C1822
 (1820)

Et spes & ratio Studiorum in Cesare tantum

Artist:

William Hogarth (1697 - 1794)

Frontispiece to the catalogue of the pictures exhibited by the Society of Artists, at their first exhibition in Spring Gardens; Britannia standing in a rocky landscape, filling a watering can from a fountain with lion’s head spout and a bust … Read Full Description

$A 65

S/N: HOGA-116–195816
(LF25)
Categories: ,
Free Shipping

Within Australia

All orders ship free
within Australia

Rest of the World

Orders over A$300
ship free worldwide

See Shipping page for Terms & Conditions

Details

Full Title:

Et spes & ratio Studiorum in Cesare tantum

Date:

C1822
 (1820)

Artist:

William Hogarth (1697 - 1794)

Condition:

In good condition.

Technique:

Copper engraving.
AUTHENTICITY
Et spes & ratio Studiorum in Cesare tantum - Antique Print from 1822

Genuine antique
dated:

1820

Description:

Frontispiece to the catalogue of the pictures exhibited by the Society of Artists, at their first exhibition in Spring Gardens; Britannia standing in a rocky landscape, filling a watering can from a fountain with lion’s head spout and a bust statue of George III in a niche surmounted by a crown, lettered ‘Georgius III Rex. MDCCLXI.’; the watering can pours onto three short trees growing in a clump at right, favouring the one with the trunk labelled ‘Architecture’ and, to a lesser extent, the tree labelled ‘Painting’; the tree ‘Sculpture’, on slightly lower ground.

From 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.

Artist:

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.

Choose currency

Exchange rates are only indicative. All orders will be processed in Australian dollars. The actual amount charged may vary depending on the exchange rate and conversion fees applied by your credit card issuer.

Login

Register

Search

The List

Join our exclusive mailing list for first access to new acquisitions and special offers.