Tate Britain: Hogarth and Europe

 In case you've missed it the Tate Britain are having a Hogarth exhibition from 3 November 2021 – 20 March 2022.

In this exposition his most famous London satirical images are being contextualised by his other paintings and graphic works as well as those by his European contemporaries.

They start the exhibition with various depictions of William Hogarth, including paintings, a miniature and a bust.

 

William Hogarth. From the Original by himself in the Collection of the Duke of Bedford. / Inscription on the back of the Picture. / This Portrait of M.r Hogarth was made me a present of by him in friendly return for a Tobacco Box I gave him. S.m Graves, Chiswick, 29th Dec.r 1761.
G.P. Harding del.t et fecit. Printed by C. Hullmandel.
Publ.d June 1828 by G.. Harding, Hercules Buildings, Lambeth.
Lithograph on chine collé. 195 x 130mm (7¾ x 5¼"), with very large margins. Slight spotting in margins.
After the portrait still at Woburn Abbey.
[Ref: 47447]
 

They have four huge maps showing  London, Paris, Venice, and Amsterdam in the mid-1700s, showing how the cities were when the artists lived and worked there. For me personally the maps did not drive home the rapid expansion, economic and cultural growth in these cities. Whereas the oil paintings depicting daily life resonated with me more. You may get an idea from these views we have in stock:

A View of Covent Garden / Vue de Couvent Jarden
T. Loveday Sculp.
[n.d., c.1750]
Engraving rare with very large margins, 18th century watermark, 200 x 310mm (8 x 12¼"). Slight creasing.
Covent Garden piazza, in London's West End. Until the 1970s a market was held in the centre of the piazza, as shown here. Until the early 19th century the market was open-air, but in 1830 Charles Fowler was commissioned to design the market building which stands to this day. The view looks northwards, with St. Paul's church on the left.
[Ref: 33778]   £260.00   (£312.00 incl.VAT)

Prospectus Pontis Beatae Virginis Parisiis. Vue du Pont Notre Dame a Paris. Gesicht der Brucke U.L.F. zu Paris. 1. L'Hotell de Ville 2. St. Jacques de la Bucherie 3. St. Germain. 4. Louvre 5. Pont N.D. 6. L'Orologe du Palais. 7. St. Denis de la Chartre. 8. Pont Loue. 9. Quai Pelletier 10. Port au Vin. Pari.
[n.d. c.1720]
Hand-coloured engraving. Cut and laid on board. Sheet 349 x 482mm. 13¾ x 19". Some creasing through the sky.
The Pont Notre-Dame bridge is notable for being the "most ancient" in Paris. The bridge once was lined with structures, including approximately sixty houses. The weight of these buildings caused the Pont Notre-Dame to collapse in the late 15th century, however the structure is known for its repeated rebuildings.
[Ref: 8703]   £220.00   (£264.00 incl.VAT) 

 

[Piazza San Marco, Venice] Prospectus Plateae Divi Marci Venetiarum, et ejusdem Basilicae cum Redibus D. Marci Procuratorum. 1.
Mich.e Mariaschi Del. Apud Theordorum Viero in via Mercatoria vulgo dicta dell'Orologlio Vemetiis.
Teodoro Viero, Venice [1760-1800.]
Etching and engraving, triple crescent moon watermark. 320 x 430mm (12½ x 17"), with large margins. Substantial loss of margin to lower right corner, trimmed to plate mark. Some minor creasing and light toning in right margin.
The Piazza San Marco, Venice, looking towards the Basilica and Campanile. A copy of Marieschi's etching of the same view from his series 'Magnificentiores Selectioresque Urbis Venetiarum Prospectus', published in 1741.
[Ref: 55122]   £290.00   (£348.00 incl.VAT) 

 

 A View of part of Amsterdam from the Harbour Y, Shewing The Herring Packers Tower, the Sluice of Haarlem, & the New Fishmarket [verso]. [Franch translation to right.]
J. Smit delin. TBowles Sculpt. [verso]
[n.d., c.1750.]
Hand coloured etching, image 260 x 415mm. 10¼ x 16¼". Trimmed to image and glued to album page; the title excised and glued to verso.
A bustling harbour scene in Amsterdam, Holland, with ships laden with merchandise coming in to be unloaded at the quayside. A nicely coloured impression.
[Ref: 10382]

 

The major players of the exhibition included:

[Set of six.] Harlot's Progress.
Invented & Painted by W.m Hogarth.
[London: Robert Sayer, 1768.]
Set of 6 engravings, very large margins. Each c. 175 x 280mm (7 x 11"). Paper toned.
Set of six prints from Hogarth's celebrated paintings of the ruin of a country girl. The paintings were destroyed in the 18th century. Soon after the death of William Hogarth in 1764, his widow Jane gave the London publisher Robert Sayer permission to publish a collection of her husband's work. Although engraved in a smaller format, Sayer's versions retain all the detail of the original plates.
[Ref: 31469] 

It was wonderful to see the paintings that theese prints were made after in the flesh, although the background scene palette was very muted the clothes on the people were vibrantly colourful:

 

[No. 16. The Rake's Progress. Set of six.]
Invented & Painted by W.m Hogarth. [J. June sc. ?]
[London: Robert Sayer, 1768.]
Set of 6 engravings with very large margins. Each c. 175 x 280mm (7 x 11"). Paper toned.
Set of six prints from Hogarth's celebrated paintings of the decline of the young heir Tom Rakewell. The paintings are in the Soane Museum. Soon after the death of William Hogarth in 1764, his widow Jane gave the London publisher Robert Sayer permission to publish a collection of her husband's work. Although engraved in a smaller format, Sayer's versions retain all the detail of the original plates.
[Ref: 31468]

Other prints and paintings displayed that we currently have in stock include:

The Enraged Musician.
Designed by Wm. Hogarth. Engraved by T. Cook.
Published August 1st 1797 by G.G. & J. Robinson Paternoster Row London.
Engraving. 360 x 410mm (14¼ x 16"), with large margins, watermarked 'J Whatman 1794'.
A busy street scene in London, possibly near St Martin's-in-the-Fields, Trafalgar Square (background); a violinist at an open window holding his ears against the noise of the street. A ballad-seller chants while her baby cries, a milkmaid and other street-traders cry their wares, one small boy plays a drum while another urinates under the startled gaze of a small girl who holds a rattle. Also, among other characters, an itinerant oboist plays, and a knife-grinder sharpens a cleaver. From Thomas Cook's ''The Whole Works of the Celebrated William Hogarth, as Originally Published'', issued in parts between 1791 and 1802.
[Ref: 56752]

The Tate displayed Morning and Noon as well as these:

Evening.
Engraved by B. Baron.
Invented Painted & Publish'd by W.m Hogarth March 25th 1738. according to Act of Parliament.
Engraving. Sheet: 500 x 410mm (20 x 16½''), Trimmed to platemark.
A plate from Hogarth's famous satire of London life 'Times of Day', first published in 1738. Showing Sadlers Wells, with henpecked males, the older of which had cuckold's horns. Hogarth updated his paintings to match the engravings: a proof of plate three exists without the scolding girl.
See Paulson 146-149.
[Ref: 48535]

 

Night.
Invented Painted & Publish'd by W.m Hogarth March 25th 1738. according to Act of Par.nt.
Engraving. Plate: 485 x 400mm (19 x 16''). Trimmed to platemark.
A plate from Hogarth's famous satire of London life 'Times of Day', first published in 1738. Showing a scene in Rummer Court, looking onto Charing Cross Road, with a drunken freemason having a chamber pot emptied on his head.
See Paulson 146-149.
[Ref: 48537] 

Southwark Fair.
Designed by Wm. Hogarth. Engraved by T. Cook.
Published April the 1st 1796 by G.G. & J. Robinson Paternoster Row, London.
Engraving. 370 x 470mm (14½ x 18½")
A view of Borough High Street during the licentious Southwark Fair, held every September until it was banned by the Court of Common Council in 1762. Among the chaos are musicians, gamblers and James Figg, boxer and sword-fighter. From Thomas Cook's ''The Whole Works of the Celebrated William Hogarth, as Originally Published'', issued in parts between 1791 and 1802.
[Ref: 56755] 

[Set of six.] Marriage A-La-Mode.
Invented & Painted by W.m Hogarth. J. June sc. [pls. I & IV only]
[London: Robert Sayer, 1768.]
Set of 6 engravings. Each c. 175 x 280mm (7 x 11"), with , wide margins. Paper toned.
Set of six prints from Hogarth's celebrated paintings of a dissolute nobleman. The paintings are in London's National Gallery. Soon after the death of William Hogarth in 1764, his widow Jane gave the London publisher Robert Sayer permission to publish a collection of her husband's work. Although engraved in a smaller format, Sayer's versions retain all the detail of the original plates.
[Ref: 31467] 

O The Roast Beef of Old England.
Designed by Wm. Hogarth. Engraved by T. Cook.
Published by G.G. & J. Robinson Paternoster Row, Dec.r 1st 1797.
Engraving. 390 x 470mm (15¼ x 18½"), watermarked 'J Whatman 1794'. Crease in top corner.
Hogarth's revenge for being arrested as a spy while sketching the English arms on the Gate of Calais. He has included a self-portrait on the left. Hogarth's visit to France was an unsuccessful one and he included various references to what he perceived as the ills of the French nation, from idolatry to religious hypocrisy, in this scene. Hogarth's painting of the subject, 'The Calais Gate' is in the Tate Britain gallery, London. From Thomas Cook's ''The Whole Works of the Celebrated William Hogarth, as Originally Published'', issued in parts between 1791 and 1802.
[Ref: 56753]

They even had a section on portraits by Hogarth as it became an honour to have a slightly unflattering portrait done of yourself. 'Hogarth was an innovator of the ‘conversation piece’, a form of smaller-scale domestic portraiture, and became known for the apparent honesty and directness of his likenesses.' - Tate Britain.

Simon Lord Lovat.
Aliamet sculp [after William Hogarth].
Etching and engraving sheet 5½ x 4" (140 x 100mm). Cut to plate mark.
Half length portrait of an elderly Simon Fraser, 11th Lord Lovat (c.1667-1747), Scottish Jacobite, chief of Clan Fraser. He wears a wig, coat and neckband; sits in ornate frame decorated with acanthus leaves with a cartouche below portrait; at the top of the frame sits a mask and an axe. In the 1715 rebellion, he supported the House of Hanover, but in 1745 he joined the Stuart claim on the crown of Scotland. When the Highlanders were defeated at Culloden Lovat was convicted of treason, and became the last man in Britain to be beheaded on Tower Hill. William Hogarth (1697 - 1764) drew this very popular portrait, of which many different prints were made after including this one , of Lovat at an inn in St. Albans on his way to trail and eventual execution.
Paulson: 166, III of III.
[Ref: 54832]

Capt.n Tho.s Coram who after 17 Years unwearied application, obtained the Charter of the Foundling Hospital, To the Governors & Guardians of the Hospital, this Print is humbly dedicated by their obedient humble Servt. R. Cribb.
W. Hogarth Pinx.t. W. Nutter sculpt..
London, Published Dec. 1. 1796, by R. Cribb, No.288 Holborn.
Stipple, title in open letters. 580 x 405mm (22¾ x 16"), very large margins. Some foxing, very fine impression.
The philanthropic sea captain Thomas Coram (c.1668 - 1751), who in 1742 founded the Foundling Hospital in Guildford Street, London. It was a children's home established for the 'education and maintenance of exposed and deserted young children.' The artist William Hogarth was a friend of Coram's and later a governor of the institution. Handel donated an organ to the chapel and gave performances of the 'Messiah' on it, raising £7,000. Coram sits surrounded by emblems representing his mercantilist and philanthropic activities, including a scroll lettered "The Royal Charter" for the hospital. The charter was signed in 1739, and the hospital started receiving children at the end of 1745. After William Hogarth (1697 - 1764).
[Ref: 56430]
 

You can see all of our catalogued William Hogarth stock here.

We do have more uncatalogued stock in store.

See our Ten of the Best: William Hogarth Newsletter here. 

Plus the on the website here.