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C1822
The Author’s Benefit Pasquin.
Artist:
Theatre ticket: a stage scene with seven performers, a dog and a cat, and in the background two tightrope walkers accompanied by an ape; within a frame, a satyr on either side; print after a forgery purporting to be an … Read Full Description
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Details
Full Title:
The Author’s Benefit Pasquin.
Date:
C1822
Artist:
Condition:
In good condition.
Technique:
Copper engraving.
Image Size:
150mm
x 145mm
AUTHENTICITY
Genuine antique
dated:
1822
Description:
Theatre ticket: a stage scene with seven performers, a dog and a cat,
and in the background two tightrope walkers accompanied by an ape;
within a frame, a satyr on either side; print after a forgery purporting
to be an admission ticket for a performance of Fielding’s Pasquin at
the Haymarket Theatre in April 1736.
and in the background two tightrope walkers accompanied by an ape;
within a frame, a satyr on either side; print after a forgery purporting
to be an admission ticket for a performance of Fielding’s Pasquin at
the Haymarket Theatre in April 1736.
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.
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.
