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The battle of the pictures; a bidders ticket for Hogarths auction of 19 paintings, 1744. The building on the left is the auction house; the building on the right is Hogarths studio
The five orders of perriwigs 1761. Artist: William HogarthThe five orders of perriwigs 1761. A satire linking the cult of Vitruvius (which deduces laws of composition and canons of beauty from the measurements of ancient columns and statues)
The March to Finchley, 1761. ArtistThe March to Finchley, or A representation of the march of the guards towards Scotland in the year 1745, 1761. The Tottenham Court turnpike at the intersection with Euston Road
The Good Samaritan, 1772. Artist: Simon Francois RavenetThe Good Samaritan, 1772. The Samaritan pours oil onto the mans wound. Behind the Samaritan a dog licks its wounds. In the distance are two of the men who did not stop to help
The Pool of Bethesda, 1772Christ healing a man at the pool of Bethesda, who has not been able to walk for 38 years. On the left a group of ill people wait for their turn in the miraculous waters
The Jacobites journal, 1774. Artist: William HogarthThe Jacobites journal, 1774. A monk pulling down or pointing to his eye pulls along an ass with London Evening Post coming out of his mouth. Two Scottish figures sit on the ass
The Grand Triumvirate or Champions of Liberty... 1763. Three portraits, from left to right: Wilkes, in frame with Cap of Liberty; the Earl of Bute, in frame with thistles, Hogarth in frame with dog
William Hogarth, 1762. Artist: Paul SandbyWilliam Hogarth, 1762. The scene satirises William Hogarth and his line of beauty. He is seen precariously balanced at the top of the structure with a variety of other figures beneath
The Reward of Cruelty, plate IV from The Four Stages of Cruelty, 1833. ArtistThe Reward of Cruelty, plate IV from The Four Stages of Cruelty, 1833; showing Tom Nero, having been hanged for murder and undergoing dissection theatre
The idle prentice returned from sea... plate VII of Industry and Idleness 1833The idle prentice returned from sea, and in a garret with a prostitute, plate VII of Industry and Idleness, 1833; the apprentice
Morning, plate I from Times of Day, 1738. Artist: William HogarthMorning, plate I from Times of Day, 1738. Scene in Covent Garden, London early on a winter morning. A small fire burns in the foreground. A stall-keeper is seated on a basket
Elephant Inn, Fenchurch Street, London, c1815. Artist: VowlesView of the Elephant Inn, Fenchurch Street, London, c1815. For some years this was the residence of William Hogarth and was one of the few houses that escaped the Great Fire of London in 1666
The painters march from Finchly... 1753. Artist: Paul SandbyThe painters march from Finchly, dedicated to the King of ye Gypsies as an encourager of Art &c, 1753. Hogarth, accompanied by a woman who points to a pair of horns over his head, flees from a village
Evening, 1738. Artist: FF WalkerEvening, 1738. Scene from Hogarths Times of the day. A scene at Sadlers Wells and Sir Hugh Middleton Tavern. A lady with fan escorted by a man carrying a small girl
Night, 1833. Artist: William RadclyffeNight, 1833. Scene from Hogarths Times of the day. View showing a street near Charing Cross, London, by moonlight. A drunken freemason (Sir Thomas De Veil)
Morning, 1738. Artist: J MollisonMorning, 1738. Scene from Hogarths Times of the day. Covent Garden, London, early on a winter morning. A small fire burns in the foreground. A stall-keeper is seated on a basket
Noon, 1738. Artist: WH WorthingtonNoon, 1738. Scene from Hogarths Times of the day. A view of Hog Lane, Westminster, with the Church of St Giles in the Fields visible in background
Evening, 1738. Artist: SpoonerEvening, 1738. Scene from Hogarths Times of the day. A scene at Sadlers Wells and Sir Hugh Middleton Tavern. A lady with fan escorted by a man carrying a small girl
The sleeping congregation, 1736. Artist: William HogarthThe sleeping congregation, 1736. The scene is a country church, the only member of the congregation awake (besides the speaker) is the clerk who observes the charms of a young girl
Change Alley, London, 1853. Artist: John CarterChange Alley, London, 1853. Street scene depicting events surrounding the South Sea Bubble (1711-1720). The scene is taking place in front of Garraways Coffee House, with a pawn shop at left
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
