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photograph

The bruiser

1 pp 1763

A re-working of Hogarth's self-portrait of 1749 (Paulson 181); the artist has been replaced by a bear representing Charles Churchill wearing preaching bands and holding a tankard of beer in one paw and a knotty club in the other. The dog Trump is urinating on a copy of Churchill's "Epistle to Hogarth" and leaning on the palette is a framed satirical print showing Hogarth himself.

#5138jv199

photograph

The cockpit

1 pp 1750

Interior of the Royal Cockpit on the south side of St James's Park with two fighting cocks in the pit and spectators watching. The print pretends to be a ticket of admission to one of the fights.

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photograph

The company of undertakers

1 pp 1736

A mock coat-of-arms with fifteen heads of doctors, three of whom, in the upper division, are identified as John Taylor, Sarah Mapp, and Joshua Ward.

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photograph

The curate and barber disguising themselves

1 pp 1726

One of six illustrations for a projected Spanish language edition of Don Quixote that Hogarth and other illustrators were asked to submit by Tonson, the publisher of the work. Two of Don Quixote's neighbors are disguising themselves in a plot to trick him to come home.

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photograph

The distressed poet

1 pp 1740

An untidy garret with a man in a dressing-gown working on a poem entitled 'Riches a Poem' while his wife is confronted by a milkmaid with a lengthy tally who demands payment.

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photograph

The enraged musician

1 pp 1741

A scene in London, possibly near St Martin's-in-the-Fields, with a musician at an open window holding his ears against the noise of the street. A ballad-seller chants while her baby cries and a milkmaid and other street-traders cry their wares.

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photograph

The first stage of cruelty

1 pp 1751

A London scene with young boys inflicting various forms of cruelty upon animals. In the center, a boy (Tom Nero), identifiable by the badge on his shoulder as a pupil of St. Giles's Parish School, thrusts an arrow into a dog's anus. The young gentleman who is offering his tart to save the dog is said to be Hogarth's compliment to the prince, George William Frederick, afterwards George III.

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photograph

The five orders of periwigs

1 pp 1761

Five rows of wigs classified as "Parsonic", "Old Peerian or Aldermanic", "Lexonic", "Composite" and "Queerinthian." At the bottom of the sheet a row of women's heads with, on the left, that of the newly-crowned Queen Charlotte. The wigs are annotated in the manner of illustrations to contemporary architectural treatises.

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photograph

The funeral of Chrysostom

1 pp 1726

One of six illustrations for a projected Spanish language edition of Don Quixote that Hogarth and other illustrators were asked to submit by Tonson, the publisher of the work. This print illustrates the scene where Marcela appears and defends herself against the blame attributed to her of having caused Chrysostom's death by not requiting his love.

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photograph

The good Samaritan

1 pp 1772

Scene from Luke 10:30. The Good Samaritan depicts the biblical story with the Samaritan pouring oil and wine into the wound of the injured man, a first century practice that continued until the 16th century. In the foreground Hogarth has added a dog, licking a wound on its leg, presumably sustained during the traveller's attack. In the background we can see the priest, who having ignored the victim at the side of the road, has continued on and now has a man lying prostrate at his feet.

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photograph

The invasion, pl. 1: France

1 pp 1756

A scene beside a tavern ("La Sabot Royal") on the coast of France with a group of emaciated soldiers preparing to set sail for England.

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photograph

The invasion, pl. 2: England

1 pp 1756

A scene outside an English country inn (the "Duke of Cumberland") with soldiers and sailors preparing for a French invasion.

#5138jw33b

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The bruiser

The cockpit

The company of undertakers

The curate and barber disguising themselves

The distressed poet

The enraged musician

The first stage of cruelty

The five orders of periwigs

The funeral of Chrysostom

The good Samaritan

The invasion, pl. 1: France

The invasion, pl. 2: England