley, Charles, active 1735-1770

Reference: D-020-070

Description: Hogarth peered in towards the town through the gloomy arch in the seventeenth century ramparts, an outer ring encircling the old city walls. The whole is cut across by a sharply defined shadow as the evening sun flashes from a cloud-flecked sky, picking out the English arms on the Porte du Havre. It also falls on the raven perched on the tower and on the robes of the priests, giving a sacrament to the sick beyond the jagged portcullis. The main action takes place on the broad cobbles between the two gates. Here are the stock French comic chararcters: the servant in clogs, carrying the kettle of soup; the scrawny monsieur, spoon halfway to his mouth, with toes poking through his socks; the dead-head soldier spilling his soup. They are all elctrified, transfixed by the sight of a huge side of beef on its way to Grandsire's hotel to feed the British visitors. The cook's boy staggers under the weight of the meat, and the gross, lascivious friar strokes its waxy fat with drooling greed. In the shadowy foreground lies the Jacobite in his tartan, with mouldering shoes and nothing to eat but an onion. Opposite him three wizened crones huddle, their toothless grins mimicked in the dead face of the skate in the basket. Source of descriptive information - Uglow, Jenny. Hogarth, a life and a world; and other published sources Other Titles - The Gate of Calais Inscriptions: Recto - beneath image - Title Quantity: 1 b&w art print(s). Physical Description: Engraving, 380 x 450 mm (platemark), on cream wove paper, 485 x 650 mm

Date: 1738

From: Hogarth, William 1697-1764 :The original works of William Hogarth. London, sold by John and Josiah Boydell, 1790

Reference: D-020-007

Description: Illustration of a scene from Cervante's book "Don Quixote". Don Quixote on horseback with lance in hand, takes the barber for a knight and his basin for a helmet. The barber has slipped off his ass and is on the ground with his basin beside him. Sancho Panza can be seen approaching in the distance. Other Titles - Don Quixote seizes the barber's basin for Mambrino's helmet Quantity: 1 b&w art print(s). Physical Description: Engraving, 250 x 185 mm, one of two engravings on sheet 485 x 630 mm