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First Stage of Cruelty...
First Stage of Cruelty...
Design'd by W. Hogarth.
Published according to Act of Parliment Feb.y. 1751. Price 1.d.
Engraving. 390 x 320mm. Light foxing to wide margins.
Hogarth explained his intention behind the four stages of cruelty in his 'Autobiographical Notes'; 'The four stages of cruelty, were done in hopes of preventing in some degree that cruel treatment of poor animals which makes the streets of London more disagreeable to the human mind, than any thing what ever.... it could not be done in to[o] strong a manner as the most stony heart[s] were ment to be affected by them'.
Paulson: p. 149, state i of ii. Hogarth, W.: 'Autobiographical Notes' in The Analysis of Beauty, ed. Joseph Burke, Oxford, 1955, p. 226.
[Ref: 3221]   £480.00  
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[Works of William Hogarth] Sammlung Hogarthischer Kupferstiche.
[Works of William Hogarth] Sammlung Hogarthischer Kupferstiche. Erste Lieferung von sechs Platten [& parts 2 -7].
[Gottingen: J.C. Dieterich, n.d., 1794-c.1830.]
7 parts (of 14), folio, 365 x 265mm (14¼ x 10½"), original marbled wrappers with calf spine, printed labels on front cover, in later portfolio; each part with six numbered engravings (part 3 with eight), as called for. Some spotting and staining throughout.
A collection of the first 44 plates of 88 in this German edition of the engraved works of William Hogarth, published in parts 1794-1834. The plates were engraved by Ernst Ludwig Riepenhausen to accompany a commentary on the engravings of Hogarth by Georg Christoph Lichtenberg, 'Ausfürliche Erklärung der Hogarthischen Kupferstiche'. Paulson describes the plates as ''good copies'' of the originals. Part 1 contains: Strolling Actresses Dressing in a Barn; A Midnight Modern Conversation; The Four Times of the Day. Part 2: A Harlot's Progess. Part 3: A Rake's Progress. Part 4: Marriage à-la-Mode. Part 5 & 6: Industry & Idleness. Part 7: The Invasion: France, Plate 1st, The Invasion: England, Plate 2nd; The Distrest Poet; The Laughing Audience; The Company of Undertakers; Tailpiece, or The Bathos. The complete set of 14 parts is rare.
Paulson Vol. I, p. 81.
[Ref: 53761]   £690.00   view all images for this item
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Industry and Idleness.
Industry and Idleness. 1. The Fellow 'Prentices at their Looms. [&] 3. The Idle 'Prentice at Play in the Church Yard, during Divine Service. [&] 4. The Industrious 'Prentice a Favourite, and entrusted by his Master. [&] 6. The Industrious 'Prentice out of his Time, & Married to his Master's Daughter. [&] 8. The Industrious 'Prentice grown rich, & Sheriff of London. [&] 10. The Industrious 'Prentice Alderman of London, the Idle one brought before him & Impeach'd by his Accomplice. [&] 11. The Idle 'Prentice Executed at Tyburn.
[Engraved for Carington Bowles after designs and engravings by William Hogarth.]
[n.d. c.1770.]
Working proofs before letters. Incomplete set of 7 unique engravings. Very unfinished. 190 x 280mm (7½ x 11").
Seven of twelve morality satires by William Hogarth (1697 - 1764), charting the careers of two London apprentices. Hogarth later described the series as ‘calculated for the use & Instruction of Youth’. The ‘good’ apprentice, Francis Goodchild, and ‘bad’ apprentice, Tom Idle, are seen together in Plates 1 and 10. Throughout the rest of the series their respective ‘careers’ are compared and contrasted. The apprentices’ physical appearance is also contrasted. Goodchild’s expressions are serene and polite, his demeanour elegant and gentlemanly, while Idle’s features become increasingly contorted and grotesque, and his posture slovenly and misshapen. The first plate sees the two apprentices together in the same silk-weaving workshop in Spitalfields. Goodchild works diligently at the loom, while Idle is fast asleep. Two volumes entitled ‘The Prentices Guide’ [not etched at this time] are strategically placed, symbolising their respective attitudes to work and authority. Goodchild’s is in pristine condition, carefully propped against a thread winder but the other is soiled, ripped and discarded on the floor. The series' end sees Goodchild’s triumphal procession as Lord Mayor at the heart of the City of London, while Idle’s ignominious end is execution on the gallows at Tyburn.
iii: W122, see Paulson 170. iv: W125, see Paulson 171. vi: W124, see Paulson 173. viii: W120, see Paulson 175. x: W126, see Paulson 177. xi: W123, See Paulson 178.
[Ref: 16339]   £950.00   view all images for this item
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Sarah Malcom Executed in Fleet Street March ye 7th 1732
Sarah Malcom Executed in Fleet Street March ye 7th 1732 for Robbing the Chambers of Mrs Lydia Duncomb in ye Temple and murdering Her Eliz. Harrison & Ann Price.
W. Hogarth (ad Vivum) pinxit.
[n.d., c.1740.]
Mezzotint with very large margins, scarce. 200 x 180mm (8 x 7") Paper slightly age-toned.
A copy in reverse after William Hogarth's portrait of Sarah Malcolm, who in 1733 was executed for a triple murder. Malcolm assisted in the robbery and murder of a lodger in one of the Temple chambers, a rich, 80 year old woman, Mrs. Lydia Duncomb, for whom Sarah had worked in the past. Mrs. Duncomb shared her lodgings with a long term companion, 60 year old Mrs. Harrison, and her young servant, 26 year old Ann Price. The dead bodies of the three women were discovered the following afternoon. Awaiting execution in Newgate, Malcolm was visited by William Hogarth who sketched her and then painted her portrait, from which this print has been copied.
Ex: Collection of The Hon. C. Lennox-Boyd. CS ENA II 67.
[Ref: 36470]   £480.00  
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Marriage a la Mode. Plate III. Engraved from the Original Picture. Size of the Picture 3ft by 2ft 4in.
Marriage a la Mode. Plate III. Engraved from the Original Picture. Size of the Picture 3ft by 2ft 4in.
Painted by William Hogarth. Engraved by Richard Earlom.
Published on Jan. 1, 1798, by J & J Boydell, No. 90 Cheapside, & at the Shakespeare Gallery, Pall Mall.
Mezzotint. 495 x 650mm.
The third plate shows the Viscount at a doctor, accompanied by his child mistress. The black spot on his neck is Hogarth's code for those with venereal disease; he holds a box of the mercurial pills which were the only known treatment. The older woman holding a clasp knife appears to be the young girl's mother. The machines to the right are described in the open book, and are for setting a broken shoulder, and drawing corks. Earlom's six mezzotints for the Marriage à la Mode set were published one at a time from 1795 to 1800. They were then sold via subscription through Boydell's Shakespeare Gallery.
[Ref: 3229]   £380.00  
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Sigismunda.
Sigismunda. The original Picture in Oil by the late Mr. W.m Hogarth, and the Drawing from which this Print is made of the same size are both in the Collection of Mr. Sam.l Ireland, of Norfolk Street, who purchased them of Mrs. Hogarth in 1781. The Drawing wasmade by Mr. Edw.d Edwards, Assosiate of the Royal Academy & finsihed in April 1764 under the inspection of Mr. Hogarth, from whose pencil it received its last finishing touches about six months before his death. From this Drawing Mr. Basire the Engravr, began a Print but the death of Mr. Hogarth prevented its being finished.
Hogarth Pinx.t. Dunkarton Sculp.t.
London, Published Feb 1st 1793, by T.B. Freeman & Co. Strand, & Sold by Dickenson, New Bond Street, & Walker, Cornhill.
Mezzotint with large margins. Platemark: 395 x 375mm (15½ x 14¾").
An illustration of a dramatic scene from Giovanni Boccaccio’s celebrated medieval novel, 'The Decameron'. The heroine, Sigismunda, holds a goblet sent to her by her father, Prince Tancred. Inside, is the heart of her dead husband, Giuscardo, one of Tancred’s servants. He has murdered him, enraged by their unsuitable secret marriage. This was Hogarth’s most deliberate attempt to prove that modern English painters could handle heroic themes as convincingly as the revered Italian old masters. But the picture received such harsh criticism that he almost completely abandoned painting for the last years of his life. For an open letter proof impression, see item ref: 36640.
Ex collection of Christopher Lennox-Boyd.
[Ref: 36639]   £450.00  
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