A scene in Bedlam with Tom half-naked and in a state of distress attended by Sarah Young, a man wearing a wig and a warder. In the background, other inmates and two female visitors.
Subscription ticket for "The March to Finchley" with an arrangement of Scottish and English weapons and musical instruments; in the center a pair of scissors excises the Scottish lion from the royal coat-of-arms.
Subscription ticket for "The March to Finchley" with an arrangement of Scottish and English weapons and musical instruments; in the center a pair of scissors excises the Scottish lion from the royal coat-of-arms.
After the seduction; the young man pulls up his breeches while the young woman clings to his arm; on the wall a picture entitled "After" with cupid pointing to a spent firework; on the floor a broken looking-glass and chamber pot.
One of two prints issued with Hogarth's treatise "The Analysis of Beauty." A sculptor's yard (said to be that of John Cheere at Hyde Park Corner) with copies of well-known classical sculptures including the Farnese Hercules, the Antinous, the Laocoon and the Medici Venus. Forming a border around the main image are 49 compartments with diagrams relating to the text; the image is numbered throughout. The great sculpture of the ancients are grouped with the people and objects from the present.
One of two prints issued with Hogarth's treatise "The Analysis of Beauty." A sculptor's yard (said to be that of John Cheere at Hyde Park Corner) with copies of well-known classical sculptures including the Farnese Hercules, the Antinous, the Laocoon and the Medici Venus. Forming a border around the main image are 49 compartments with diagrams relating to the text; the image is numbered throughout. The great sculpture of the ancients are grouped with the people and objects from the present.
One of two prints issued with Hogarth's treatise "The Analysis of Beauty." A ballroom scene with dancers ranging from elegant to ungainly; in the lower left corner is a pile of tricorne hats; forming a border around the main image are 41 compartments with diagrams relating to the text; the image is numbered throughout. The purpose of this print is to illustrate Hogarth's theories about the movement and shape of the body,
One of two prints issued with Hogarth's treatise "The Analysis of Beauty." A ballroom scene with dancers ranging from elegant to ungainly; in the lower left corner is a pile of tricorne hats; forming a border around the main image are 41 compartments with diagrams relating to the text; the image is numbered throughout. The purpose of this print is to illustrate Hogarth's theories about the movement and shape of the body,
A flourishing urban scene with well fed citizens. In the foreground, butchers, fish wives and a City of London porter hold large tankards of beer. The steeple resembles St. Martin-in-the-Fields.
A seduction scene with a young woman fending off the advances of a vigorous young man who pulls her towards a bed; on the wall a picture entitled "Before" with cupid lighting a firework.
Theatrical scene after Hogarth's painting illustrating Gay's "The Beggar's Opera"; audience members shown seated in boxes to the left and right. In the center, the character of Macheath, a highwayman, stands in shackles; on either side of him, his wife and lover are kneeling before their respective fathers, pleading for intervention on Macheath's behalf.
Portrait of Benjamin Hoadly, three-quarter-length, slightly turned to the right, seated on a chair and gesturing with one hand. He has a periwig on his head, the robes of a chancellor of the Order of the Garter about his shoulders.