C1822
 (1820)

Industry and Idleness (Set of 12)

Artist:

William Hogarth (1697 - 1794)

Plate 1: The Fellow ‘Prentices at their Looms. Plate 2: The INDUSTRIOUS ‘PRENTICE performing the Duty of a Christian Plate 3: The Idle ‘Prentice at Play in the Church Yard, during Divine Service Plate 4: The Industrious ‘Prentice a Favourite … Read Full Description

$A 1,850

In stock

S/N: HOGA-060–230941
(LF25)
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Details

Full Title:

Industry and Idleness (Set of 12)

Date:

C1822
 (1820)

Artist:

William Hogarth (1697 - 1794)

Condition:

In good condition.

Technique:

Copper engraving.

Image Size: 

350mm 
x 260mm

Paper Size: 

460mm 
x 310mm
AUTHENTICITY
Industry and Idleness (Set of 12) - Antique Print from 1822

Genuine antique
dated:

1820

Description:

Plate 1: The Fellow ‘Prentices at their Looms.

Plate 2: The INDUSTRIOUS ‘PRENTICE performing the Duty of a Christian

Plate 3: The Idle ‘Prentice at Play in the Church Yard, during Divine Service

Plate 4: The Industrious ‘Prentice a Favourite and entrusted by his Matter

Plate 5: The Idle ‘Prentice turn’d away, and went to Sea

Plate 6: The Industrious ‘Prentice out of his Time, & Married to his Master’s Daughter

Plate 7: The Idle ‘Prentice return’d from Sea & in a Garret with a common Prostitute

Plate 8: The Industrious ‘Prentice grown rich & Sheriff of London

Plate 9: The Idle ‘Prentice betrayed and taken in a Night-Cellar with his Accomplice

Plate 10: The Industrious ‘Prentice Alderman of London, the Idle one brought before him & Impeach’d by his Accomplice.

Plate 11: The Idle ‘Prentice Executed at Tyburn

Plate 12: The Industrious ‘Prentice Lord-Mayor of London

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.

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