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Hogarth, William (1697 London 1764). Subscription ticket for the engraving The March to Finchley (against the rebels under Charles Edward Stuart of Scotland commonly known as Bonnie Prince Charlie or The Young Pretender). Among the numerous weapons and insignia of both sides a bagpipes, too. Engraving. Inscribed with four-lined text of receipt. 28.2 x 23.3 cm.
Used at the same time for the engraving The Lottery which by the way is the very same in which Hogarth disposed the Finchley painting. The sheet also figured as extra to The Farmer’s Return, created by H. as frontispiece to a little own play by legendary Shakespeare actor Garrick.
(Lichtenberg). – Impression on strong paper from the plate reworked by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions became relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII [1888], 625: “A fine edition”).
– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, university engraver there). Inscribed: 86. / W. Hogarth des. / E. R. f, otherwise with receipt acknowledge text as above. 19.5 x 25 cm. – Impression on slightly toned minor paper. – Riepenhausen’s engravings after Hogarth (“very estimable”, Nagler) belong to his chief work and not least for their side-correctness they are partly even preferred to Hogarth’s own engravings.
– – – The same in steel engraving about 1840. 23.3 x 15.4 cm. – Above the sujets Boys Peeping at Nature (subscription ticket for A Harlot’s Progress) + invitation ticket “on a pie for lunch at the inn of the mitre” for Mr. King + The Rape of the Lock (vignette with the representation of a scene from Pope’s poem of the same name).
(Mr. M. L., April 24 and 29 resp. and May 6, 2003) |