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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
The Distressed Poet, 1740. Artist: William HogarthThe 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 HogarthA 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 HogarthAfter, 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 HogarthBefore, 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 BaronEvening, 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 ScotinMarriage 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 HogarthNoon, plate II from Times of Day, 1738. View of Hog Lane, Westminster, London with St Giles in the Fields visible in the background
Marriage a la mode, Plate V, 1745. Artist: Simon Francois RavenetMarriage a la mode, Plate V, 1745; Silvertongue has escorted the countess to the Turks Head bagnio. The nobleman follows. Silvertongue shoots him dead in a duel
The humours and diversions of Southwark Fair, London, 1733The 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 HogarthBurning the rumps at Temple Bar, London, 1726; the London populace, disgusted with the Rump Parliament which assembled after Oliver Cromwells death
Columbus breaking the egg, 1753, (1833). Artist: William HogarthColumbus breaking the egg, 1753, (1833). Explorer Christopher Columbus (1451-1506) demonstrates how an egg can be made to stand upright on a table. (Colorised black and white print)
The Rakes Progress - The Arrest, c1735, (1904). Artist: William HogarthThe Rakes Progress - The Arrest, c1735, (1904). From the collection of the Sir John SoaneAEs Museum, London. From Social England, Volume V, edited by H.D. Traill, D.C.L. and J. S. Mann, M.A
The South Sea Bubble, from a print by William Hogarth, 1721, (1904). Artist: William HogarthThe South Sea Bubble, from a print by William Hogarth, 1721, (1904). A British joint-stock company founded in 1711, created as a public-private partnership to consolidate
Hogarths House, Chiswick, 1890. From Picturesque London, by Percy Fitzgerald. [Ward & Downey, London, 1890]
William Hogarth, 18th century English painter, printmaker, satirist and cartoonist, (c1850). Much of Hogarths work was targeted at contemporary politics, lifestyles and customs
The Election: Canvassing for Votes, 1754-1755, (c1915). Artist: William HogarthThe Election: Canvassing for Votes, 1754-1755, (c1915). The painting held by Sir John Soanes Museum, London. From International Art: Past and Present by Alfred Yockney
William Augustus, Duke of Cumberland, 1732. Artist: William HogarthWilliam Augustus, Duke of Cumberland, 1732. Portrait of the third and youngest son of King George II as boy. From William Hogarth, by Austin Dobson. [Hachette Et Cie, Paris, 1904]
Frances Arnold, 1738-1740. Artist: William HogarthFrances Arnold, 1738-1740. The original painting is said to have been painted when Hogarth was on a visit to Ashby Lodge, Northamptonshire. From William Hogarth, by Austin Dobson
Taste in High Life, 1798. Artist: Samuel PhillipsTaste in High Life, 1798. A satire on affected manners. A man holds a saucer and a woman daintily holds the teacup. Another woman tickles a black servant under the chin
A Rakes Progress - 6: The Gaming House, 1733. Artist: William HogarthA Rakes Progress - 6: The Gaming House, 1733. Tom Rakewell is in a gambling house in Covent Garden, London. Having just lost his wifes fortune, he falls to his knees
A Rakes Progress - 7: Fleet Prison, 1733. Artist: William HogarthA Rakes Progress - 7: Fleet Prison, 1733. Tom Rakewell is confined to Fleet Prison, London, for debt, and being harangued by his wife
A Rakes Progress - 5: He Marries, 1733. Artist: William HogarthA Rakes Progress - 5: He Marries, 1733. Tom Rakewell marries an old but rich woman, in order to retrieve his fortune. Meanwhile, in the background
Marriage A-la-Mode: 3. The Inspection, c1743. Artist: William HogarthMarriage A-la-Mode: 3. The Inspection, c1743. 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
Portrait of a Man, 1741. Artist: William HogarthPortrait of a Man, 1741. From William Hogarth, by Austin Dobson. [Hachette Et Cie, Paris, 1904]
Sigismunda Mourning over the Heart of Guiscardo, 1759. Artist: William HogarthSigismunda Mourning over the Heart of Guiscardo, 1759. Inspired by Boccaccios Decameron, written in the mid 14th century. From William Hogarth, by Austin Dobson. [Hachette Et Cie, Paris, 1904]
Chairing the Members, Plate IV from The Humours of an Election, 1757. Artist: William HogarthChairing the Members, Plate IV from The Humours of an Election, 1757. This series of four plates depicts the Oxfordshire parliamentary election of 1754
The Polling, Plate III from The Humours of an Election, 1757. Artist: William HogarthThe Polling, Plate III from The Humours of an Election, 1757. This series of four plates depicts the Oxfordshire parliamentary election of 1754
Canvassing for Votes, Plate II from The Humours of an Election, 1757. Artist: William HogarthCanvassing for Votes, Plate II from The Humours of an Election, 1757. This series of four plates depicts the Oxfordshire parliamentary election of 1754
