W Hogarth Collection (#8)

Interior of a Weavers Workshop, 1747, (1925). Creator: William Hogarth
Interior of a Weavers Workshop, 1747, (1925). Plate 8 of 12 plot-linked engravings created by William Hogarth in 1747 for series Industry and Idleness. Plate 1 The Fellow Prentices at their Looms

Covent Garden at Mid-Day, 1738, (1925). Creator: William Hogarth
Covent Garden at Mid-Day, 1738, (1925). William Hogarths Noon (Four Times of The Day) sets the lives of the English working classes against the aristocracy

City Feast, 1747, (1925). Creator: William Hogarth
City Feast, 1747, (1925). Plate 8 of 12 plot-linked engravings created by William Hogarth in 1747 for series Industry and Idleness. The Industrious Prentice grown rich, & Sheriff of London

St. Jamess Street, 18th century, (1925). Creator: Unknown
St. Jamess Street, 18th century, (1925). Engraving after Plate 4 of William Hogarths A Rakes Progress of 1735, Arrested for Debt

The Committee, 1725, (early 19th century). Creator: T Cooke
The Committee, 1725, (early 19th century). Print after The Committee; The quacks of government who sate at Th unguarded helm of state

Hogarths House, (c1878). Creator: Unknown
Hogarths House, (c1878). House of the painter William Hogarth (1697-1764) in the village of Chiswick, (now part of greater London)

Southwark Fair. (After Hogarths Picture), (c1878). Creator: Unknown
Southwark Fair. (After Hogarths Picture), (c1878). After Southwark Fair, 1733, by William Hogarth. A rowdy crowd is enjoying the festivities in Borough High Street, near St George the Martyr, London

An Invitation Card by Hogarth, (1881). Creator: Unknown
An Invitation Card by Hogarth, (1881). Card with drawing of a plate, knife and fork by William Hogarth (1697-1764), inviting a friend to dinner

William Hogarths tomb, c1793. Creator: Unknown
William Hogarths tomb, c1793. Wm. Hogarths Tomb in Chiswick Churchyard Middx. The tomb of British painter William Hogarth (1697-1764) in St Nicholass churchyard, Chiswick, (west London)

Henry Fielding, (1919). Fielding (1707-1754) was an English novelist and dramatist. From an engraving after the pen-and-ink sketch by William Hogarth

The March of the Guards Towards Scotland, 1745, (1920). Artist: Luke Sullivan
The March of the Guards Towards Scotland, 1745, 1920. From Londoners Then and Now As Pictured By Their Contemporaries, edited by Geoffrey Holme. [The Studio Ltd. London, 1920]

Southwark Fair, 1733, (1920). Artist: William Hogarth
Southwark Fair, 1733, 1920. From Londoners Then and Now As Pictured By Their Contemporaries, edited by Geoffrey Holme. [The Studio Ltd. London, 1920]

The Rakes Progress - The Levee, 1720-1735, (1920). Artist: William Hogarth
The Rakes Progress - The Level, 1920. From Londoners Then and Now As Pictured By Their Contemporaries, edited by Geoffrey Holme. [The Studio Ltd. London, 1920]

Ticket for the London Hospital showing Christ and the disciples, c1825

Leicester Square, Westminster, London, c1805. Artist: Samuel Rawle
Leicester Square, Westminster, London, c1805. View showing No 30 Leicester Square, the home of William Hogarth from 1733 until his death in 1764

William Hogarths tomb in St Nicholas churchyard, Chiswick, Hounslow, London, c1820

Richs Glory or his Triumphant Entry into Covent-Garden, 1732. Scene of John Richs triumphant entry into Covent Garden with a procession of performers and props passing through the piazza

Plate IV of A Rakes Progress, 1735. Artist: William Hogarth
Plate IV of A Rakes Progress, 1735. The rake, Tom Rakewell, being arrested as he alights from his sedan chair. Forked lightning can be seen in the sky. On the left is a Bow Street officer

The Man of Taste, 1731. Burlington Gate, surmounted by a statue of William Kent brandishing a palette. Standing on a scaffold below, whitewashing the front, is Alexander Pope

Design for a shop-bill, 1799. Artist: M Merigot
Design for a shop-bill, 1799. The interior of an artists studio or work-shop. A youthful male figure is holding a painting showing a bearded figure

The battle of the pictures; a bidders ticket for Hogarths auction of 19 paintings, 1744. The building on the left is the auction house; the building on the right is Hogarths studio

The five orders of perriwigs 1761. Artist: William Hogarth
The five orders of perriwigs 1761. A satire linking the cult of Vitruvius (which deduces laws of composition and canons of beauty from the measurements of ancient columns and statues)

The March to Finchley, 1761. Artist
The March to Finchley, or A representation of the march of the guards towards Scotland in the year 1745, 1761. The Tottenham Court turnpike at the intersection with Euston Road

The Good Samaritan, 1772. Artist: Simon Francois Ravenet
The Good Samaritan, 1772. The Samaritan pours oil onto the mans wound. Behind the Samaritan a dog licks its wounds. In the distance are two of the men who did not stop to help

The Pool of Bethesda, 1772
Christ healing a man at the pool of Bethesda, who has not been able to walk for 38 years. On the left a group of ill people wait for their turn in the miraculous waters

The Jacobites journal, 1774. Artist: William Hogarth
The Jacobites journal, 1774. A monk pulling down or pointing to his eye pulls along an ass with London Evening Post coming out of his mouth. Two Scottish figures sit on the ass

The Grand Triumvirate or Champions of Liberty... 1763. Three portraits, from left to right: Wilkes, in frame with Cap of Liberty; the Earl of Bute, in frame with thistles, Hogarth in frame with dog

William Hogarth, 1762. Artist: Paul Sandby
William Hogarth, 1762. The scene satirises William Hogarth and his line of beauty. He is seen precariously balanced at the top of the structure with a variety of other figures beneath

Morning, plate I from Times of Day, 1738. Artist: William Hogarth
Morning, plate I from Times of Day, 1738. Scene in Covent Garden, London early on a winter morning. A small fire burns in the foreground. A stall-keeper is seated on a basket

Elephant Inn, Fenchurch Street, London, c1815. Artist: Vowles
View of the Elephant Inn, Fenchurch Street, London, c1815. For some years this was the residence of William Hogarth and was one of the few houses that escaped the Great Fire of London in 1666

The painters march from Finchly... 1753. Artist: Paul Sandby
The painters march from Finchly, dedicated to the King of ye Gypsies as an encourager of Art &c, 1753. Hogarth, accompanied by a woman who points to a pair of horns over his head, flees from a village

Evening, 1738. Artist: FF Walker
Evening, 1738. Scene from Hogarths Times of the day. A scene at Sadlers Wells and Sir Hugh Middleton Tavern. A lady with fan escorted by a man carrying a small girl

Night, 1833. Artist: William Radclyffe
Night, 1833. Scene from Hogarths Times of the day. View showing a street near Charing Cross, London, by moonlight. A drunken freemason (Sir Thomas De Veil)

Morning, 1738. Artist: J Mollison
Morning, 1738. Scene from Hogarths Times of the day. Covent Garden, London, early on a winter morning. A small fire burns in the foreground. A stall-keeper is seated on a basket

Noon, 1738. Artist: WH Worthington
Noon, 1738. Scene from Hogarths Times of the day. A view of Hog Lane, Westminster, with the Church of St Giles in the Fields visible in background

Evening, 1738. Artist: Spooner
Evening, 1738. Scene from Hogarths Times of the day. A scene at Sadlers Wells and Sir Hugh Middleton Tavern. A lady with fan escorted by a man carrying a small girl

The sleeping congregation, 1736. Artist: William Hogarth
The sleeping congregation, 1736. The scene is a country church, the only member of the congregation awake (besides the speaker) is the clerk who observes the charms of a young girl

Change Alley, London, 1853. Artist: John Carter
Change Alley, London, 1853. Street scene depicting events surrounding the South Sea Bubble (1711-1720). The scene is taking place in front of Garraways Coffee House, with a pawn shop at left

Variety of expressions, 1743. Artist: William Hogarth
Variety of expressions, 1743. Over 100 faces, illustrating the infinite variety of expression. Final state of plate

The Bench, 1758. Artist: William Hogarth
The Bench, 1758; showing judges sitting in the Court of the Kings Bench, with Sir John Willes, Lord Chief Justice, in centre, and Henry Bathurst on his left, asleep

Columbus breaking the egg, 1753. Artist: William Hogarth
Columbus breaking the egg, 1753. Christopher Columbus demonstrates how an egg can be made to stand upright on a table. Prepared by Hogarth as a subscription ticket for his essay The analysis of

Scholars at a lecture, 1736. Artist: William Hogarth
Scholars at a lecture, 1736. A group of Oxford scholars listen to William Fisher, Registrar of the University. Second and final state of the plate

The laughing audience, 1733. Artist: William Hogarth
The laughing audience, 1733; showing the inside of a theatre and the reactions of different parts of the audience to the play

The Company of Undertakers, 1736. Artist: William Hogarth
The Company of Undertakers, 1736. The heads of some familiar quacks pictured within a coat of arms. The quacks depicted include: Mrs Sarah Mapp; John Taylor; and Dr Joshua Ward

A chorus of singers, 1732. Artist: William Hogarth
A chorus of singers, 1732. A conductor (who has lost his periwig) conducts from a paper entitled Judith: an oratorio.... A choir sings lustily

The industrious prentice Lord-Mayor of London, plate XII of Industry and Idleness, 1747; the industrious apprentice is drawn along Cheapside in his coach watched by Frederick

The industrious prentice grown rich... plate VIII of Industry and Idleness, 1747
The industrious prentice grown rich and sheriff of London, plate VIII of Industry and Idleness, 1747; the scene is old Fishmongers Hall

Strolling actresses dressing in a barn, 1738. Artist: William Hogarth
Strolling actresses dressing in a barn, 1738. A provincial company is in a barn, surrounded by costumes and props, preparing for its last performance.The Act against strolling players

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William Hogarth, a renowned artist of the 18th century, left an indelible mark on the art world with his captivating and thought-provoking works. One of his most iconic pieces is "Gin Lane, " created in 1751. This powerful image depicts the devastating consequences of excessive gin consumption during that time. In another masterpiece titled "Revelling with Harlots, " plate III of A Rakes Progress from 1735, Hogarth explores the downfall of a young man who indulges in a life filled with debauchery and immoral behavior. The series continues in Plate I, June 25, 1735, where we witness the protagonist's journey into ruin. Hogarth's social commentary extends to other aspects of society as well. In "The Bruiser" from August 1, 1763, he portrays a violent sport known as bare-knuckle boxing prevalent during that era. "The Stage Coach or Country Inn Yard" from 1747 captures the bustling atmosphere at an inn yard during coach travel days. It offers us a glimpse into daily life and transportation methods back then. Hogarth's keen eye for detail is evident in his work "View of David Loudons Bun House. " This painting showcases Pimlico Road in Chelsea, London—a snapshot frozen in time that allows us to envision what this area looked like centuries ago. "The Lord Mayors Procession" (1897) may not be directly attributed to Hogarth but serves as evidence that his influence transcended generations. Unknown artists were inspired by his style when creating this piece depicting an important event in London's history. In March 1738, Hogarth presented "Night, " one part of his series called The Four Times of Day. Through this artwork, he skillfully portrays various scenes set at different times—nighttime being particularly atmospheric and mysterious.