C1822
 (1820)

Rich’s Triumphant Entry

Artist:

William Hogarth (1697 - 1794)

Satire on John Rich and his new theatre in Covent Garden with a procession moving from left to right across the east end of the market square and entering the colonnade leading to the theatre. John Gay is carried on … Read Full Description

$A 125

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S/N: HOGA-135–221692
(LF25)
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Details

Full Title:

Rich’s Triumphant Entry

Date:

C1822
 (1820)

Artist:

William Hogarth (1697 - 1794)

Condition:

In good condition.

Technique:

Copper engraving.

Image Size: 

310mm 
x 170mm
AUTHENTICITY
Rich's Triumphant Entry - Antique Print from 1822

Genuine antique
dated:

1820

Description:

Satire on John Rich and his new theatre in Covent Garden with a
procession moving from left to right across the east end of the market
square and entering the colonnade leading to the theatre. John Gay is
carried on a porter’s back preceded by a crowd, one of whom cries “Gay
for ever”. He is followed by Rich, as Harlequin, driving an open
carriage drawn by six satyrs, with Columbine and a spotted dog (a
disguise adopted by Rich as Harlequin in “Perseus and Andromeda”, 1730).
Two authors bow obsequiously to Rich, another wheels a barrow of plays
towards the theatre, bootblacks also bow, but in the lower right-hand
corner, Alexander Pope defecates on sheets from the Beggar’s Opera (the
great triumph of Rich and Gay). Actors in costume, some identified in
the verses below, follow the carriage, and a cart containing properties
including “A Box of Thunder and Lightening”, brings up the rear. Beyond
the main procession is a large crowd of admirers and a closed carriage

Biography:

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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