William Hogarth Engravings

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Special Collections Department William Hogarth Engravings 1732 -1808 Graphics Arts Collection Number: 101 Accessioned: Gift of Anna D. Moyerman, 1972. Extent: One box, 13 items. Content: Engravings. Access: The collection is open for research. Processed: 1996 by Iris Snyder. for reference assistance email Special Collections or contact: Special Collections, University of Delaware Library Newark, Delaware 19717-5267 (302) 831-2229 Table of Contents Biographical Note Scope and Contents Note Contents List Biographical Note William Hogarth (1697-1764), the English painter, engraver, and satirist, was born in London. At sixteen, he was apprenticed to a silversmith, learning to engrave designs on gold and silver work. He set up his own business as an engraver in 1720. He developed a distinctive style as both a painter and an engraver, combining humor and history in a series of illustrations based on the works of Samuel Butler and on Shakespeare. During the 1730s and 1740s his most popular paintings, and prints based on them, were satiric views of London life such as "A Rake's Progress" and "Marriage à la Mode." In the later 1740s, Hogarth's reputation began to wane, and he turned to producing prints from drawings rather than paintings. The subject matter of his prints became more popular (for example "Gin Lane" and "Beer Street") and the style more simple. His productivity dropped off in the 1750s due to political quarrels and ill health, and his reputation fell off before his death in 1764. Source: Sir Lawrence Gowing, A Biographical Dictionary of Artists. New York: Facts on File, 1995. Scope and Content Note This collection is composed of thirteen engravings of drawings and paintings by William Hogarth (1732-1808), the English artist and satirist. Eleven of the prints were engraved by Hogarth, the other two were done by other engravers after his designs. The designs in this group are of popular, humorous subjects; focusing on the daily lives of the rich and poor in eighteenth century England. Each of the prints is crudely hand-colored using a bright palette. Because of the poor quality of the coloring, it is possible that the coloring was not comtemporary with the prints, but was done later. Contents List Folder -- Contents Series I.1. Engravings by William Hogarth F1 "A Midnight Modern Conversation" 62.5 cm. X 47.5 cm. Engraving, hand-colored, 1732/3 F2 "Southwark Fair" 63 cm. x 47 cm. Engraving, hand-colored, 1733/4 F3 "Strolling Actresses Dressing in a Barn" 63 cm. x 47 cm. 1/2 Engraving, hand-colored, 1738 F4 "The Distrest Poet" 63 cm. x 47.5 cm. Engraving, hand-colored, 1740 F5 "The Enraged Musician" 63 cm. x 47.5 cm. Engraving, hand-colored, 1741 F6 "M. Garrick in the Character of Richard the 3rd" 63 cm. x 47 cm. Engraving, hand-colored, 1746 F7 "Beer Street" 47 cm. x 63 cm. Engraving, hand-colored, 1751 F8 "Gin Lane" 47 cm. x 63 cm. Engraving, hand-colored, 1751 F9 "The Invasion, Plate 1st France" 63 cm. x 47.5 cm. Engraving, hand-colored, 1756 F10 "The Invasion, Pl. 2d England" 63 cm. x 46.5 cm. Engraving, hand-colored, 1756 F11 "The Cockpit" 63 cm. x 47 cm. Engraving, hand-colored, 1759 Series I.2. Engravings after designs by William Hogarth F12 "The March to Finchley" 63 cm. x 47.5 cm. Engraving, hand-colored, 1750, republished 1761 Engraved by Luke Sullivan F13 "Taste in High Life" 63 cm. x 47 cm. Engraving, hand-colored, 1808 Engraved by Sam Phillips. Published by Boydell & Co. 2/2.

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Hogarth in British North America

PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2014 © 2014 Colleen Terry All Rights Reserved UMI Number: 3642363 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3642363 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry Approved: ___________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ___________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts & Sciences Approved: ___________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
William Hogarth; His Original Engrauiljp

CORNELL UNIVERSITY LIBRARY ExLiBRis EvgeneAMO^h^avann JR WITHDRAWN Cornell UnlvWstty Ubrary NE 642.H71H66 William Hogarth; his original engraUilJP 3 1924 014 301 737 \ Cornell University J Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924014301737 GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND PORTRAIT PE WILLIAM HOGARTH. Engraved by himself 1749 The original painting oj 1745 is in the National Gallery BOOKS OF REFERENCE (later editions Trusler, J. Hogarth moralised. London 1768 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 178 1 (later editions 1782, 1785) Ireland, John. Hogarth Illustrated. 2 vols. London 1 79 1 (later editions .,: 1793, 1798. 1806, 1 812) ' '— 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 ?) WICH01.S, John Bowyer. Anecdotes of William Hogarth, written by himself, with Essays on His Life and Genius, selected from Walpole, Phillips, Gilpin, J.
Hogarth's London Transcript

Hogarth's London Transcript Date: Monday, 8 October 2007 - 12:00AM VISUAL IMPRESSIONS OF LONDON - Hogarth's LONDON Robin Simon FSA Whatever the virtues of this country, we are not terribly good at honouring our artists. There's Gainsborough's house, there is the Watts Gallery near Guildford, and that is about it, and so how very appropriate it is that Hogarth is most famous really as the name of a roundabout! Perhaps It is a fitting measure indeed of just how urban an artist Hogarth was. His house now nestles beside one of the worst dual carriageways in Britain. It was once in the country as it is shown by an etching he made late in his life. He rests in a churchyard, St Nicholas Chiswick, that few people, alas, seem to visit. Rather oddly, it contains Whistler as well, but perhaps that is also appropriate. Hogarth's epitaph, which you can read on the very handsome tomb, was formulated by Dr Johnson, who of course remarked that he who was tired of London was tired of life, and the terms of the epitaph were finalised by their mutual friend, David Garrick, the great, possibly the greatest actor of all time, who lived off the Strand, and collected Hogarth's works. Most of those he collected can now be seen in the Sir John Soanes' Museum in Lincoln's Inn Fields. His favourite image of course, being an actor, was of himself, Hogarth's great painting of Garrick as Richard III. But he much preferred the engraving, because like any film star, he would sign copies of it, like a photograph to give away to his fans.
William Hogarth's Pregnant Ballad Sellers and the Engraver's Matrix

© Copyrighted Material Chapter 13 William Hogarth’s Pregnant Ballad Sellers and the Engraver’s Matrix Elizabeth Kathleen Mitchell The printmaker and painter William Hogarth (1697–1764) always identified himself as part of the English artisan tradition. He considered his engravings original art at a time when printmaking was regarded as a mechanical art, a trade dependent on physical work and repetitious exercises in rote imitation. Influential connoisseurs such as Jonathan Richardson the Elder increasingly privileged oil painting over engraving. The connoisseurs defined art as emanating from genius demonstrated by the fabrication of a singular object, and cited Old Master paintings and classical statues as evidence. Richardson characterized prints as “works done in such a manner as is not so proper as that whereby paintings or drawings are performed,” which meant “that thereby great numbers are produced instead of one, so that the thing comes into many hands: and that at an easy price.”1 The connoisseurs strove to recast the mechanical art of painting as a liberal art that expresses the intellect and exists untainted by labor and commerce in hope of securing royal patronage for an English painting academy to rival those in France and Italy. Their rhetoric marginalized contemporary art as well as the values of craft and skill that traditionally guided printmaking.ashgate.com To Hogarth, ashgate.com however, ashgate.com the recycling ashgate.com of ancient motifs and Old Master styles recommended by the connoisseurs were truly mechanical and discouraged real creativity. Against the backdrop of this ongoing debate over originality and professional status, Hogarth’s images consistently feature detailed depictions of artisans at work, their tools and instruments,ashgate.com and their creations.
William Hogarth (1697–1764) and Book Illustration I: Hudibras, Quixote and the Littlecote House Murals

[ Theatralia 24 / 2021 / 1 (313—356) ] https://doi.org/10.5817/TY2021–1-28 William Hogarth (1697–1764) and Book Illustration I: Hudibras, Quixote and the Littlecote House Murals M. A. Katritzky ] Abstract archive archive This article progresses long-term researches on Hogarth and book history, the iconography [ of the skimmington and transnational receptions of Don Quixote, by introducing a substan- tial new group of images potentially illuminating Hogarth’s lost activities as a young painter, before he turned 30 in 1727. Astoundingly, no previous research-based study of them exists. Unknown to Hogarth specialists and dismissed by art historians, they are in the painted room at Littlecote House. Within a complex decorative scheme broadly referencing themes of hu- man folly and the cabinet of curiosities, two walls feature floor to ceiling composite murals uniting numerous episodes from the publications most significant for Hogarth’s early career as a book illustrator: Cervantes’ Don Quixote and its most successful English derivation, Sam- uel Butler’s Hudibras. Butler’s book-length poem is exceptionally significant: book-historically for its key role in copyright legislation and eighteenth-century British book illustration; art- historically for its central role in the early career of Hogarth, who published two sets of en- gravings illustrating Hudibras in 1726. Local historians attribute the Littlecote murals to uni- dentified amateur Dutch painters, working in the 1660s (when Hudibras was first published). Archive-based evidence first presented here confirms their dating not to the 1660s but the 1720s and supports Hogarth’s presence at Littlecote House around 1724. This work is heavily indebted to the exemplary scholarship of two landmark publications of 2016, Elizabeth Ein- berg’s authoritative catalogue of Hogarth’s paintings (all post-1726) and Peter Black’s ground- -breaking exploration of Hogarth and house decoration.
A Satire Not a Sermon, the Enraged Musician and the Cibbers 2 3 4 This Paper Is One in a Series Explaining Previously Unrecorded Satire in William 5 Hogarth's Prints

2020-3942-AJHIS 1 A Satire not a Sermon, The Enraged Musician and the Cibbers 2 3 4 This paper is one in a series explaining previously unrecorded Satire in William 5 Hogarth's prints. Hogarth is noted for his eighteenth-century prints featuring 6 perceptive depictions of British life. Important is The Enraged Musician, generally 7 accepted as a gentle and humorous Sermon protesting about street noise. This paper 8 analyses The Enraged Musician in the context of British political and literary history, 9 and instead of a Sermon, reveals it as powerful Hogarth Satire, one which depicts the 10 demise of the “old theatre” of Colley Cibber, as a result of the “new theatre” of 11 Thomas Arne. The public interest associated with major theatrical changes of 1738- 12 40, and the new music of Arne, appealed to the comic sense of Hogarth. Thus he 13 composed The Enraged Musician as a cryptic Satire, mocking George Handel, the 14 Cibber family, and Tobias Smollett. The Enraged Musician is a watershed satiric 15 print, the first occasion wherein Hogarth depicted many of his contemporaries; 16 identifiable by dress, actions, and physical characteristics. Realisation of the image as 17 a Satire, allows explanation of Hogarth's many cryptic puns, and presents The 18 Enraged Musician as an unrecognised, Hogarth masterpiece. 19 20 21 Introduction 22 23 For 250 years the common view of The Enraged Musician, as a William 24 Hogarth Sermon about street noise has been unchallenged. But detailed, 25 methodical, and logical analysis shows the image as misread.
William Hogarth Images, Engraved by Riepenhausen) PF EC7.H6786.750F Finding Aid Prepared by Ellen Williams

Sammlung Hogarthischer Kupferstiche (William Hogarth images, engraved by Riepenhausen) PF EC7.H6786.750f Finding aid prepared by Ellen Williams. Last updated on July 14, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2012 Sammlung Hogarthischer Kupferstiche (William Hogarth images, engraved by Riepenhausen) Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 5 Administrative Information........................................................................................................................... 6 Controlled Access Headings..........................................................................................................................6 Bibliography...................................................................................................................................................7 Collection Inventory...................................................................................................................................... 8 Volume 1..................................................................................................................................................8
Marriage A-La-Mode and Shamela 3 4 5 This Paper Is One in a Series Discovering Previously Unrecorded Satire in 6 William Hogarth's Prints

2020-3954-AJHIS 1 A Satire, not a Sermon: 2 Marriage A-la-Mode and Shamela 3 4 5 This paper is one in a series discovering previously unrecorded Satire in 6 William Hogarth's prints. Hogarth is noted for his eighteenth-century prints 7 featuring perceptive depictions of British life. Important is Marriage A-la- 8 Mode, generally accepted as a Sermon depicting progressive stages of an 9 arranged marriage. This paper analyses Marriage A-la-Mode, and two related 10 Hogarth prints, Taste in High Life and The Discovery, in the context of British 11 social, theatrical, and literary history. Instead of a Sermon, the set is revealed as 12 a brilliant Hogarth Satire, one which mocks society passions, and events 13 affecting Hogarth contemporaries connected to the stage. He includes, within 14 the images, recognisable likenesses of selected events and contemporaries, 15 with many theatrical and literary puns. The whole becomes revealed as 16 pastiche of events linking and ridiculing Tobias Smollett, the Cibber family, 17 and their associates, pasted onto a theatrical frame-work which borrows from 18 Henry Fielding's Shamela, the stage, and from contemporary literature. 19 Interpretation of the image as a Satire, allows identification of the fashionable 20 figures mocked by Hogarth, solves his cryptic clues, and presents Marriage A- 21 la-Mode as an unrecognised, Hogarth masterpiece. 22 23 24 Introduction 25 26 For over 250 years the conventional view of Marriage A-la-Mode, as a 27 William Hogarth Sermon on perils of marriage, has been unchallenged. But 28 detailed, methodical, and logical analysis shows the image as misread.
William Hogarth (1697–1764) and Book Illustration I: Hudibras, Quixote and the Littlecote House Murals Journal Item

Open Research Online The Open University’s repository of research publications and other research outputs William Hogarth (1697–1764) and book illustration I: Hudibras, Quixote and the Littlecote House murals Journal Item How to cite: Katritzky, M. A. (2021). William Hogarth (1697–1764) and book illustration I: Hudibras, Quixote and the Littlecote House murals. Theatralia, 24(1) pp. 313–356. For guidance on citations see FAQs. c [not recorded] https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.5817/TY2021-1-28 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk [ Theatralia 24 / 2021 / 1 (313—356) ] https://doi.org/10.5817/TY2021–1-28 William Hogarth (1697–1764) and Book Illustration I: Hudibras, Quixote and the Littlecote House Murals M. A. Katritzky ] Abstract archive archive This article progresses long-term researches on Hogarth and book history, the iconography [ of the skimmington and transnational receptions of Don Quixote, by introducing a substan- tial new group of images potentially illuminating Hogarth’s lost activities as a young painter, before he turned 30 in 1727. Astoundingly, no previous research-based study of them exists. Unknown to Hogarth specialists and dismissed by art historians, they are in the painted room at Littlecote House. Within a complex decorative scheme broadly referencing themes of hu- man folly and the cabinet of curiosities, two walls feature floor to ceiling composite murals uniting numerous episodes from the publications most significant for Hogarth’s early career as a book illustrator: Cervantes’ Don Quixote and its most successful English derivation, Sam- uel Butler’s Hudibras.
'A Rake's Progress'

1. The Heir 2 e The Levee 3, Orgies 4. The Arrest 5. The Karria 6. The Gaming- House 7. The Prison 8, The Madhouse An Examination and Interpretation Narrative Features !A Rake's Progress 1 Robert L.S. Cowley Thesis submitted in fulfilment of the requirements of the degree of M,A. in the English Department, the Faculty of Arts, 1972. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Synopsis A Rake's Progress is examined to discover in what ways a pictorial narrative can be narrative in a literary sense. The personality, actions, and background of the central character are considered from established literary-dramatic points of view in the body of the thesis. The Rake is seen as both a well-defined individual and a universal study of a reactionary who aspires towards ancient ideals; a mock-hero in a complex work. An explanation of misunderstood and neglected details is attempted and it is shown how they contribute effectively to what is thought to be a coherent work. It is argued that the heroine is not a pathetic and uiJFortunate addition to the story, but that she is an integral part of Hogarth's imaginative thought.