Masquerade Ticket

Artist:

Ticket for a Masquerade. The tradition of masquerades was introduced to English society from Italy “where it had evolved from a carnival practice by the Swiss Count, John James Heidegger, who had arrived in England in 1708” Count Heidegger sponsored … Read Full Description

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S/N: HOGA-125–223953

(LF25)

Categories: Hogarth

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Details

Full Title:

Masquerade Ticket

Date:

C1822

(1820)

Artist:

William Hogarth (1697 - 1794)

Condition:

In good condition.

Technique:

Copper engraving.

Image Size:

199mm

x 140mm

Genuine antique
dated:

1820

Description:

Ticket for a Masquerade.

The tradition of masquerades was introduced to English society from Italy “where it had evolved from a carnival practice by the Swiss Count, John James Heidegger, who had arrived in England in 1708” Count Heidegger sponsored the first masquerade ball at the Haymarket Opera House. The phenomenon became a trend throughout London, but Count Heidegger was the leading impresario of masquerades in the early part of the eighteenth century. In the second half of the century, Heidegger was succeeded by Mrs. Theresa Cornelys, a Venetian born opera singer, actress and adventuress. Her subscription masquerades were held mostly at Carlisle House in Soho Square, starting in 1763

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.

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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