W Hogarth Collection (#9)

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

An election entertainment, plate I of The Election, 1755. Artist: William Hogarth
An election entertainment, plate I of The Election, 1755; showing an election treat given by the Whigs while the Tories parade outside

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

Southwark Fair, 1733. Artist: William Hogarth
Southwark Fair, 1733. A crowd is enjoying the festivities in Borough High Street, near St George the Martyr, Southwark, London

The Enraged Musician, 1741. Artist: William Hogarth
The Enraged Musician, 1741; showing a musician unable to concentrate by the din outside in the street, which emanates from an oboe player, a dustman, knife-grinder, paviour, milkmaid

A Rakes Progress, 1735; plate II of VIII. Artist: William Hogarth
A Rakes Progress, 1735; plate II of VIII. Tom Rakewell is at his morning levee, attended by hangers on of various professions

A Rakes Progress, 1735, plate III of VIII. Artist: William Hogarth
A Rakes Progress, 1735, plate III of VIII. Tom Rakewell is in the Rose Tavern, on Drury Lane, London, being relieved of his pocket watch by two women

A Rakes Progress, 1735; plate I of VIII. Artist: William Hogarth
A Rakes Progress, 1735; plate I of VIII. Tom Rakewell is taking possession of his miserly fathers effects. Kneeling beside him is a tailor measuring him up for a new set of clothes

The Bruiser, C. Churchill... in the character of a Russian Hercules... 1763. The poet Charles Churchill is depicted as a bear in a clerical collar

Marriage a la Mode, 1745; plate IV. Artist: Simon Francois Ravenet
Marriage a la Mode, 1745; plate IV. The wife is in her boudoir talking with counsellor Silvertongue. She is now a countess and a mother but she is neglecting her child

Marriage a la Mode, 1745; plate III. Artist: Bernard Baron
Marriage a la Mode, 1745; plate III. The nobleman is in the house of Dr Misaubin, no 96 St Martins Lane. He threatens the quack with his cane for having prescribed pills which proved ineffective in

Marriage a la Mode, 1745; plate II. Artist: Bernard Baron
Marriage a la Mode, 1745; plate II. The young nobleman comes home from a night of revelry at 1.20 am and ignores his wife who has been holding a card party. The steward walks out in disgust

Marriage a la mode, 1745; plate I. Artist: Gerard Jean-Baptiste Scotin
Marriage a la mode, 1745; plate I.The impoverished Lord Squanderfield has arranged a marriage between his son and the daughter of a wealthy alderman and merchant

A Rakes Progress, 1735; plate VII of VIII. Artist: William Hogarth
A Rakes Progress, 1735; plate VII of VIII. Tom Rakewell is confined to Fleet Prison, London, for debt, and being harangued by his wife

A Rakes Progress, 1735; plate VI of VIII. Artist: William Hogarth
A Rakes Progress, 1735; plate VI of VIII. Tom Rakewell is in a gambling house in Covent Garden, London. Having just lost his wifes fortune

A Rakes Progress, 1735; plate IV of VIII. Artist: William Hogarth
A Rakes Progress, 1735; plate IV of VIII. Tom Rakewell, heads for a royal levee at St Jamess Palace, London, in his sedan chair. He is stopped by two bailiffs, who arrest him for debt

A Rakes Progress, 1735; plate V of VIII. Artist: William Hogarth
A Rakes Progress, 1735; plate V of VIII. Tom Rakewell marries an old but rich woman, in order to retrieve his fortune. Meanwhile, in the background

The industrious prentice... married... plate VI of Industry and Idleness, 1747
The industrious prentice out of his time and married to his masters daughter, plate VI of Industry and Idleness, 1747; the morning after the wedding

The idle prentice turn d away and sent to sea, plate V of Industry and Idleness, 1747; the master is obliged to get rid of the idle prentice

The industrious apprentice a favourite... plate IV of Industry and Idleness, 1747
The industrious apprentice a favourite, and entrusted by his master, plate IV of Industry and Idleness, 1747; the industrious apprentice stands with his master in the counting house

The idle prentice at play in the church yard... plate III of Industry and Idleness 1747
The idle prentice at play in the church yard during divine service, plate III of Industry and Idleness, 1747; The idle apprentice plays hustle-cap with some pickpockets

The fellow prentices at their looms, plate I of Industry and Idleness, 1747; the scene is a Spitalfields silk-weaving shop, London

Chairing the Members, 1758. Artist: F Aviline
Chairing the Members, 1758; the victorious members are being borne by their constituents on chairs through the streets. The scene is chaotic

The Polling, 1758. Artist: Peter La Cave
The Polling, 1758; a polling booth on election day with reserve voters being brought up; one, an old soldier who has lost both arms and a leg; the other an imbecile. Third and final state of the plate

Canvassing for votes, 1757. Artist: Charles Grignion
Canvassing for votes, 1757; scene with two country innkeepers, agents for their respective parties, are here dropping money into the hands of a rustic freeholder

The Bathos, 1764. Artist: William Hogarth
The Bathos, 1764; showing Time expiring, collapsed against a broken column, with the blade of his scythe snapped and his hour glass smashed, blowing out smoke from his broken pipe

The cockpit, London, 1759. Artist: William Hogarth
The cockpit, 1759; scene of a cockfight at the Royal Cockpit in Dartmouth Street, off Birdcage Walk, London. In the centre is the blind Lord Albemarle Bertie, a wealthy gambler who is being robbed

Credulity, Superstition and Fanaticism. A medley, 1762. Artist: William Hogarth
Credulity, Superstition and Fanaticism. A medley, 1762; Methodist meeting at Whitefields Tabernacle on Tottenham Court Road, London

France, 1756. Artist: William Hogarth
France, 1756; a scene outside the Duke of Cumberland inn, in England. To the left a grenadier is painting a caricature of the King of France to the amusement of his companions

The Distressed Poet, 1740. Artist: William Hogarth
The Distressed Poet, 1740; a poor poet, at work in his garret, is interrupted by a milkmaid demanding payment. Third and final state of plate. One of a set of six plates

A Midnight Modern Conversation, 1733. Artist: William Hogarth
A Midnight Modern Conversation, 1733; a group of men, all in different stages of drunkenness, sit around a table in the St Johns Coffee House, Great Shire Lane, Temple Bar, London

After, 1762. Artist: William Hogarth
After, 1762; after sex a man (probably Sir John Willes) puts his trousers back on while the woman tries to persuade him to stay. A dog lies sleeping in the foreground

Before, 1736. Artist: William Hogarth
Before, 1736; a man (probably Sir John Willes) draws a reluctant and distressed woman toward the bed he is sitting on. A dog barks excitedly. Second of three states of the plate

Evening, plate III from Times of Day, 1738. Artist: Bernard Baron
Evening, plate III from Times of Day, 1738. Scene at Sadlers Wells, Finsbury, London, with Sir Hugh Middleton Tavern in the background. A lady with fan escorted by a man carrying a small girl

Marriage a la mode, Plate VI, 1745. Artist: Gerard Jean-Baptiste Scotin
Marriage a la mode, Plate VI, 1745; Silvertongue has been hanged and the countess has taken poison. Her father - a City alderman - removes the ring from her finger

Noon, plate II from Times of Day, 1738. Artist: William Hogarth
Noon, plate II from Times of Day, 1738. View of Hog Lane, Westminster, London with St Giles in the Fields visible in the background

The humours and diversions of Southwark Fair, London, 1733
The humours and diversions of Southwark Fair, 1733. Scene near St Georges Church in Borough High Street, London; plays being performed, a rope-flyer, rope-dancer, booths and other entertainments

Burning the rumps at Temple Bar, London, 1726. Artist: William Hogarth
Burning the rumps at Temple Bar, London, 1726; the London populace, disgusted with the Rump Parliament which assembled after Oliver Cromwells death

After, December 15, 1736. Creator: William Hogarth
After, December 15, 1736

Before, December 15, 1736. Creator: William Hogarth
Before, December 15, 1736

A Rakes Progress, Plate 8, [June 25, 1735] reissued 1763. Creator: William Hogarth
A Rakes Progress, Plate 8, [June 25, 1735] reissued 1763

A Rakes Progress, Plate 2, June 25, 1735. Creator: William Hogarth
A Rakes Progress, Plate 2, June 25, 1735

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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.