522 South Pineapple Avenue
Sarasota, FL 34236
United States
Sarasota Estate Auction specializes in a wide variety of furniture, antiques, fine art, lighting, sculptures, and collectibles. Andrew Ford, owner and operator of the company, has a passion for finding the best pieces of art and antiques and sharing those finds with the Gulf Coast of Florida.
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Jan 19, 2025
William Hogarth (1697-1764) English, "A Harlot's Progress" Engraving Print. Depicts plate #6 from one of his most famous series. Attribution bottom right, number of plate bottom left, both in print. No glass. Original label on reverse.
Overall Size: 24 x 29 in.
Sight Size: 13 1/4 x 16 1/4 in.
#5055
William Hogarth was born on November 10th, 1697 in London into a lower-middle-class family. In his youth he took up an apprenticeship with the engraver Ellis Gamble, but did not complete it as his father underwent periods of mixed fortune, and was at one time imprisoned in lieu of payment of outstanding debts, an event that is thought to have informed William’s style and subject matter. In 1720 Hogarth enrolled at the original St. Martin’s Lane Academy in Peter Court, London, which was run by Louis Chéron and John Vanderbank. However, the academy seems to have stopped operating in 1724, around the same time that Vanderbank fled to France in order to avoid creditors. Hogarth then enrolled in another drawing school in Covent Garden which was run by Sir James Thornhill, Serjeant Painter to the King. Hogarth became a member of the Rose and Crown Club, and was by then a well-regarded engraver in his own right. In 1727 he was hired by Joshua Morris, a tapestry worker, to prepare a design for the Element of Earth. In the following years he turned his attention to the production of small “conversation pieces” (groups in oil of full-length portraits from 12 to 15 inches high). Some of his best regarded works were of actors, dignitaries, and prisoners awaiting their execution. In 1729 he eloped with Jane Thornhill, the daughter of his mentor. In 1731 Hogarth completed the earliest of his series of moral works, A Harlot’s Progress, a body of work that led to wide recognition and an almost immediate sequel, A Rake’s Progress. When their success resulted in numerous pirated reproductions, Hogarth lobbied in Parliament for greater legal control given to artists over their work. The result was the Engravers’ Copyright Act (known generally as “Hogarth’s Act”), which went into effect in 1735 and was the first English copyright law to deal with visual works, as well as the first to recognize the authorial rights of an individual artist. More and more influenced by French and Italian painting and engraving, Hogarth’s became famous throughout Europe for their mostly satirical caricatures, sometimes bawdily sexual, in frankly realistic portraiture. They were mass-produced via multiple printmakers in his lifetime, making him one of the most significant successful English artists of his generation, and his subjects, like forced marriages, alcoholism, dehumanizing industrial work, and class divisions even sparked open debates and social reforms. Hogarth was also a popular portrait painter, establishing a genre of theatrical portraiture by inserting contemporary subjects into historical events and themes. Either despite or because of his success, however, he did not earn a strong reputation among other artists of his day, often criticized for his subject matter, exacting detail, and prolific output. His main home was in Leicester Square, but he bought a country retreat in Chiswick in 1749 now known as Hogarth’s House, and spent much of the rest of his life there. The Hogarths had no children, but fostered many foundling children, and he was a founding Governor of the Foundling Hospital. Hogarth wrote and published his ideas of artistic design in his book The Analysis of Beauty (1753), and later followed it with Apology for Painters (1761). He was working on an autobiography when he died suddenly from convulsions (likely an aneurysm) on October 26th, 1764. His influence on continental book illustrations lasted throughout the 18th, 19th and 20th Centuries, and had an effect on the work of painters, writers, and musicians across Europe and beyond.
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