* HARLOTS PROGRESS (SET OF SIX)
The series shows the story of a young woman, Mary (or Moll) Hackabout, who arrives in London from the country and becomes a prostitute. In the first scene, an old woman praises her beauty and suggests a profitable occupation, procuring her for the gentleman shown to the back of the image. She is a mistress with two lovers in the second, has become a common prostitute on the point of being arrested in the third, and is beating hemp in Bridewell Prison in the fourth. By the fifth, she is dying from venereal disease, and she is dead aged only 23 in the last.
Original antique copper engraving from the original plates
Published by Craddock & Baldwin 1820
Image size: 32 x 39 cm
Price inc VAT: £350.00
Price exc VAT: £292.00 (set of six)
WILLIAM HOGARTH
* INDUSTRY AND IDLENESS
Each print shows a representative or important scene at some point in the life of one of the protagonists (In two plates, both are shown together). Together, the seven appearances of Francis Goodchild and Thomas Idle show their steady paths up the social and political ladder to the pinnacle of power and esteem and down the path of immorality and crime to complete disgrace and legal infamy, respectively.
Image sizes (Plates 1-10) 54 x 34 cms
Image sizes (Plates 11 &12) 40 x 27 cms
Original antique copper engraving from the original plates
Published by Craddock & Baldwin 1820
Price inc. VAT: £350.00
Price exc. VAT: £298.00 (Set of 12)
Each print shows a representative or important scene at some point in the life of one of the protagonists (In two plates, both are shown together). Together, the seven appearances of Francis Goodchild and Thomas Idle show their steady paths up the social and political ladder to the pinnacle of power and esteem and down the path of immorality and crime to complete disgrace and legal infamy, respectively.
Image sizes (Plates 1-10) 54 x 34 cms
Image sizes (Plates 11 &12) 40 x 27 cms
Original antique copper engraving from the original plates
Published by Craddock & Baldwin 1820
Price inc. VAT: £350.00
Price exc. VAT: £298.00 (Set of 12)
* THE FOUR STAGES OF CRUELTY
First Stage of Cruelty
This street scene shows a group of youths, almost all of whom are participating in or encouraging the abuse of animals and birds. The worst abuse is being inflicted by Nero on a terrified dog, restrained by two other boys. Another youth is distressed by what Nero is doing and attempts to stop him by offering a tart. To the left of Nero, a boy draws a hanged man on the wall and points at him, underlining the inevitable: that Nero’s behaviour will deteriorate further and cost him his life.
Second Stage of Cruelty
This scene suggests that the abuse of animals is widespread in the streets of London. On the left Nero (now grown-up) beats his horse, the poor creature having collapsed under the strain of the cart. On the left a poster displayed near the door of ‘Thavies Inn Coffee House’ advertises ‘Broughton’s Amphitheatre’, a well-known venue for boxing. ‘James Field’ and ‘George Taylor’, named below, were celebrated pugilists. Importantly, Field was hanged for highway robbery eleven days before Hogarth’s print was published, thus establishing an interrelationship between violent sports, entertainments and criminality.
Cruelty in Perfection
Nero has embarked on a life of highway robbery. He is seen here being apprehended after committing a murder in the dead of night. As with Tom Idle in Industry and Idleness, Hogarth underlines that the reality of being a highwayman is far from the glamorous, romantic existence presented by popular heroes such as Captain Macheath in The Beggar’s Opera. Indeed, Nero’s grotesque appearance conveys the inherent viciousness of his character and brutalising way of life. His victim, Ann Gill, his lover and partner-in-crime, lies on the floor, her throat slit. Her swollen stomach makes it clear that she was pregnant.
The Reward of Cruelty
As a piece of propaganda, this macabre image was calculated to deromanticise criminality and its consequences. It takes place in the Cutlerian theatre near Newgate prison. Nero has been hanged at Tyburn and, as was the case with other executed criminals, his body is being dissected for the purpose of studying anatomy. The chief surgeon sits in the centre on a high-backed chair with the royal coat of arms hanging above, thus resembling a high court judge. This neatly represents the official process of judgement and punishment, which in the case of hanged criminals could extend beyond death itself. The skeletons of dissected criminals were usually refused a Christian burial and subsequently displayed as specimens, as can be seen in the niches to the left and right.
Original antique copper engravings by William Hogarth
Published by Craddock and Baldwin, 1820
Complete set of four
Mounted in cream
Image sizes: 39 x 32 cm
Mount sizes: 55 x 48 cm
Price inc VAT: £350.00
Price exc VAT: £292.00 (Set of four)
First Stage of Cruelty
This street scene shows a group of youths, almost all of whom are participating in or encouraging the abuse of animals and birds. The worst abuse is being inflicted by Nero on a terrified dog, restrained by two other boys. Another youth is distressed by what Nero is doing and attempts to stop him by offering a tart. To the left of Nero, a boy draws a hanged man on the wall and points at him, underlining the inevitable: that Nero’s behaviour will deteriorate further and cost him his life.
Second Stage of Cruelty
This scene suggests that the abuse of animals is widespread in the streets of London. On the left Nero (now grown-up) beats his horse, the poor creature having collapsed under the strain of the cart. On the left a poster displayed near the door of ‘Thavies Inn Coffee House’ advertises ‘Broughton’s Amphitheatre’, a well-known venue for boxing. ‘James Field’ and ‘George Taylor’, named below, were celebrated pugilists. Importantly, Field was hanged for highway robbery eleven days before Hogarth’s print was published, thus establishing an interrelationship between violent sports, entertainments and criminality.
Cruelty in Perfection
Nero has embarked on a life of highway robbery. He is seen here being apprehended after committing a murder in the dead of night. As with Tom Idle in Industry and Idleness, Hogarth underlines that the reality of being a highwayman is far from the glamorous, romantic existence presented by popular heroes such as Captain Macheath in The Beggar’s Opera. Indeed, Nero’s grotesque appearance conveys the inherent viciousness of his character and brutalising way of life. His victim, Ann Gill, his lover and partner-in-crime, lies on the floor, her throat slit. Her swollen stomach makes it clear that she was pregnant.
The Reward of Cruelty
As a piece of propaganda, this macabre image was calculated to deromanticise criminality and its consequences. It takes place in the Cutlerian theatre near Newgate prison. Nero has been hanged at Tyburn and, as was the case with other executed criminals, his body is being dissected for the purpose of studying anatomy. The chief surgeon sits in the centre on a high-backed chair with the royal coat of arms hanging above, thus resembling a high court judge. This neatly represents the official process of judgement and punishment, which in the case of hanged criminals could extend beyond death itself. The skeletons of dissected criminals were usually refused a Christian burial and subsequently displayed as specimens, as can be seen in the niches to the left and right.
Original antique copper engravings by William Hogarth
Published by Craddock and Baldwin, 1820
Complete set of four
Mounted in cream
Image sizes: 39 x 32 cm
Mount sizes: 55 x 48 cm
Price inc VAT: £350.00
Price exc VAT: £292.00 (Set of four)
* TIMES OF THE DAY
MORNING
A Lady makes her way to St Pauls church, Covent Garden. As she passes Tom King’s notorious coffee house she covers her face from the view. Tom’s widow, Moll, had a reputation for allowing her customers to enjoy themselves from midnight until dawn when all others were shut.
NOON
The scene is Hog Lane, St Giles. French Huguenots (protestant refugees) are leaving the Free Church, in what is now Soho. Hogarth contrasts their fastidious high fashion with the slovenliness of what was then a slum.
EVENING
The subject matter of this picture contrasts with the other three. A pregnant woman and her obedient husband have attended the theatre at Sadlers Wells. They are returning home after a hot summer evening having escaped the dirt and smells of London.
NIGHT
Presents a chaotic scene of activity. In the background a passing cartload of furniture indicates a tenant doing a moonlight flit. The scene is set in Charing Cross, a busy staging post, but the narrow road frequently caused accidents as befalls the Salisbury flyer. A barber Surgeon, whose sign advertises shaving, bleeding and teeth drawn with a touch, is busy at his trade. The Freemason on the left is identified as the magistrate Sir Thomas de Veil. He also liked to drink, which made him very unpopular with Gin sellers because of his stiff sentencing. His hypocrisy earned him the name Justice Squeezum.
Original antique copper engravings
Published by Craddock and Baldwin, 1820
Image sizes: 45 x 38 cms
Mounted sizes: 67 x 57 cms
Price inc VAT: £750.00
Price exc VAT: £625.00 (Set of four)
MORNING
A Lady makes her way to St Pauls church, Covent Garden. As she passes Tom King’s notorious coffee house she covers her face from the view. Tom’s widow, Moll, had a reputation for allowing her customers to enjoy themselves from midnight until dawn when all others were shut.
NOON
The scene is Hog Lane, St Giles. French Huguenots (protestant refugees) are leaving the Free Church, in what is now Soho. Hogarth contrasts their fastidious high fashion with the slovenliness of what was then a slum.
EVENING
The subject matter of this picture contrasts with the other three. A pregnant woman and her obedient husband have attended the theatre at Sadlers Wells. They are returning home after a hot summer evening having escaped the dirt and smells of London.
NIGHT
Presents a chaotic scene of activity. In the background a passing cartload of furniture indicates a tenant doing a moonlight flit. The scene is set in Charing Cross, a busy staging post, but the narrow road frequently caused accidents as befalls the Salisbury flyer. A barber Surgeon, whose sign advertises shaving, bleeding and teeth drawn with a touch, is busy at his trade. The Freemason on the left is identified as the magistrate Sir Thomas de Veil. He also liked to drink, which made him very unpopular with Gin sellers because of his stiff sentencing. His hypocrisy earned him the name Justice Squeezum.
Original antique copper engravings
Published by Craddock and Baldwin, 1820
Image sizes: 45 x 38 cms
Mounted sizes: 67 x 57 cms
Price inc VAT: £750.00
Price exc VAT: £625.00 (Set of four)
*MARRIAGE A-LA-MODE (SET OF SIX)
In Marriage à-la-mode, Hogarth challenges the ideal view that the rich live virtuous lives with a heavy satire on the notion of arranged marriages. In each piece, he shows the young couple and their family and acquaintances at their worst: engaging in affairs, drinking, gambling, and numerous other vices..
Original antique copper engraving by William Hogarth
Published by Craddock and Baldwin, 1820
Complete set of six
Mounted in cream
Image size: 44 x 35 cm
Mount size: 65 x 58 cm
Price inc VAT: £725.00
Price exc VAT: £604.00 (Set of six)
In Marriage à-la-mode, Hogarth challenges the ideal view that the rich live virtuous lives with a heavy satire on the notion of arranged marriages. In each piece, he shows the young couple and their family and acquaintances at their worst: engaging in affairs, drinking, gambling, and numerous other vices..
Original antique copper engraving by William Hogarth
Published by Craddock and Baldwin, 1820
Complete set of six
Mounted in cream
Image size: 44 x 35 cm
Mount size: 65 x 58 cm
Price inc VAT: £725.00
Price exc VAT: £604.00 (Set of six)
A MIDNIGHT MODERN CONVERSATION
Original antique copper engraving from the original plates
Published by Craddock & Baldwin 1820
Image size: 33 x 46cm
Inland: £125.00
Export: £106.50
Original antique copper engraving from the original plates
Published by Craddock & Baldwin 1820
Image size: 33 x 46cm
Inland: £125.00
Export: £106.50