William Hogarth, Select Prints: A Private Collection by David Tunick, Inc.

William Hogarth A Selection of Fine Prints David Tunick, Inc. 13 East 69th Street, New York, NY 10021 212 570 0090 info@tunickart.com www.tunickart.com

Front Cover : William Hogarth, Hogarth Painting the Comic Muse, detail, 1758, etching and engraving 457 x 415 mm. 15 7/8 x 14 in. (this cat. no 23) Back Cover : William Hogarth, Tail Piece (The Bathos), detail, 1764, etching and engraving, 320 x 338 mm. 12 1/2 x 13 5/16 in. (this cat. no. 31)

William Hogarth

Select Prints: A Private Collection

CONDITIONS OF PURCHASE 1.

The authenticity of all the prints in this catalogue is unconditionally guaranteed.

The items in this catalogue are offered en bloc as a collection. Please contact us for price if you have interest in the collection in its entirety.

If the collection is not sold en bloc, indiviual prints and complete sets will be made available at a date and at prices to be determined.

Prices are net and subject to change.

While prints may be sent on approval to clients known to us and those supplying proper references, firm orders will receive priority.

Prints sent on approval, if not purchased, must be returned within one week after receipt, fully insured. Such returns from outside the United States must be via air freight, customs fees paid.

Measurements are given in both millimeters and inches. For engravings and etchings the measurements given are those of the plate marks where possible, to the edges of the paper where not. Height precedes width.

Freight and insurance are extra.

TABLE OF CONTENTS Pg. no. 6 A Harlot’s Progress 10 A Midnight Modern Conversation 11 Southwark Fair 12 A Rake’s Progress 17 The Sleeping Congregation 18 Before and After 19 The Company of Undertakers 20 Strolling Actresses Dressing in a Barn 21 Martin Folkes Esqr. 22 Battle of the Pictures 23 Marriage à la Mode 27 Garrick in the Character of Richard III 28 Simon Lord Lovat 29 Industry and Idleness 36 Self-Portrait with a Palette (Gulielmus Hogarth) 37 A Stand of Arms, Musical Instruments, etc. 38 Beer Street & Gin Lane 39 The Four Stages of Cruelty 41 Boys Peeping at Nature 42 Columbus Breaking the Egg 43 The Analysis of Beauty 45 The Invasion 47 Hogarth Painting the Comic Muse 48 The Bench 49 Five Orders of Perriwigs 50 Time Smoking a Picture 51 Credulity, Superstition, and Fanaticism 52 The Times 53 John Wilkes 54 The Bruiser 55 Tail Piece (The Bathos)

Exhibition Statement It is not an overstatement to characterize William Hogarth as pioneering and revolutionary. For his time he was avant-garde, cutting-edge, and shocking in his depiction of audacious subject matter. Trained as both a printmaker and painter, it was his prints that enabled him to reach and scandalize a domestic and international audience. Several series of his etchings – in particular, A Rake’s Progress, A Harlot’s Progress, Marriage à la Mode and Gin Street, Beer Lane – moralized, titillated, and with their massive popularity and commercial success brought Hogarth and English art its first widespread recognition beyond England’s own shores. The material in this catalogue is the complete private collection of Hogarth prints formed by a discerning American collector, Herbert M. Schiller, M.D. Dr. Schiller did most of his buying in the 1990’s in London. The major sets and most of the major individual prints are represented. The collection will first be offered en bloc so as to try to keep it together, but if it does not sell in its entirety, at some point we shall make the individual items available.

About the Collector: Herbert M. Schiller, M.D. This catalogue offers the private collection of William Hogarth prints carefully selected by Herbert M. Schiller, M.D., who lived and worked in Winston-Salem, North Carolina, where he was a pathologist. He and his wife currently reside in South Carolina. After closing his practice, Dr. Schiller returned to Wake Forest University, which he had attended as an undergraduate, this time to earn a master’s degree in history with a concentration on the American Civil War, about which he went on to write several books. His earliest collecting interest was in material related to the Civil War, including first edition histories, autobiographies, memoirs, and reminiscences. As a collector, he also focused on North Carolina novelist Thomas Wolfe, Soviet military orders and decorations, and Hogarth. Dr. Schiller’s introduction to Hogarth was in a college honors course on “The Comic Spirit”. This is in his own words: “I elected to write a paper based on Marriage à la Mode [this cat. no. 11], and the more I learned about the detail in the plates and the satire contained therein, the more fascinated I became. Several years later I bought an Abrams book of Hogarth’s prints at a discount bookstore and poured over the plates again and again. In the 1980’s Wake Forest had a house in London, where students went for a semester, and a faculty friend, knowing my interest, brought back to me The Bruiser [this cat. no. 30). I thus acquired my first print. I knew this wouldn’t end well, and fifteen years later I had collec(ed sixty-five more! “Now, with this deaccessioning of the Hogarth collection, all will be gone in a certain sense, but there were owners before me who enjoyed these things just as I have, and I am confident that there will be owners after me who will feel the same. That continuum gives me great pleasure. A friend described collecting as ‘the lonely passion’, and in many ways it is. But the nice thing about passing on these works is the connection to others who will feel as enriched and intellectually and visually stimulated as I have and who will love and care for this material as I have for the past many happy years in the company of some of the most entertaining, clever, and masterful graphic art ever produced.” 4

Biography: William Hogarth Hogarth was born in London on November 10, 1697 to a school teacher and a landlord’s daughter. His father’s failed attempt to create a Latin-speaking coffeehouse left the family bankrupt and landed Hogarth’s father in Fleet prison. The artist spent his adolescence living within the jurisdiction of the prison, fending for himself along with his mother. Debtors, prisoners, and jailers feature prominently in his work. At age seventeen, Hogarth began an apprenticeship at Ellis Gamble’s silver workshop, where he mastered the art of engraving. In 1720, he left the apprenticeship to establish his own print studio. He also began studying at the newly established Vanderbank Academy of Art. The artist published his first satirical print in 1721. During his apprenticeship and his time at Vanderbank, Hogarth was exposed to history painting and its eminent practitioner, Sir James Thornhill. Not one to feel surpassed, Hogarth engraved history paintings and learned to paint with oils. In 1729, he eloped with Thornhill’s daughter Jane. The couple moved into Thornhill’s home in Covent Garden in 1731, but two years later they settled in Leicester Fields, where the artist would remain for the rest of his life. In 1730, Hogarth began his series of engravings targeting what he called “modern moral subjects”, which he sold himself. He began expanding into portraiture, where he faced competition from highly regarded foreign artists. When the Venetian history painter Giacomo Amigoni received a commission to paint murals in St. Bartholomew’s Hospital, practically next door to Hogarth’s birthplace, Hogarth offered to paint the murals for free. He did so, thus preventing the commissioning of a foreigner and seizing the opportunity to depict what he considered an Englishman’s version of history. Hogarth’s popular works became victims of piracy, sparking him to promote the Engraver’s Copyright Act. The artist delayed publication of his series A Rake’s Progress (this cat. no. 4) until the Act became law in 1735. Also in 1735, he founded St. Martin’s Lane Academy, where he trained young artists and encouraged English artists to band together. In the 1730’s and 1740’s, Hogarth’s satirical work addressed social and moral reform, targeting gambling, crime, prostitution, and alcoholism. He began to simplify his style, using an expressive structure to reveal meaning through size, shapes, and emblems. In 1753, Hogarth published his aesthetic principles in The Analysis of Beauty (this cat. no. 21), the first formalist art treatise in English. Loss of English prestige, the disastrous Seven Years War, and disillusionment with English politics in the 1750’s resulted in decreased productivity. In 1757, the artist announced that he was finished with his modern moral subjects. He instead focused on portraiture for the remainder of his career. Illness plagued Hogarth in the last four years of his life. While he published a few prints, some attacking the war, he faced criticism by those who considered these works traitorous to his former views and merely the products of a senile, old man. Hogarth died on October 25, 1764.

N.B. “Paulson” in this catalogue refers to the definitive and thorough catalogue raisonné of Hogarth’s prints by Ronald Paulson, Hogarth’s Graphic Works (3rd ed., The Print Room, London, 1989). 5

1. A Harlot’s Progress Date: 1732 Medium: Complete set of six etchings and engravings Dimensions:: Each approximately 316 x 390 mm. 12 1/2 x 15 3/8 in. Dimensions Reference: Paulson 121-126 1. Paulson 121, second state of four 2. Paulson 122, second state of four 3. Paulson 123, second state of three 4. Paulson 124, second state of three 5. Paulson 125, third state of four 6. Paulson 126, second state of three Provenance: The Old Print Shop, New York; 1993 to Herbert M. Schiller, M.D. Impressions: Very fine uniform set Condition: Excellent apart from light water staining and minor scattered flaws, mostly in the wide margins, pl. 1 a slightly darker shade in the margins (frequently so in the first print within a set due to greater exposure) “A Harlot’s Progress burst onto the London scene just after an official crackdown on prostitution had begun, focused specifically on Covent Garden. The most prominent figure in this initiative was Justice John Gonson, whose missionary zeal in ‘cleaning up’ the streets was regularly reported in the London press. Prostitutes working in brothels and on the streets tended to be characterized as vain, artful temptresses who were directly responsible for moral corruption and the spread of disease. By the 1730’s, the emphasis on blame and revulsion was partially tempered by a journalistic convention that presented the prostitute as an innocent country girl who arrives in the city, alone and vulnerable, and is tricked into prostitution by a devious brothel keeper. Hogarth incorporated these inconsistent representations into A Harlot’s Progress, giving them greater resonance and topicality by folding into the storyline references to real-life characters….” (Tate online) NB: See no. 19 in this catalogue for the subscription ticket that Hogarth made for A Harlot’s Progress.

1. A Harlotâ&#x20AC;&#x2122;s Progress, pl. 1

1. A Harlotâ&#x20AC;&#x2122;s Progress, pl. 2 7

1. A Harlotâ&#x20AC;&#x2122;s Progress, pl. 3

1. A Harlotâ&#x20AC;&#x2122;s Progress, pl. 4 8

1. A Harlotâ&#x20AC;&#x2122;s Progress, pl. 5

1. A Harlotâ&#x20AC;&#x2122;s Progress, pl. 6 9

2. A Midnight Modern Conversation Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1733 Etching and engraving 342 x 468 mm. 13 1/2 x 18 1/2 in. Paulson 128, third state of three The Print Room, London; 1999 to Herbert M. Schiller, M.D. Very fine Good, laid down on an old mount, a few minor flaws including a blot of glue coming through recto bottom right corner in a blank area, repaired tear left, trimmed within the platemark, but well outside the image

Hogarth’s title is satirical: The clock shows the time as 4:00 A.M. The men are in various stages of drunkenness, having been at their “modern conversation” since midnight. The room may represent the well-known St. John’s Coffeehouse, Temple Bar, London, a gathering place for men only.

3. Southwark Fair Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1733/34 Etching and engraving 360 x 468 mm. 14 3/8 x 18 1/2 in. Paulson 131, only state The Print Room, London; 1999 to Herbert M. Schiller, M.D. Very fine Backed, trimmed to and within the platemark but outside the image, surface dirt and various small flaws

Hogarth made the print in reverse direction after his own painting, now in the Cincinnati Museum. Originally called “The Humours of the Fair” and then “The Fair”, the subject was recognized as the Southwark Fair several years after it was executed. The Southwark Fair itself was abolished in 1762 due to vice and public disturbance.

4. A Rake’s Progress Date: Medium: Dimensions: Reference: 1. 2. 3. 4. 5. 6. 7. 8. Provenance: Impressions: Condition:

1735 Complete set of eight etchings and engravings Each approximately 357 x 407 mm. 14 x 16 in. Paulson 132-139 Paulson 132, fourth state of four Paulson 133, fourth state of five Paulson 134, third state of three Paulson 135, third state of three Paulson 136, first state of three Paulson 137, second state of three Paulson 138, fourth state of four Paulson 139, second state of three The Print Room, London; 1998 to Herbert M. Schiller, M.D. Very fine, uniform set Excellent apart from minor flaws in the wide margins that show small wormholes, some scuffing, and a few light stains

Hogarth’s paintings of A Rake’s Progress (now in Sir John Soane’s Museum, London) were executed 173234 as preparatory for the set of prints published in 1735. Collectors could view the paintings before making a decision to buy the prints. A Rake’s Progress followed the commercial success of A Harlot’s Progress (this cat. no. 1). It tells the story of young Tom Rakewell, son and heir of a rich merchant. Tom comes to London and falls into a wasteful life of luxurious living, prostitution, and gambling. In debt, he is sent to Fleet Prison and ultimately ends up in the infamous Bedlam Hospital for the criminally insane.

4. A Rake’s Progress, pl. 1

4. A Rake’s Progress, pl. 2 13

4. A Rake’s Progress, pl. 3

4. A Rake’s Progress, pl. 4

4. A Rake’s Progress, pl. 5

4. A Rake’s Progress, pl. 6

4. A Rake’s Progress, pl. 7

4. A Rake’s Progress, pl. 8 16

5. The Sleeping Congregation Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1736 Etching and engraving 267 x 209 mm. 10 1/2 x 8 1/4 in. Paulson 140, first state of four The Old Print Shop, New York; 1993 to Herbert M. Schiller, M.D. Very fine Excellent, platemark visible most of the way around

Hogarthâ&#x20AC;&#x2122;s commentary on the clergy. 17

6. Before

6. After

6. Before and After Date: 1736 Medium: A pair of etchings with engraving Dimensions: Before 424 x 325 mm. 16 5/8 x 12 3/4 in. After 410 x 327 mm. 16 1/8 x 13 in. Reference: Paulson 141, second state of three Paulson 142, first (second?) state of three Provenance: The Print Room, London; 1997 to Herbert M. Schiller, M.D. Impressions: Very fine Condition: Excellent, wide margins The prints are loosely after the original paintings, which Hogarth painted in two versions, one pair outdoors and the second pair indoors (now in the Getty Collection).

7. The Company of Undertakers Date: 1736 Medium: Etching and engraving Dimensions: Plate: 262 x 178 mm. 10 3/8 x 7 1/16 in. Sheet: 278 x 199 mm. 11 x 7 7/8 in. Reference: Paulson 144, second state of two Provenance: Andrew Edmunds; ca. 1990 to Herbert M. Schiller, M.D. Impression: Fine Condition: Excellent, some stains in text field, margins all around Hogarthâ&#x20AC;&#x2122;s commentary on the medical profession. 19

8. Strolling Actresses Dressing in a Barn Date: 1738 Medium: Etching and engraving Dimensions: 422 x 540 mm. 16 3/4 x 21 1/4 in. Reference: Paulson 150, fourth state of four Provenance: The Print Room, London; 1995 to Herbert M. Schiller, M.D. Impression: Fine Condition: Very good apart from a small scuff along the borderline just into the image below the kitten and another scuff on the right edge extending 8 mm. diagonally into the subject to the right of the woman furthest right, some light soiling, narrow margins

Strolling Actresses Dressing in a Barn lampoons the Licensing Act of 1737, which declared that new plays could only be produced in England with an official license. The new law was interpreted as an act of censorship in disallowing the many non-licensed theaters in England and in ending the roving actorâ&#x20AC;&#x2122;s way of life. The original painting of the same date as the print was destroyed in a fire in 1874.

9. Martin Folkes Esqr. Date: 1742 Medium: Etching and engraving Dimensions: Plate: 335 x 238 mm. 13 1/4 x 9 1/2 in. Sheet: 395 x 297 mm. 15 1/2 x 11 3/4 in. Reference: Paulson 154, fourth state of four Provenance: The Print Room, London; 1998 to Herbert M. Schiller, M.D. Impression: Very good Condition: Very good, remnants of old backing verso that partially show through in the wide margins on the left side, a few printerâ&#x20AC;&#x2122;s folds top left margin Martin Folkes (1690-1754), a mathematician, numismatist, astronomer, student of antiquity, and prominent Freemason, was elected a Fellow of the Royal Society in 1714 and served as its President from 1741 to 1752. He gifted the portrait, painted by Hogarth around 1740, to the Society in 1742, the same year the print was made. The painting remains the property of the Society and remains at Burlington House, London. 21

10. Battle of the Pictures Date: 1744/45 Medium: Etching Dimensions: Plate: 200 x 213 mm. 7 7/8 x 8 3/8 in. Sheet: 219 x 231 mm. 8 5/8 x 9 1/8 in. Reference: Paulson 157, only state Provenance: The Print Room, London; 1997 to Herbert M. Schiller, M.D. Impression: Very fine Condition: Excellent, wide margins The British Museum describes this print as “ [a] bidder’s ticket for an auction of paintings by Hogarth with ranks of copies of old master paintings stacked outside Cock’s auction house attacking paintings by Hogarth as they emerge from his studio: a weeping Magdalene spears the third scene of A Harlot’s Progress, a procession of Bacchus encounters Midnight Modern Conversation, and so on.”

11. Marriage à la Mode, pl. 1 11. Marriage à la Mode Date: Medium: Dimensions: Reference: 1. 2. 3. 4. 5. 6. Provenance: Impressions: Condition:

1745 Complete set of six etchings and engravings on laid paper (probably printed posthumously) Each plate approximately 390 x 470 mm. 15 3/8 x 18 1/2 in. Paulson 158-163 Paulson 158, sixth state of eight Paulson 159, fourth state of five Paulson 160, third state of three Paulson 161, third state of three Paulson 162, fourth state of five Paulson 163, third state of three The Print Room, London; 1994 to Herbert M. Schiller, M.D. Very fine Excellent, very wide margins

“The satirical thrust of Marriage à la Mode is as much about patronage, aesthetics and taste as it is about marriage and morals. Over and above the title itself, Marriage à la Mode includes Italian and Dutch Old Masters, French portraiture and furnishings, oriental decorative arts, an Italian castrato singer and a French dancing master, a turbaned black pageboy, a masquerade reference, a bagnio and an aristocratic toilette. And even syphilis, which Lord Squanderfield probably contracted abroad, was popularly known as ‘the French pox’. Thus his emasculated and diseased body is additionally emblematic of the spread of ‘foreign’ culture that has infected and weakened British identity, society and commerce.” (Tate online) Hogarth advertised that this set would be engraved “by the best Masters in Paris”. He employed Scotin, Ravenet, and Baron, but he finished the plates himself by filling in “the heads for the better Preservation of the Characters and Expressions.” 23

11. Marriage Ă la Mode, pl. 2

11. Marriage Ă la Mode, pl. 3

11. Marriage Ă la Mode, pl. 4

11. Marriage Ă la Mode, pl. 5

11. Marriage Ă la Mode, pl. 6

12. Garrick in the Character of Richard III Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1746 Etching and engraving 418 x 527 mm. 16 1/2 x 20 3/4 in. Paulson 165, second state of two Andrew Edmunds, London; 1997 to Herbert M. Schiller, M.D. Very fine Excellent, wide margins all around

Garrick was the most famous Shakespearean actor of his time. The print was based on Hogarthâ&#x20AC;&#x2122;s painting of the same subject, which was commissioned for ÂŁ200, the highest price paid for an English picture up until then. The copperplate for the print was sold by our firm in 2001 to a private collection, U.S.A.

13. Simon Lord Lovat Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1746 Etching and engraving on laid paper 360 x 240 mm. 14 1/8 x 9 3/8 in. Paulson 166, second state of three Michael Finney, London; 2000 to Herbert M. Schiller, M.D. Exceptionally fine Good, some wrinkling at the corners from old hinges, trimmed within the platemark top and bottom, partially within the platemark lower right, tip of bottom right corner margin missing

The print shows Simon Lord Lovat (1667-1747) counting off the Highland clans that fought for the Pretender in the rebellion. A Scot, he supported the House of Hanover, then switched to the Stuarts, and betrayed them both. “It is doubtful whose side he was on, but he pretended to serve both.” (Paulson, p. 125) During the course of his life, Lovat was prosecuted for rape, abduction, and spying. In 1746, he was jailed in the Tower of London, tried for treason, and condemned to death. Lovat’s execution attracted an enormous audience, 20 of whom were killed when scaffolding for viewing by ticket collapsed. He allegedly smiled when told the news. Simon Lord Lovat was the last man beheaded in England. 28

14. Industry and Idleness Date: 1747 Medium: Complete set of twelve etchings with some engraving Dimensions: Each approximately 268 x 350 mm. 10 1/2 x 13 3/4 in. Reference: Paulson 168-179 1. The Fellow ‘Prentices at their Looms, Paulson 168, second state of two 2. The Industrious ‘Prentice performing the Duty of a Christian, Paulson 169, second state of two 3. The Idle ‘Prentice at Play in the Church Yard during Divine Service, Paulson, 170, first state of two 4. The Industrious ‘Prentice a Favourite, and entrusted by his Master, Paulson 171, first state of two 5. The Idle ‘Prentice turned away, and sent to Sea, Paulson 172, second (first?) state of two 6. The Industrious ‘Prentice out of his Time, & Married to his Master’s Daughter, Paulson 173, third state of five 7. The Idle ‘Prentice return’d from Sea, and in a Garret with a Common Prostitute, Paulson 174, first state of two 8. The Industrious Prentice grown rich, & Sheriff of London, Paulson 175, first state of two 9. The Idle ‘Prentice betray’d by his Whore & taken in the Night Cellar with his Accomplice, Paulson 176, second state of four 10. The Industrious Prentice Alderman of London, the Idle one brought before him & Impeach’d by his Accomplice, Paulson 177, first state of two 11. The Idle ‘Prentice Executed at Tyburn, Paulson 178, second state of three 12. The Industrious Prentice Lord-Mayor of London, Paulson 179, second state of three Provenance: The Print Room, London; 1996 to Herbert M. Schiller, M.D. Impressions: A very fine uniform set Condition: Overall excellent, the margins varying slightly in size Hogarth advertised this set in the October 15-17, 1747, issue of The London Evening Post: “This day is publish’d, price 12 S. Design’d and engrav’d by Mr. Hogarth, TWELVE Prints calle’d INDUSTRY and IDLENESS: shewing the Advantages attending the former, and the miserable Effects of the latter in the different Fortunes of two APPRENTICES.” In his Autobiographical Notes Hogarth wrote that the prints “were calculated for the use and instruction of youth…”. (B. Wind, “Hogarth’s ‘Industry and Idleness’ Reconsidered”, Print Quarterly, 1996, vol. 13, no. 3, p. 235) The series met with instant commercial success.

14. Industry and Idleness, pl. 1

14. Industry and Idleness, pl. 2 30

14. Industry and Idleness, pl. 3

14. Industry and Idleness, pl. 4 31

14. Industry and Idleness, pl. 5

14. Industry and Idleness, pl. 6 32

14. Industry and Idleness, pl. 7

14. Industry and Idleness, pl. 8 33

14. Industry and Idleness, pl. 9

14. Industry and Idleness, pl. 10 34

14. Industry and Idleness, pl. 11

14. Industry and Idleness, pl. 12 35

15. Self-Portrait with a Palette (Gulielmus Hogarth) Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1748 (issued 1749) Etching and engraving 380 x 288 mm. 15 1/8 x 11 1/4 in. Paulson 181, fourth state of four Alfred Morrison (1821-1897), London, Lugt 152; Julian Marshall (1836-1903), London, Lugt 1494; Michael Finney, London; 2000 to Herbert M. Schiller, M.D. Very fine Excellent, ample margins all around

Hogarth burnished the plate in 1763 and re-used it for another subject (The Bruiser, this cat. no. 30). 36

16. A Stand of Arms, Musical Instruments, etc. Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1750 Etching and engraving Plate: 185 x 236 mm. 7 1/4 x 9 1/4 in. Sheet: 235 x 289 mm. 9 1/4 x 11 3/8 in. Paulson 183, only state Andrew Edmunds, London; ca. 1990 to Herbert M. Schiller, M.D. Very fine Excellent, wide margins all around

Hogarthâ&#x20AC;&#x2122;s etched receipt for sale of his print made after his painting, March of the Guards to Finchley. Spaces are left blank for recording details of the transaction.

17. Beer Street, pl. 1

17. Gin Lane, pl. 2

17. Beer Street & Gin Lane Date: 1751 Series: Beer Street/Gin Lane Medium: A pair of etchings with engraving Dimensions: Beer Street 386 x 323 mm. 15 1/8 x 12 3/4 in. Sheet: 480 x 400 mm. 18 7/8 x 15 13/16 in. Gin Lane 386 x 323 mm. 15 1/8 x 12 3/4 in. Sheet: 482 x 396 mm. 19 x 15 5/8 in. Reference: Paulson 185-186, both third state of four Provenance: The Old Print Shop, New York; 1992 to Herbert M. Schiller, M.D. Impressions: Rich Condition: Excellent, wide margins, possibly cleaned Hogarth supported the governmentâ&#x20AC;&#x2122;s Gin Act of 1751. In this pair of prints he extols the virtues of beer and shows the consequences of gin, which was not only stronger in alcohol content, but also was frequently laced with turpentine and sulphuric acid, substitutes for juniper, thus lowering the price for sellers.

18. The Four Stages of Cruelty: The First Stage of Cruelty, pl. 1 18. The Four Stages of Cruelty: The Second Stage of Cruelty, pl. 2 18. The Four Stages of Cruelty Date: 1751 Medium: Complete set of four etchings with engraving Dimensions: Each approximately 385 x 322 mm. 15 1/4 x 12 3/4 in. Reference: Paulson 187-190, all before the price erased. 1. The First Stage of Cruelty, Paulson 187, first state of two 2. The Second Stage of Cruelty, Paulson 188, first state of two 3. Cruelty in Perfection, Paulson 189, only state 4. The Reward of Cruelty, Paulson 190, third state of four Provenance: Andrew Edmunds, London; ca. 1990 to Herbert M. Schiller, M.D. Impressions: Very fine Condition: Excellent, wide margins A series of four plates shows the moral tale of fictional Tom Nero, undisciplined and unchecked as a youth. Tom is cruel to animals in the first print and progresses to vicious attacks on others in a life of crime. He is executed, and the last print shows a dissection theater with Tomâ&#x20AC;&#x2122;s disemboweled body as his eyes are being plucked out.

18. The Four Stages of Cruelty: Cruelty in Perfection, pl. 3

18. The Four Stages of Cruelty: The Reward of Cruelty, pl. 4

19. Boys Peeping at Nature Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1751 Etching on laid paper 148 x 123 mm. 5 7/8 x 4 7/8 in. Paulson 120b, fourth state of four Michael Finney, London; 2001 to Herbert M. Schiller, M.D. Very fine Excellent, trimmed between platemark and borderline, still allowing for a rim of blank paper outside the image

Hogarth originally made this print in 1730/31 as a subscription ticket for Hogarthâ&#x20AC;&#x2122;s A Harlotâ&#x20AC;&#x2122;s Progress (this cat. no. 1). He reissued the print in 1737/38 with changes to the text, but not to the image. In 1751, he printed from the same plate again, with changes both to text and to image, this time as a receipt for two prints issued in 1752, Paul before Felix and Moses Brought to Pharoahâ&#x20AC;&#x2122;s Daughter (Paulson 192 and 193).

20. Columbus Breaking the Egg Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1752 Etching on laid paper Plate: 163 x 193 mm. 6 1/2 x 7 5/8 in. Sheet: 215 x 238 mm. 8 1/2 x 9 3/8 in. Paulson 194, second state of two Andrew Edmunds, London; ca. 1990 to Herbert M. Schiller, M.D. Very fine Excellent, wide margins

Originally a subscription ticket for The Analysis of Beauty (the next item in this catalogue), this print depicts the “apocryphal tale concerning Christopher Columbus’s response to detractors of his discovery of the New World. Following comments that any number of other people could have found their way to the New World and that Columbus’s feat was unremarkable because of its simplicity, Columbus replied that it was only easy now that he had demonstrated how it was done. To demonstrate this, he challenged those present to stand an egg on its end. After they all admitted defeat, Columbus demonstrated the simplicity of the challenge by crushing one end of the egg against the table which allowed it to remain upright.” (Quoted from the V&A online) 42

21. The Analysis of Beauty: Written with a view of fixing the fluctuating IDEAS of TASTE. By William Hogarth Date: 1753, first edition Publisher: “London: Printed by J. Reeves for the Author, And Sold by him at his House in Leicester-Fields. MDCCLIII.” (from the title page) Medium: Letterpress text. The frontispiece is signed as “design’d & Etch’d by Wm. Hogarth Decem 1. 1753.” The plates are signed as “Designed, Engraved, and Publish’d by Wm. Hogarth, March 5th 1753” Two prints by Hogarth tipped in (illus. below). Dimensions: Book: 260 x 215 mm. 10 1/4 x 8 1/2 in. Plate I: 385 x 497 mm. 15 1/8 x 19 5/8 in. Sheet: 402 x 540 mm. 15 7/8 x 21 1/4 in. Plate II: 425 x 530 mm. 16 3/4 x 20 7/8 in. Sheet: 442 x 545 mm. 17 1/2 x 21 1/2 in. Reference: Analysis of Beauty, pl. 1, Paulson 195, third state of three Analysis of Beauty, pl. 2, Paulson 196, second state of three Provenance: Godfrey G. Roundell Greene (1888-1956) bookplate; Maggs Bros, London; 1996 to Herbert M. Schiller, M.D. Impression: Very fine Condition: Both excellent; folded as expected to fit within the dimensions of the book, a few small splits along the folds in both prints, bound in 18th c. leather boards showing wear This first edition, leather-bound copy of Hogarth’s Analysis of Beauty features two explanatory prints tipped-in at the front and back flyleaf. Subscribers received the prints with their purchase of the book, along with Columbus Breaking The Egg, as receipt of payment (this cat. no. 20). The prints were published separately from the book, but they are referenced throughout the book and were often bound or glued into the book by the purchaser as illustrations to Hogarth’s aesthetic treatise. “Hogarth was much concerned to promote the development of painting in Britain, but disinclined to look to ancient or continental models, or to rely on royal patronage for its advancement. Moreover, he declared that practitioners are better qualified than ‘mere men of letters’ to understand the beauties of art. Here he claims that grace is found in compositions using a ‘serpentine line’ and may be achieved by studying Nature rather than antiquity or academic authority. Hogarth’s theories were critically addressed by other artists, including Allan Ramsay and Sir Joshua Reynolds.” (Royal Academy online) The book was re-published in German in 1754, in Italian in 1761, and in French in 1805. 43

21. The Analysis of Beauty, pl. 1, tipped in front of book

21. The Analysis of Beauty, pl. 2, tipped in back of book 44

22. The Invasion, pl. 1: France 22. The Invasion Date: Medium: Dimensions: Reference: Provenance: Impressions: Condition:

1756, issued 1822 Two etchings on wove paper Each 322 x 390 mm. 12 3/4 x 15 3/8 in. Paulson 202-203, both third state of three The Print Room, London; 1996 to Herbert M. Schiller, M.D. Fine Excellent, wide margins

The Seven Years War broke out in 1756. With French troops moving to the naval ports of Brest and Le Havre, the English feared an imminent invasion. This pair of prints was issued by Hogarth to persuade his countrymen of the preparation of the disciplined English troops, which he shows in a high state of morale, vs. the French troops, which he depicts as malnourished and undisciplined.

22. The Invasion, pl. 2: England

23. Hogarth Painting the Comic Muse Date: Medium: Dimensions: Reference: Provenance: Impression; Condition:

1758, changed to 1764 in this state Etching and engraving on wove paper, probably issued by Hogarthâ&#x20AC;&#x2122;s wife after his death Plate: 405 x 360 mm. 15 7/8 x 14 1/4 in. Sheet: 457 x 415 mm. 18 x 16 3/8 in. Paulson 204, seventh state of seven The Print Room, London; 1994 to Herbert M. Schiller, M.D. Very fine Excellent, wide margins all around

The famous self-portrait print by Hogarth after his painting now in the National Gallery, London.

24. The Bench Date: 1758 Medium: Etching and engraving on two plates, image and caption Dimensions: 307 x 215 mm. 12 1/8 x 8 1/2 in. Reference: Paulson 205, third state of four Provenance: Michael Finney, London; 2001 to Herbert M. Schiller, M.D. Impression: Very fine Condition: Very good, pinholes at the corners, some scuffing along the right edge, some of the caption letters affected â&#x20AC;&#x153;This famous image by William Hogarth, engraved from an original painting in 1758, depicts four judges listening to a case in the Court of Common Pleas. Though intended purely as a piece of comical caricature, much of the imagery reflects common perceptions of senior judges at the time: pompous and indifferent men, inattentive to most of their case, and half asleep or even drunk when cases were being heard. The reality of the law was in fact often quite different. During the 18th century, senior judges were highly active in criminal proceedings, especially in felony cases where full defense counsel was denied to defendants until 1836. In the absence of defense lawyers, many judges adopted the role of chairman on the proceedings, and in fact acted as chief prosecutor on behalf of the crown: examining witnesses, summing up cases, and offering direction to juries. With such control over the administration of justice, individual judges therefore wielded enormous influence on the outcome of trials.â&#x20AC;? (The British Library online) 48

25. Five Orders of Perriwigs (sic) Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1761 Etching on laid paper (a proof?) Plate: 305 x 222 mm. 12 x 8 3/4 in. Sheet: 335 x 242 mm. 13 1/8 x 9 5/8 in. Paulson 208, first state of two Michael Finney, London; 2001 to Herbert M. Schiller, M.D. Very fine Squared (for transfer?) verso, ink smudges recto top left, various other marks and blots of ink recto and verso, possibly from the time and possibly denoting some sort of proof, two short tears on left side, one backed with Japan paper

Hogarth lampoons British society “…in this storefront-like display that combines word and image. This satirical critique plays on the cult of Vitruvius, which established standards of composition and beauty on the measurements of ancient statues or columns. These were categorized into five classical orders: Doric, Tuscan, Ionic, Composite, and Corinthian. Here, William Hogarth arranged wigs according to the five social classes who wore them …. The ‘orders’ of hairpieces include ‘Episcopal’, worn by churchmen; ‘Old Peerian or Aldermanic’, worn by city officials; ‘Lexonic’, worn by lawyers; and ‘Composite or Half Natural’ and ‘Queerinthian or Queue de Renard’, worn by suitors. Hogarth created a sixth ‘order’ for women’s wigs, shown on the bottom row.” (Dallas Museum of Art online) 49

26. Time Smoking a Picture Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1761 Etching and aquatint 230 x 186 mm. 9 x 7 5/16 in. (approximate Plate) Paulson 207 (1970 ed.), first state of two Paulson 207 (1989 ed.), third state of six Andrew Edmunds, London; ca. 1987 to Herbert M. Schiller, M.D. Very fine Excellent apart from a short tear top right corner extending 6 mm. into the image

Hogarth here satirizes â&#x20AC;&#x153;connoisseursâ&#x20AC;? who judged old art as automatically superior in quality to modern art. His use of the advanced technique of aquatint in the print reinforces the point.

27. Credulity, Superstition, and Fanaticism. A Medley. Date: 1762 Medium: Etching and engraving on laid paper Dimensions: Plate: 438 x 332 mm. 17 1/4 x 13 in. Sheet: 461 x 351 mm. 18 1/8 x 13 3/4 in. Reference: Paulson 210, second state of two Provenance: Michael Finney, London; 2000 to Herbert M. Schiller, M.D. Impression: Fine Condition: Excellent, small margins all around Offered together with a 1798 etched copy by T. Cook, same size and direction as Hogarthâ&#x20AC;&#x2122;s original. Hogarth here satirizes the extremism of fundamentalism. Horace Walpole praised Hogarth in his Memoirs of the reign of King George the Third and wrote that this print â&#x20AC;&#x153;surpassed all his other performances [and] would alone immortalize his unequalled talents.â&#x20AC;? 51

28. The Times, plate I from a pair Date: 1762 Medium: Etching and engraving on laid paper Dimensions: Plate: 248 x 305 mm. 9 3/4 x 12 in. Sheet: 272 x 343 mm. 10 3/4 x 13 1/2 in. Reference: Paulson 211, first state of three Provenance: Andrew Edmunds, London; ca. 1990 to Herbert M. Schiller, M.D. Impression: Fine Condition: Excellent Made two years before Hogarth died, this print is a commentary on the divided state of the English, satirizing the resignation of William Pitt as Prime Minister and the continuance of the Seven Years War, here represented by the raging fire, with King George trying and failing with an inadequate hose to quell it from the top of the fire wagon. Pitt is on stilts, which he used during his frequent bouts of gout, a millstone hanging from his neck with the engraved inscription, â&#x20AC;&#x153;ÂŁ3000â&#x20AC;?, his annual pension.

29. John Wilkes Date: 1763 Medium: Etching Dimensions: Plate: 355 x 232 mm. 14 x 9 1/8 in. Sheet: 412 x 275 mm. 16 1/4 x 10 7/8 in. Reference: Paulson 214, first state of two Provenance: Andrew Edmunds, London; ca. 1990 to Herbert M. Schiller, M.D. Impression: Very fine Condition: Almost indiscernible stains, mostly in the wide margins, remnants of old hinges verso John Wilkes was a radical politician and friend of Hogarthâ&#x20AC;&#x2122;s, though the two often disagreed. Hogarth made this print shortly after Wilkes was imprisoned in the Tower for publishing opposition to a speech by the King, but he was exonerated and released. Wilkes, a member of the Royal Society, also published pornography and later was an ardent supporter of the American cause during the War for Independence. Hogarth shows him here as leering and demented, and he suggests demonic horns that appear about to burst through Wilkesâ&#x20AC;&#x2122;s wig. 53

30. The Bruiser Date: 1763 Medium: Etching and engraving Dimensions: 370 x 268 mm. 14 5/8 x 10 1/2 in. Reference: Paulson 215, third state of seven Provenance: Andrew Edmunds, London; ca. 1985 to Herbert M. Schiller, M.D. Impression: Fine Condition: Fair, some light surface soiling, a scrape next to the front left paw of the dog, top left corner torn into subject, trimmed inside the platemark, but with narrow margins surrounding the image on three sides, cut slightly into the text on the sides at the bottom This is from the same plate as a self-portrait much reworked (this cat. no. 15) from 1749. Hogarth has replaced his own image with a bear representing the poet and satirist Charles Churchill embracing a tall glass of beer. The dog, whose name is Trump, urinates on Churchillâ&#x20AC;&#x2122;s â&#x20AC;&#x153;Epistle to Hogarthâ&#x20AC;?, which was sharply critical of the artist and in response to his portrait of Wilkes (this cat. no. 29). 54

31. Tail Piece (The Bathos) Date: Medium: Dimensions: Reference: Provenance: Impression: Condition:

1764 Etching and engraving Plate: 320 x 338 mm. 12 1/2 x 13 5/16 in. Sheet: 395 x 462 mm. 15 1/2 x 18 3/16 in. Paulson 216, only state The Print Room, London; 1997 to Herbert M. Schiller, M.D. Very fine Excellent, wide margins

This print was Hogarthâ&#x20AC;&#x2122;s last.

INDEX Cat. no. Pg. no. Analysis of Beauty, The 21 43 Battle of the Pictures 10 22 Beer Street & Gin Lane 17 38 Before and After 6 18 Bench, The 24 48 Boys Peeping at Nature 19 41 Bruiser, The 30 54 Columbus Breaking the Egg 20 42 Company of Undertakers, The 7 19 Credulity, Superstition, and Fanaticism 27 51 Five Orders of Perriwigs 25 49 Four Stages of Cruelty, The 18 39 Garrick in the Character of Richard III 12 27 Harlot’s Progress, A 1 6 Hogarth Painting the Comic Muse 23 47 Industry and Idleness 14 29 Invasion, The 22 45 John Wilkes 29 53 Marriage à la Mode 11 23 Martin Folkes Esqr. 9 21 Midnight Modern Conversation, A 2 10 Rake’s Progress, A 4 12 Self-Portrait with a Palette (Gulielmus Hogarth) 15 36 Simon Lord Lovat 13 28 Sleeping Congregation, The 5 17 Southwark Fair 3 11 Stand of Arms, Musical Instruments, etc., A 16 37 Strolling Actresses Dressing in a Barn 8 20 Tail Piece (The Bathos) 31 55 Time Smoking a Picture 26 50 Times, The 28 52

David Tunick, Inc. 13 East 69th Street, New York, NY 10021 212 570 0090 info@tunickart.com