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Variety of expressions, 1743. Artist: William HogarthVariety of expressions, 1743. Over 100 faces, illustrating the infinite variety of expression. Final state of plate
The Bench, 1758. Artist: William HogarthThe 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 HogarthColumbus 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 HogarthScholars 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 HogarthThe 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 HogarthThe 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 HogarthA 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 idle prentice executed at Tyburn, plate XI of Industry and Idleness, 1747; The crowds gather at Tyburn to watch Idles execution
The idle prentice betray d by his whore... plate IX of Industry and Idleness, 1747The idle prentice betray d by his whore and taken in a night cellar with his accomplice, plate IX of Industry and Idleness
The industrious prentice grown rich... plate VIII of Industry and Idleness, 1747The 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 HogarthStrolling 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 HogarthAn 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 SullivanThe 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 HogarthSouthwark 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 HogarthThe 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 HogarthA 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 HogarthA 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 HogarthA 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
In a high saliuation [sic] at the point of death, plate V of The Harlots Progress, 1732; the harlot is now dying from venereal disease and has been transferred to the sick room (of Bridewell Prison)
The Compleat trull at her lodging in Drury Lane, plate III of The Harlots Progress, 1732; the harlots handsome young lover has cost her an easy life with her Jewish protector
Innocence betrayed, or the journey to London, plate I of The Harlots Progress, 1732; shows Mary Hackabout arriving at the Bell Inn, Wood Street, London
In high keeping by a Jew, plate II of The Harlots Progress, 1732; Mary Hackabout, now the mistress of a wealthy London Jew, kicks over a table to divert his attention
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 RavenetMarriage 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 BaronMarriage 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 BaronMarriage 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 ScotinMarriage 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 HogarthA 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 HogarthA 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 HogarthA 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 HogarthA 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, 1747The 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, 1747The 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 1747The 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 AvilineChairing 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 CaveThe 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 GrignionCanvassing 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 HogarthThe 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 HogarthThe 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 HogarthCredulity, Superstition and Fanaticism. A medley, 1762; Methodist meeting at Whitefields Tabernacle on Tottenham Court Road, London
France, 1756. Artist: William HogarthFrance, 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
France, 1755. Artist: William HogarthFrance, 1755, showing a scene on the coast of France with troops boarding a ship to invade England. In the foreground a monk tests his axe
The Reward of Cruelty, plate IV from The Four Stages of Cruelty, 1751. Tom Nero, having been hanged for murder is undergoing dissection theatre
Second Stage of Cruelty, plate II from The Four Stages of Cruelty, 1751. Tom Nero, as a coachman, is beating his disabled horse savagely
First Stage of Cruelty, plate I from The Four Stages of Cruelty, 1751. Tom Nero is torturing a dog with an arrow, whilst another young man attempts to prevent the torment, in vain
