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C1822
(1820)
Masquerades and Operas, Burlington-gate
Artist:
This satirical performance of Hogarth, which is commonly called “The small Masquerade Ticket,” is supposed to have been invented and drawn at the instigation of Sir James Thornhill, out of revenge, because Lord Burlington had preferred Mr. Kent before him … Read Full Description
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Details
Full Title:
Masquerades and Operas, Burlington-gate
Date:
C1822
(1820)
Artist:
Condition:
In good condition.
Technique:
Copper engraving.
Image Size:
190mm
x 145mm
AUTHENTICITY
Genuine antique
dated:
1820
Description:
This satirical performance of Hogarth, which is commonly called “The
small Masquerade Ticket,” is supposed to have been invented and drawn at
the instigation of Sir James Thornhill, out of revenge, because Lord
Burlington had preferred Mr. Kent before him to paint for King George
the Second at his palace at Kensington; and the leader of the figures
hurrying to a masquerade, crowned with a cap and bells, and a garter
round his right leg, has been said to be intended for that Monarch, who
was very partial to those nocturnal amusements, and bestowed a thousand
pounds towards their support. The purse with the label £1000, which the
Satyr holds immediately before him, gives some probability to the
supposition.
The works of William Hogarth from the original plates restored by
James Heath : with the addition of many subjects not before collected,
to which are prefixed a biographical essay on the genius and productions
of Hogarth, and explanations of the subjects of the plates, by John
Nichols.
William Hogarth (1697 - 1794)
Hogarth was born in London, the son of an unsuccessful schoolmaster and writer from Westmoreland. After apprenticeship to a goldsmith, he began to produce his own engraved designs from 1710. He later took up oil painting, starting with small portrait groups called conversation pieces. He went on to create a series of paintings satirising contemporary customs, but based on earlier Italian prints, of which the first was ‘The Harlot’s Progress’ (1731), and perhaps the most famous ‘The Rake’s Progress’. His engravings were so plagiarised that he lobbied for the Copyright Act of 1735 as protection for writers and artists.
