1854 FASHION STATUS SYMBOLS UPPER CLASS ENGRAVING ANTIQUE ART PRINT W. HOGARTH

Description: 1854 Antique Original Steel Cut Engraving Print TASTE IN HIGH LIFE by WILLIAM HOGARTH Bookplate Print Measures approx. 7-3/4" x 10-1/2" - overall outside dimensions Condition: Very Good used condition, no rips or tears to engraving, some age toning and foxing. Includes additional sheet with the description and commentary on the print by John Trusle. A savage satire of fashion among London’s upper classes. The two ladies and gentleman pictured here are arrayed in the latest styles, imported mainly from France: constricting corsets, voluminous hoop skirts, and high-heeled shoes. A monkey (a traditional symbol of servile imitation) reads from a French-inspired menu. The lady at left is depicted with an enslaved servant who wears an exoticizing feathered turban, pearl earring, and metal collar. Described by one eighteenth-century critic as a “miniature Othello,” he is shown holding a figurine of a Chinese mandarin, an item that reflects the contemporary rage for "chinoiserie”—a Western style that imitated patterns and motifs derived from Chinese art. As in Plate 2 of A Harlot’s Progress, the servant’s depiction here is intended by Hogarth to signal not only the wealth but also the material excesses and false pretentions of his owners. Taste in High Life contains at least one disguised portrait. The gentleman represents Charles Colyear, second Earl of Portmore. This listing is for the actual print pictured. Because every monitor displays differently, expect that there will be some variance between what you see on the monitor and how the print will look in your hands. The image of the print posted on this listing is as representative of the actual print as I could make it. The print is over 160 years old, in very good condition over all, and is an authentic original steel cut printed in 1854. This is a bookplate print from the circa 1853-1854 edition of THE WORKS OF HOGARTH... steel engravings by the first artists...by REV. JOHN TRUSLE. Published by E. T. Brain & Co, London. This volume was illustrated with high quality detailed steel engravings on lightly toned paper. The quality of the prints is hard to see in photos/scans, but the process produces brilliant sharp lines which make these prints highly desirable. William Hogarth (1697 – 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. He was the pre-eminent artist of his age, leaving behind an extraordinary legacy. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as "Hogarthian".Working almost entirely outside the academic art establishment, he revolutionized the popular art market and the role of the artist. Hogarth strived to create works of great aesthetic beauty but also ones that would help to make London a better city for future generations.He is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode.The artist’s first widespread notice came with the publication of The South Sea Scheme (1721), ridiculing the greed and corruption of stock market speculators. A Harlot's Progress (1732) brought Hogarth tremendous success and celebrity, leading to a second morality series, A Rake's Progress (1734).Industry and Idleness (1747) was designed to encourage young boys to develop a strong Protestant work ethic and thus achieve success. Beer Street and Gin Lane (1751), directed at the widespread sale and consumption of alcohol, were followed by The Four Stages of Cruelty (1751), which condemned rampant acts of cruelty to animals.Throughout the 1730s and 1740s, the artist’s reputation grew and so did his interest in social and moral reform. Hogarth’s work took on a distinctly propagandist tone, directed at the urbanization of London and the city’s problems with crime, prostitution, gambling, and alcoholism.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, the first rank of realistic portraiture of the sins of London in his time. Charles Lamb deemed Hogarth's images to be books, filled with "the teeming, fruitful, suggestive meaning of words. Other pictures we look at; his pictures we read." LOC: RC3-15StoreAdd to FavoritesFeedback1854 FASHION STATUS SYMBOLS UPPER CLASS ENGRAVING ANTIQUE ART PRINT W. HOGARTH 1854 Antique Original Steel Cut Engraving Print TASTE IN HIGH LIFE by WILLIAM HOGARTH Bookplate Print Measures approx. 7-3/4" x 10-1/2" - overall outside dimensions Condition: Very Good used condition, no rips or tears to engraving, some age toning and foxing. Includes additional sheet with the description and commentary on the print by John Trusle. A savage satire of fashion among London’s upper classes. The two ladies and gentleman pictured here are arrayed in the latest styles, imported mainly from France: constricting corsets, voluminous hoop skirts, and high-heeled shoes. A monkey (a traditional symbol of servile imitation) reads from a French-inspired menu. The lady at left is depicted with an enslaved servant who wears an exoticizing feathered turban, pearl earring, and metal collar. Described by one eighteenth-century critic as a “miniature Othello,” he is shown holding a figurine of a Chinese mandarin, an item that reflects the contemporary rage for "chinoiserie”—a Western style that imitated patterns and motifs derived from Chinese art. As in Plate 2 of A Harlot’s Progress, the servant’s depiction here is intended by Hogarth to signal not only the wealth but also the material excesses and false pretentions of his owners. Taste in High Life contains at least one disguised portrait. The gentleman represents Charles Colyear, second Earl of Portmore. This listing is for the actual print pictured. Because every monitor displays differently, expect that there will be some variance between what you see on the monitor and how the print will look in your hands. The image of the print posted on this listing is as representative of the actual print as I could make it. The print is over 160 years old, in very good condition over all, and is an authentic original steel cut printed in 1854. This is a bookplate print from the circa 1853-1854 edition of THE WORKS OF HOGARTH... steel engravings by the first artists...by REV. JOHN TRUSLE. Published by E. T. Brain & Co, London. This volume was illustrated with high quality detailed steel engravings on lightly toned paper. The quality of the prints is hard to see in photos/scans, but the process produces brilliant sharp lines which make these prints highly desirable. William Hogarth (1697 – 1764) was an English painter, engraver, pictorial satirist, social critic, editorial cartoonist and occasional writer on art. He was the pre-eminent artist of his age, leaving behind an extraordinary legacy. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as "Hogarthian".Working almost entirely outside the academic art establishment, he revolutionized the popular art market and the role of the artist. Hogarth strived to create works of great aesthetic beauty but also ones that would help to make London a better city for future generations.He is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode.The artist’s first widespread notice came with the publication of The South Sea Scheme (1721), ridiculing the greed and corruption of stock market speculators. A Harlot's Progress (1732) brought Hogarth tremendous success and celebrity, leading to a second morality series, A Rake's Progress (1734).Industry and Idleness (1747) was designed to encourage young boys to develop a strong Protestant work ethic and thus achieve success. Beer Street and Gin Lane (1751), directed at the widespread sale and consumption of alcohol, were followed by The Four Stages of Cruelty (1751), which condemned rampant acts of cruelty to animals.Throughout the 1730s and 1740s, the artist’s reputation grew and so did his interest in social and moral reform. Hogarth’s work took on a distinctly propagandist tone, directed at the urbanization of London and the city’s problems with crime, prostitution, gambling, and alcoholism.Influenced by French and Italian painting and engraving, Hogarth's works are mostly satirical caricatures, sometimes bawdily sexual, the first rank of realistic portraiture of the sins of London in his time. Charles Lamb deemed Hogarth's images to be books, filled with "the teeming, fruitful, suggestive meaning of words. Other pictures we look at; his pictures we read." LOC: RC3-15

Price: 21.3 USD

Location: Tonawanda, New York

End Time: 2024-11-11T15:07:32.000Z

Shipping Cost: 1.5 USD