Description: 1854 Antique Original Steel Cut Engraving Print A MIDNIGHT MODERN CONVERSATION by WILLIAM HOGARTH Bookplate Print Measures approx. 7-3/4" x 10-1/2" - overall outside dimensions Condition: Very Good used condition, no rips or tears to engraving, some age toning and foxing. Includes additional sheet with the description and commentary on the print by John Trusle. Hogarth's 'A Midnight Modern Conversation' was one of his most popular early works, and a superb example of the influence of Dutch genre painting on the artist's work. Indeed the many pirated copies of this early work contributed to the rapid increase of Hogarth's fame in Europe, particularly in France and Germany. The scene takes place in St John's Coffee House, Shire Lane, Temple Bar, and portrays the final throes of a raucous evening of drinking, debate, and mild debauchery among a large group of men. The characters, exhibiting the various degrees of inebriation, are gathered around a large oval table. The characters themselves have been variously identified, with a number likely to have been Hogarth's own friends and acquaintances. At centre, the broadsword fighter James Figg, present in a number of Hogarth's scenes, has fallen from his chair, smashing the bottle he carries in his left hand. The gentleman who spills the contents of another bottle on the prostrate Figg is usually identified as Ranby, Hogarth's doctor-friend. To the extreme right, a politician attempts to light his pipe with a candle stick, mistakenly setting alight his coat sleeve by mistake. The man next to him clutches at his face, either gripped by headache or in preparation to be violently sick onto the floor. At the centre back, four men gather around the punchbowl. The one idly ladling at the punch is likely the parson, Cornelius Ford, a cousin of Dr Johnson. At the far left, another friend of Hogarth's, the bookbinder Chandler, sits in an attitude of melancholy, wearing a white turban and smoking a long pipe, while another, leaning back on his chair, has fallen asleep with his mouth open, his wig falling back to reveal a bald pate. The scene is strewn with broken bottles and discarded pipes, while the clock and snuffed candles hint at the approaching dawn. This listing is for the actual print pictured. Because every monitor displays differently, expect that there will be some variance between what you see on the monitor and how the print will look in your hands. The image of the print posted on this listing is as representative of the actual print as I could make it. The print is over 160 years old, in very good condition over all, and is an authentic original steel cut printed in 1854. This is a bookplate print from the circa 1853-1854 edition of THE WORKS OF HOGARTH... steel engravings by the first artists...by REV. JOHN TRUSLE. Published by E. T. Brain & Co, London. This volume was illustrated with high quality detailed steel engravings on lightly toned paper. The quality of the prints is hard to see in photos/scans, but the process produces brilliant sharp lines which make these prints highly desirable. William Hogarth (1697 – 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. He was the pre-eminent artist of his age, leaving behind an extraordinary legacy. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as "Hogarthian".Working almost entirely outside the academic art establishment, he revolutionized the popular art market and the role of the artist. Hogarth strived to create works of great aesthetic beauty but also ones that would help to make London a better city for future generations.He is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode.The artist’s first widespread notice came with the publication of The South Sea Scheme (1721), ridiculing the greed and corruption of stock market speculators. A Harlot's Progress (1732) brought Hogarth tremendous success and celebrity, leading to a second morality series, A Rake's Progress (1734).Industry and Idleness (1747) was designed to encourage young boys to develop a strong Protestant work ethic and thus achieve success. Beer Street and Gin Lane (1751), directed at the widespread sale and consumption of alcohol, were followed by The Four Stages of Cruelty (1751), which condemned rampant acts of cruelty to animals.Throughout the 1730s and 1740s, the artist’s reputation grew and so did his interest in social and moral reform. Hogarth’s work took on a distinctly propagandist tone, directed at the urbanization of London and the city’s problems with crime, prostitution, gambling, and alcoholism.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, the first rank of realistic portraiture of the sins of London in his time. Charles Lamb deemed Hogarth's images to be books, filled with "the teeming, fruitful, suggestive meaning of words. Other pictures we look at; his pictures we read." LOC: RC3-15StoreAdd to FavoritesFeedback1854 DRUNKS ALCOHOL PARTY TEMPLE BAR ENGRAVING ANTIQUE ART PRINT W. HOGARTH 1854 Antique Original Steel Cut Engraving Print A MIDNIGHT MODERN CONVERSATION by WILLIAM HOGARTH Bookplate Print Measures approx. 7-3/4" x 10-1/2" - overall outside dimensions Condition: Very Good used condition, no rips or tears to engraving, some age toning and foxing. Includes additional sheet with the description and commentary on the print by John Trusle. Hogarth's 'A Midnight Modern Conversation' was one of his most popular early works, and a superb example of the influence of Dutch genre painting on the artist's work. Indeed the many pirated copies of this early work contributed to the rapid increase of Hogarth's fame in Europe, particularly in France and Germany. The scene takes place in St John's Coffee House, Shire Lane, Temple Bar, and portrays the final throes of a raucous evening of drinking, debate, and mild debauchery among a large group of men. The characters, exhibiting the various degrees of inebriation, are gathered around a large oval table. The characters themselves have been variously identified, with a number likely to have been Hogarth's own friends and acquaintances. At centre, the broadsword fighter James Figg, present in a number of Hogarth's scenes, has fallen from his chair, smashing the bottle he carries in his left hand. The gentleman who spills the contents of another bottle on the prostrate Figg is usually identified as Ranby, Hogarth's doctor-friend. To the extreme right, a politician attempts to light his pipe with a candle stick, mistakenly setting alight his coat sleeve by mistake. The man next to him clutches at his face, either gripped by headache or in preparation to be violently sick onto the floor. At the centre back, four men gather around the punchbowl. The one idly ladling at the punch is likely the parson, Cornelius Ford, a cousin of Dr Johnson. At the far left, another friend of Hogarth's, the bookbinder Chandler, sits in an attitude of melancholy, wearing a white turban and smoking a long pipe, while another, leaning back on his chair, has fallen asleep with his mouth open, his wig falling back to reveal a bald pate. The scene is strewn with broken bottles and discarded pipes, while the clock and snuffed candles hint at the approaching dawn. This listing is for the actual print pictured. Because every monitor displays differently, expect that there will be some variance between what you see on the monitor and how the print will look in your hands. The image of the print posted on this listing is as representative of the actual print as I could make it. The print is over 160 years old, in very good condition over all, and is an authentic original steel cut printed in 1854. This is a bookplate print from the circa 1853-1854 edition of THE WORKS OF HOGARTH... steel engravings by the first artists...by REV. JOHN TRUSLE. Published by E. T. Brain & Co, London. This volume was illustrated with high quality detailed steel engravings on lightly toned paper. The quality of the prints is hard to see in photos/scans, but the process produces brilliant sharp lines which make these prints highly desirable. William Hogarth (1697 – 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. He was the pre-eminent artist of his age, leaving behind an extraordinary legacy. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as "Hogarthian".Working almost entirely outside the academic art establishment, he revolutionized the popular art market and the role of the artist. Hogarth strived to create works of great aesthetic beauty but also ones that would help to make London a better city for future generations.He is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode.The artist’s first widespread notice came with the publication of The South Sea Scheme (1721), ridiculing the greed and corruption of stock market speculators. A Harlot's Progress (1732) brought Hogarth tremendous success and celebrity, leading to a second morality series, A Rake's Progress (1734).Industry and Idleness (1747) was designed to encourage young boys to develop a strong Protestant work ethic and thus achieve success. Beer Street and Gin Lane (1751), directed at the widespread sale and consumption of alcohol, were followed by The Four Stages of Cruelty (1751), which condemned rampant acts of cruelty to animals.Throughout the 1730s and 1740s, the artist’s reputation grew and so did his interest in social and moral reform. Hogarth’s work took on a distinctly propagandist tone, directed at the urbanization of London and the city’s problems with crime, prostitution, gambling, and alcoholism.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, the first rank of realistic portraiture of the sins of London in his time. Charles Lamb deemed Hogarth's images to be books, filled with "the teeming, fruitful, suggestive meaning of words. Other pictures we look at; his pictures we read." LOC: RC3-15
Price: 35.5 USD
Location: Tonawanda, New York
End Time: 2024-11-28T13:49:11.000Z
Shipping Cost: 1.5 USD
Product Images
Item Specifics
Return shipping will be paid by: Seller
All returns accepted: Returns Accepted
Item must be returned within: 30 Days
Refund will be given as: Money Back
Type: Print
Artist: WILLIAM HOGARTH
Theme: Social History, LONDON, GEORGIAN ERA, SATIRE, CARICATURE, DRUNKENESS, ALCOHOL, mild debauchery
Subject: HISTORICAL, GEORGIAN ERA, SATIRE, SOCIAL CRITICISM
Production Technique: Steel Engraving
Original/Licensed Reprint: Original
Style: Realism, Vintage, ROCOCO STYLE, ANTIQUE
Features: STEEL ENGRAVING
Material: Paper
Year of Production: 1854
Size: Small (up to 12in.)
Time Period Produced: 1850-1899
Culture: ENGLISH
Region of Origin: LONDON, UK
Item Height: 7.75
Item Length: 10.5"
Item Width: 10.5"
Signed: No
Framing: Unframed
Country/Region of Manufacture: United Kingdom
Unit of Sale: Single Piece
Image Orientation: Landscape
Handmade: No
Personalize: No
Period: Baroque/Roccoco (1600-1770)
Certificate of Authenticity (COA): No
Title: A MIDNIGHT MODERN CONVERSATION
