1.William Hogarth
d.
1764. Sold a) Individual
prints and sets.b)Folios.. . In 1764 the plates passed to Hogarth's
wife, Jane .paper type a) Heavy French laid paperb) Light French
laid paper for popular shillling prints.
This cheaper paper crumbles as you watch and is VERY
light sensitive so
in a sunny room go for Boydell editions
2.Jane Hogarth d. 1789.a)
Individual prints and sets.b)
Folios.On her death in 1789 the plates passed to her cousin Mary
Lewis who sold them to the publisher John Boydell for a lifetime
annuity of 250 pounds. JH paper type (1764 - 89) a) Heavy
French laid
paper.b) Wove paper; used mainly for smaller prints.
3.John Boydell a) 1790
Folio containing 103 plates.b) 1794
Folio containing 107 plates.c) 1795 Folio containing 110 plates.d)
Boydell also sold individual sets and plates. (paper type 1789
- 1818) a) Sheets of laid paper inherited from
Jane Hogarth.b) Variety of Laid papers.c) Wove paper with Whatman
watermark.d) Wove paper without watermark.The best version . ..
original plates upon better paper that will last
4.The plates were bought by the
publisher Baldwin, Cradock and Joy at the Boydell sale in
1818 "The Works of William Hogarth" as
published by Baldwin, Cradock and Joy in 1822 with the original plates
restored by James Heath, engraver to His Majesty. The Heath
edition
was the last to print directly from Hogarth's original engraved plates.
All 'Hogarth' prints appearing after this date are merely copies with
either a recut plate or the 'engravers version'
5.** Thomas Cook
engraved this after Hogarth, as illustrations in "Hogarth
Restored. The Whole Works of the celebrated William Hogarth".
Published in 1806. Printed on wove paper In good condition as per
pics. The engravings were often re-aligned on the page differing
from the earlier Boydell Folio. We have a selection
of these Thomas
Cook engravings after William Hogarth's paintings. These
engravings
were executed and published by Cook between 1796-1803. They are the
same size as Hogarth's original engravings, but are not
from Hogarth's plates. Thus, they are earlier engravings than the Heath
edition, but they are Cook's interpretation of Hogarth's works all
sulky
people are rendered smiling which for those used to the earlier
editions is quite odd
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Industry and
Idleness charts the careers of two City 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.
Plate 1: The Fellow ‘Prentices at their Looms
Plate 2: The Industrious ‘Prentice Performing the Duty of a
Christian
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Plate 3: The Idle ‘Prentice at Play in
the Church Yard during Divine Service
Plate 4: The Industrious ‘Prentice a Favourite, and entrusted by
his Master
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Plate 5: The Idle ‘Prentice turn’d away and sent to Sea
Plate 6: The Industrious ‘Prentice out of his Time, Married to
the Master’s daughter
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Plate 7: The Idle ‘Prentice return’d from Sea, & in a
Garret with a common Prostitute
Plate 8: The Industrious ‘Prentice Grown Rich and Sheriff of
London
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Plate 11: The Idle ‘Prentice Executed at Tyburn
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Plate 12: The Industrious ‘Prentice Lord Mayor of London
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Frontispiece to Taylor's Perspective
by William
Woollett & William Hogarth, Original Line Engraving, 1761 ( but
Heath edition, ca 1820-22) from " The
Works of William Hogarth" as published by Baldwin, Cradock
and Joy in 1822 with the original plates restored by James Heath,
engraver to His Majesty. The Heath edition was the last to
print
directly from Hogarth's original engraved plates. All 'Hogarth' prints
appearing after this date are merely copies with either a recut plate
or the engravers version
Size: approx. 25 1/4 x 19 1/4 inches (approx. 64.1 x 48.9 cm)
£130 inc delivery good borders some very slight
soiling Mark to right edge 8 cm from plate mark
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The Invasion, Plate 2: England
8 March 1756, Original Line Engraving,
1761 ( but Heath edition, ca 1820-22) from " The
Works of William Hogarth" as published by Baldwin, Cradock
and Joy in 1822 with the original plates restored by James Heath,
engraver to His Majesty. The Heath edition was the last to
print
directly from Hogarth's original engraved plates. All 'Hogarth' prints
appearing after this date are merely copies with either a recut plate
or the engravers version
Size: approx. 25 1/4 x 19 1/4 inches (approx. 64.1 x 48.9 cm)
£130 inc delivery good borders some very slight soiling
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The Invasion, Plate 1: France (second state)
8 March 1756 Original Line
Engraving, 1761 ( but Heath edition, ca 1820-22) from " The
Works of William Hogarth" as published by Baldwin, Cradock
and Joy in 1822 with the original plates restored by James Heath,
engraver to His Majesty. The Heath edition was the last to
print
directly from Hogarth's original engraved plates. All 'Hogarth' prints
appearing after this date are merely copies with either a recut plate
or the engravers version
Size: approx. 25 1/4 x 19 1/4 inches (approx. 64.1 x 48.9 cm)
£130 inc delivery good borders some very slight soiling
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Analysis of Beauty Plate 1
The Analysis
of Beauty is a book written by William Hogarth (18th century English
painter, satirist, and writer) and published in 1753, which describes
Hogarth's theories of visual beauty and grace in a manner accessible to
the common man of his day. Original Line Engraving, 1761 ( but Heath
edition, ca 1820-22) from " The
Works of William Hogarth" as published by Baldwin, Cradock
and Joy in 1822 with the original plates restored by James Heath,
engraver to His Majesty. The Heath edition was the last to
print
directly from Hogarth's original engraved plates. All 'Hogarth' prints
appearing after this date are merely copies with either a recut plate
or the engravers version
Size: approx. 25 1/4 x 19 1/4 inches (approx. 64.1 x 48.9 cm)
£130 inc delivery good borders some very slight soiling
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Rakes Progress Plate 7
All is lost by
the seventh painting, and Tom is incarcerated in the notorious Fleet
debtor's prison. He ignores the distress of both his angry new (old)
wife and faithful Sarah, who cannot help him this time. Both the
beer-boy and the jailer demand money from him. Tom begins to go mad, as
indicated by both a telescope for celestial observation poking out of
the barred window and an alchemy experiment in the background. Besides
Tom is a rejected play; another inmate is writing a pamphlet on how to
solve the National debt. Above the bed at right is an apparatus for
wings-more clearly seen in the engraved version at the left.A Rake's
Progress is a series of eight paintings by 18th century English
artist William Hogarth. The canvases were produced in 1732–33
then engraved and published in print form in 1735. The series shows the
decline and fall of Tom Rakewell, the spendthrift son and heir of
a rich merchant, who comes to London, wastes all his money on luxurious
living, prostitution and gambling, and as a consequence is
imprisoned in the Fleet Prison and ultimately Bedlam. The original
paintings are currently in the collection of the Soane Museum in
London. ( but Heath edition, ca 1820-22) from " The
Works of William Hogarth" as published by Baldwin, Cradock
and Joy in 1822 with the original plates restored by James Heath,
engraver to His Majesty. The Heath edition was the last to
print
directly from Hogarth's original engraved plates. All 'Hogarth' prints
appearing after this date are merely copies with either a recut plate
or the engravers version
Size: approx. 25 1/4 x 19 1/4 inches (approx. 64.1 x 48.9 cm)
£105 inc delivery good borders some very slight
soiling Mark to right edge 8 cm from plate mark
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