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The Politician. Reading the newspaper, holding the candle close to his eyes for better reading while not becoming aware of how it burns through his hat. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinx^t. / T. Cook sculp^t. / Published by Longman, Hurst, Rees, & Orme, July 1^st. 1809., otherwise as above. Subject size 17.8 x 14.3 cm. – Illustration above

Cook’s (“made his mark as Hogarth engraver, too”, Thieme-Becker) smaller version. – Trimmed within the wide white platemark. – Barely perceptible slight fold in the lower image/platemark.

Published posthumously only the drawing alludes to the circumstances about 1730. The politician – by the way the then well-known London lace dealer Tibson – looking fascinatedly at the continental events of which the paper reports, while

“ As everybody knows the English were the only nation in Europe in the past century up to the French revolution of which the greater populace could take a vivid interest in political events due to the circumstances which resulted from the constitution and the laws … Thus (Hogarth) has drawn here a figure at which still others can be edified by in states in which

the  proper  people  are  not  granted  any  part  in  the  administration

no  more  than  an  opinion  about  it …

By the way this idea (of the hat catching fire at the reading) was not new; for there is a quite well-known caricature on William III (a painting by Schalchen) who sets fire to his hat by reading dispatches, an image the Tory party staged against the king,

who  threw  the  influence  and  the  power  of  England

into  the  scales

to check the ambition of Louis XIV on continental Europe. By it it should be said that

the  king  pays  more  attention  to  the  affairs  of  foreign  countries

than  the … danger … which  menaces  in  the  interior  of  the  state

and

which  he  causes  just  by  his  exterior  politics ”

(Lichtenberg).
Offer no. 9,004 / EUR  189. (c. US$ 249.) + shipping

Tail Piece. / The Bathos, or Manner of Sinking, in Sublime Paintings, inscribed to the Dealers in Dark Pictures. The end of Everything. Engraving by Thomas Cook (c. 1744 – London 1818). 1798. Inscribed: Designed by W. Hogarth. / Engraved by T. Cook. / Published by G. G. & J. Robinson Pater-noster Row December 1^st. 1708. (recte 1808), otherwise as above. 34 x 36.7 cm.

Hogarth catalogue of the Tate Gallery, 1971/72, 222, + Hogarth catalogue Zurich, 1983, 94, both the Hogarth version of 1764 and with ills. – Extensive caption with – besides verses by Tacitus and Maximus Tyrius – important reference to “Analysis of Beauty” by two cone figures on the sides. While the right one quotes figure 26 of that the similar left one is new since

“ did not occur to the Author, till two or three Years after his publication of the Analysis, in 1754 ” (recte 1753). It is

“ The Conic Form in which the Goddess of Beauty was worshipd by the Ancients at Paphos in y^e Island of Cyprus. / See the Medals struck when a Roman Emperer visited the Temple. ”

In their intactness these cones have only seemingly nothing in common with the main picture above. For

“ The allegory has also a personal application. Hogarth characteristically regarded the eclipse of his artistic ideal and his own decline as the collapse of the universe and the end of the world. Time expiring bequeaths every atom of himself to Chaos. His testament is witnessed by the Fates ”

(Cat. Tate Gallery). And the Frankfurter Allgemeine Zeitung of Nov. 8, 1997:

“ Rarely  an  artist  has  said  goodbye  to  the  world  that  movingly. ”

It is Hogarth’s last graphic work, seven months before his death. Artistically a recourse to Salvator Rosa the title is based on Pope’s poetical counterpart “Peri Bathous” as itself “a parody of Longinus’ ‘Peri Hypsous’”. Correspondingly Lichtenberg overweighs this aspect compared with the ultimate message:

“ A ridicule of the so-called academic school of painters ... As known they pleased with allegories and compositions mixing up mythology of the ancient ages and newer conditions. ”

The  scenery  itself  of  an  unheard  of  radicalism .

Since also and especially those attributes otherwise signaling the ending of the times are affected by the ruin: Scythe and hourglass are broken here as are crown, pipe, palette, bottle, bell, the pub “The Worlds End” with the burning globe as its plate, the church as several other symbols of Vanitas. The clock lost its hands, the trees are as dead as the hanged man – and Phoebus in the burning sky waggon together with his horses,

all  of  them  tumbling  down  to  the  bottomless  abyss .

Finally Saturn himself as god of the time – the winged death – as of the wealth founded by agriculture breathes his last “Finis” while his last will – witnessed by the three Fates Clotho, Lachesis, Atropos – slips from his hand: All and every Atom there of to Chaos. Shortly “H. Nature

Bankrupt “.

With the exception of the man in the thin crescent of the decreasing moon who still seems to be alive a bit. As also the gallows are standing fast. For “this it seems also the coming world cannot do without” (so on the lithograph by Heintz). To increase the bathos a few puns have been mixed in the whole mess: a cobbler’s end and last resp., a rope’s end, and the candle’s end.

Wonderful , only  a  little  later  copy  of  glorious  chiaroscuro

and adequately wide margins and freshness of this fine print by Cook who “made his mark as Hogarth engraver, too” (Thieme-Becker). As the only one of the posthumous editions he stuck to the original size. – With watermark “1811 W Balston”; cf. the double mark “J Whatman & W Balston 1813” Heawood 117. – In the right outer margin two small slight tidemarks. The partial little foxing on the back perceptible quite minimally in just two spots in the heaven’s part.
Offer no. 7,545 / EUR  291. / export price EUR  276. (c. US$ 363.) + shipping

– The same in Thomas Cook’s smaller repetition. Inscribed: The Bathos. / Hogarth pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, Nov. 1^st. 1807. Picture size 15.6 x 17.2 cm.

In the lower margin besides the title the two cones only, with no commentary, even without the reference “Fig. 26.”. – Very fine impression. – Trimmed within the extremely wide white plate margin which is somewhat time-stained below and on the right.
Offer no. 9,002 / EUR  50. (c. US$ 66.) + shipping

 

– The Same in engraving by Carl Heinrich Rahl (Hoffenheim 1779 – Vienna 1843). (1818-1823.) 19.5 x 23 cm. – The pure picture only anymore and thus without reference to the Analysis. Upper right “44.”, lower left “Pl. 6.”. – “Very interesting edition” (Nagler) after the engravings in the Duke Albert collection.
Offer no. 7,739 / EUR  87. (c. US$ 115.) + shipping

 

– The Same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, engraver at the university there). (1794-1835.) Inscribed: W. Hogarth inv. / R. d sc f. 21.5 x 23.5 cm.

Early impression with distinct plate tone and extremely wide lateral margins. – Also the pure picture only. With respect to the wide lower plate margin it seems the lower margin’s arrangement was intended yet never done. Later the plate was trimmed below accordingly.

Riepenhausen’s Hogarth edition ( “very valuable” ) is his chief work, its plates partially are even preferred to Hogarth’s own engravings.
Offer no. 7,740 / EUR  125. (c. US$ 165.) + shipping

 

– The Same in lithography by C. F. Heintz. (1833-36.) Inscribed: 34. / Das Ende aller Dinge (The End of all Things) / lith. C. F. Heintz, otherwise as above. 20.5 x 20.7 cm.

Also the pure picture only, yet with extensive caption à la Lichtenberg in German: “… Only one thing held on – The gallows. It seems also the coming world cannot do without, so it remains upright anyway …” – The really light foxing visible almost only against the light. – All in all good though not equally tinted impression.
Offer no. 14,087 / EUR  87. (c. US$ 115.) + shipping

Set of 4 sheet engravings by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinx(t). / T. Cook, sculp(t). / Published by Longman, Hurst, Rees(,) & Orme(,) (May 1^st. 1807 – Oct. 1^st. 1809). Subject size 14.6-15.5 x 18.8-19.7 cm.

1. Humours of an Election Entertainment. – 2. Canvassing for Votes. – 3. Polling at the Hustings. – 4. Chairing the Members.

The famous set full of contemporary allusions present here in Cook’s small repetition belongs to Hogarth’s “most mature creations” (Thieme-Becker). Its origin in the classic country of parliamentarism imparts a particular significance to it. For it is at the same time – inspired by events in Oxfordshire during the elections of 1754, published 1755-58 – the portrait of not only corrupt politicians and parties, but of a rotten society as such. After all besides the usual feast and gorge documented on all plates as part of every election in Hogarth’s time bribery,

“ … first pursued systematically by Sir Robert Walpole and the Whigs, (was) practiced still far more scandalously than later; so it remained during the second half of the past century and till our days … Because then the possession of a parliamentary place was frequently regarded as a simple trade speculation, as the elected sold … his vote to the government for a sum of money, a sinecure, a post or a delivery, and thereupon could be re-elected by a  rotten  borough, a procedure which was so much easier as the minister Walpole had raised such a bribery of the members of the parliament – ‘every man has his price’ – literally to a system of government. Also Hogarth’s present plates give allusions of this ” (Lichtenberg).

A wag who thinks at this of the independence of the representatives, the obligation to vote for the party line, and the election tickets given away by the parties today. And of the disgust the class of professional politicians causes with today’s voters when Thieme-Becker sum up:

“ … a delightful satire on the vice of bribery and

the  demoralization  of  the  people  tied  to  that . ”

But beyond the fullness of allusions Hogarth puts a special stamp on the abjectness and venal partiality of the whole proceedings. As these plates, too, are together caricatures or parodies of classic – and by this pure and clean – works from the Renaissance and Baroque:

So the first plate up to the caption – not included in this version anymore – “He that dippeth his hand with me in the dish, the same shall betray me” after Leonardo’s Last Supper. Followed by plate two with the farmer being bribed by both sides as inversion of The Choice of Hercules.

whose coachman plays cards on the box with the footman, trying – allegory of the actual election process in front – to cheat each other. The last leaf finally, the triumphal march of the elected new member of the parliament, even alludes to Alexander the Great in Le Brun’s Victory of Alexander over Darius. Whereby the imperial eagle there had to give way to a goose here. Which by that what it lets fall even anticipates the new member’s contribution to the parliamentary debate.

This embedding in the canon of timeless art imparting to the set together and contrary to Lichtenberg’s reading that the pictures and their details were intelligible only from and in their own time

their  own  timelessness  valid  over  the  centuries .

Which is even stressed by Hogarth’ often ambiguous or – depending on time and position – differently interpretable sarcasm.
Offer no. 8,895 / EUR  375. / export price EUR  356. (c. US$ 469.) + shipping

 

– The same. Set of 4 sheets steel engravings. C. 1850. Inscribed. 12.9-13.5 x 15.8-16.2 cm.
Offer no. 12,169 / EUR  249. (c. US$ 328.) + shipping

John Wilkes Esqr. The sitting portrait shows the editor of the North Briton Journal, little flattering, but true, in determined position with the hat of freedom on top of a long pole. On the little table at his side the notorious No. 45 of the paper tearing to rags the King’s Speech of George III, and the 17^th issue in which Wilkes criticized the 1^st sheet of Hogarth’s Times. Engraving + etching. Inscribed: Drawn from the Life and Etch’d in Aquafortis by Will^m. Hogarth. / Publish’d according to Act of Parliament May y^e 16. 1763., otherwise as above. 35.7 x 23.3 cm.

Harmonic, wide-margined impression from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4^th ed., VIII [1888], 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).

“ published … the paper ‘North Briton’ since June 1762 in which he sharply chastised the policy of the ministry (of Lord Bute) and even not spared the person of the king (George III). The Under-Secretary Halifax then issued in violation of the habeas corpus act a warrant which was not directed against a specific person, but against the authors of the paper in general (writers, printers, and vendors). W. then was imprisoned; the court, however, ordered his release … This result was insofar important for the whole of England as henceforth the warrants without name remained abolished. Thereupon W. arranged a reprint of the ‘North Briton’ … ”

(Meyer’s Konversations-Lexikon, 4^th ed., XVI, 648 in great detail

and  this  still  after  130  years !) .

“ … this portrait which perfectly represents the character of this man as it is passed on historically; one recognizes immediately the worn out rake without any principles, who used the people’s favor he obtained by circumstances and impudence for making money. One also recognizes beside the hypocrite in patriotism the pert cynic …

“ Hogarth has portrayed the figure when during the trial that made him the hero of freedom Wilkes was brought from the Tower to the Court of Common Pleas. One should take the picture for a caricature; but this is not the case for all contemporaries at once recognized the most perfect similarity … The sheet was published (on May 16, 1763) during the excitement the trial of Wilkes stirred up, and therefore had such a success that several thousand impressions were sold in the first week …

“ The personal character of Wilkes was not of the kind that a lasting esteem could have been bestowed on a man like him …

He  lacked  both  consequence  in  political  principles

as  morality  in  public  and  private  life  …

As ruined rake he tried the path which was usual with the then composition of the parliament until the reform; he endeavored to get into the commons to receive a position from the government by selling his vote and by cleverly using it in the party battles … Pitt’s (William Pitt I, 1708-1778) brother-in-law and colleague, Lord Temple, admitted him, supposedly because he … believed he could use his skill with the pen in the then already highly important press …

“ He used the free press … His principal efficacy, however, started (June 1762) with his journal: The North Briton, (which) soon was recognized by the government (Pitt) as the most dangerous weapon of the opposition … By the king’s personal influence the government, however, was soon motivated to attempt the suppression of that paper … The secretaries behaved themselves in this affair in a way which

corresponded  with  the  king’s  inclination  to  despotism ;

they applied an old legal procedure that had been used in such cases during the tyrannical age of the Stuarts. The Under-Secretary of the Interior (Halifax) issued a so-called  general  warrant  … Wilkes was arrested … This legal procedure was not customary since long and was against the habeas corpus act. Wilkes knew this very well … One brought him into the Tower, yet soon one had to bring him before the court of the Common Pleas where the

chief-justice  Pratt  pronounced  the  illegality  of  the  arrest

so that the court decreed his release. The court had acted in this all the more foolishly as statesmen of different kind, as people which belonged to the plain mob, or who represented Wilkes for party considerations, also took up the cause of this man for they justly recognized in that trial an attempt

to  set  despotism  in  the  legal  procedure

at  the  place  of  the  legal  forms ”

(Lichtenberg whom the republic still remembered unsuspectingly-thankfully at the bicentennial of death).

Judged without respect of the person, see above, and the institutions. And in such a way a didactic example by history, a quality seal for the quality of the blindfold of Justice,

promoting  in  the  people  sense  of  right , even  more , certitude  of  right .

And thereby not least an attack against political weariness as emanation of the feeling of a “rotten society” as Hogarth also exposed in his Four Prints of an Election so strikingly. By which this, rendered into the respective today, once more proves himself as of

outright  terrifying  timelessness  and  topicality .

And  the  résumé  on  Wilkes  as  downright  an  invitation  for  the  sharpening  of  the  knowledge  of  human  nature ?

But yes indeed, his undisguised aim it was to make his fortune in the political party battles. When he finally had achieved this aim by the lucrative position of the Chamberlain of the City of London and had established himself comfortably in this, “his former friends requested to no avail” of him to further take care of their aims, withdrew thusly and – so the incorruptible Lichtenberg furthermore – “was no more recognized till his death in 1797 … with the exception of 1780 where he, by the way, played an honorable role … ”

“ One recognizes in him the impure character who used the excitement of the people and the popularity effected by this for his advantage, and who withdrew immediately when he had achieved a lucrative position. ”

And  concerning  his  followers  he is said to have asked his competitor, colonel Luttrel, on the election platform on occasion of his second candidacy for the parliamentary seat of Middlesex

“ The colonel replied: ‘I will say this immediately so that you are done.’ – When, however, he noticed that Wilkes remained calm he added: ‘You could not think to stay here just one more hour if I make your words known.’ – ‘Quite so, you would not live any moment longer.’ – ‘How that?’ – ‘I would say you had lied, and the mob would slay you in the instant.’ ”

So far the election campaigner Wilkes. Yet, it shall be placarded for a third time, he gave chief-justice Pratt the occasion to stop the

Offer no. 14,845 / EUR  198. (c. US$ 261.) + shipping

 

– The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, university engraver there). Inscribed: 56 / W. Hogarth del. 1763. / R. f., otherwise as above. 23.5 x 18.6 cm. – Shining impression on especially buff paper, supposedly a special edition about 1850. –

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.
Angebots-Nr. 14.847 / EUR  148. (c. US$ 195.) + shipping

 

– The same in lithography. (1833/36.) Inscribed: Johann Wilkes. / Lith. v. C. F. Heinz. 25.1 x 14.5 cm. – Extensive, though incorrect and perverting resp. caption in German.
Offer no. 14,848 / EUR  98. (c. US$ 129.) + shipping

 

The Right Hon^ble. Henry Fox, Lord Holland. Half-length portrait. Etching by Joseph Haynes (Shrewsbury, Shropshire, 1760 – Chester 1829). Inscribed: Pub^d. as the Act directs Mar. 19^th. 1782, otherwise as above and below resp. 24.3 x 18.2 cm.

“ From an original Portrait in Oil by Hogarth in the Possession of M^r. Sam^l. Ireland, etched by J. Haynes Pupil to the late M^r. Mortimer. “

Henry Fox, 1^st Baron Holland, (1705-1774), devoted supporter of Sir Robert Walpole and together his most docile pupil in the arts of high politics, was i. a. member of the cabinets of the Duke of Newcastle and the Earl of Bute. As speaker he could take on Pitt. For putting through in parliament in 1763 the Treaty of Paris, which together with the Treaty of Hubertusburg ended the Seven-Years-War, he was raised Baron Holland of Foxley, Wiltshire. Two years later, however, Fox was forced out of the office of the Paymaster of the Forces he had held since 1757 and which had earned him a fortune. Though he could clean himself from the accusation of fraud in the years following, the further promotion to earldom was denied to him and he died sorely disappointed in Holland House as “the most thoroughly hated statesman of his day” (Encyclopedia Britannica, 1911).

Fox furthermore figures in The Times II, like the present portrait published only posthumously by Boydell in 1790, and one of the most concentrated charges of Hogarth’s.

Impression on strong, extremely wide-margined paper from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4^th ed., VIII [1888], 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).
Offer no. 7,857 / EUR  98. (c. US$ 129.) + shipping

The House of Commons in Sir Robert Walpole’s Administration. Interior during a session with designation of the notables. Stipple by A. Fogg. Inscribed: Engraved by A. Fogg. historical Engraver. / to his Royal Highness Prince W^m. Frederick. / London Published Nov^r. 1. 1803. by E. Harding, N^o. 100, Pall Mall, otherwise as below. 54.3 x 40.4 cm.

“ To the Right Hon^ble. Earl Onslow. This Plate representing the House of Commons in Sir Robert Walpole’s Administration. Is with Permission dedicated by his Lordships most obedient humble Serv^t. E. Harding. From an original Picture painted by Hogarth, and Sir James Thornhill, in the collection of Earl Onslow. ”

Among those portrayed in the center the presiding Rt. Hon. Arthur Onslow himself. At his side Robert Walpole, in the rows in the middle distance further Sydney Godolphin, Sir Joseph Jekyl, Colonel Onslow, Sir James Thornhill as well as at the table in front Edward Stables Esq. and Mr. Aiskew as Clerk and Clerk Assistant of House of Commons resp.

Harmonic, wide-margined impression on strong paper from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4^th ed., VIII [1888], 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]). – Two margins with little fox-spots.
Offer no. 7,862 / EUR  215. (c. US$ 283.) + shipping

 

– The same in engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinx^t. / T. Cook sculp^t. / First Published in 1803, by M^r. E. Harding. & copied by his permission. / Published by Longman, Hurst, Rees, & Orme, July 1^st. 1809., otherwise as above. Subject size 16.6 x 13.8 cm. – Cook’s popular later, smaller version. – Trimmed within the wide white platemark.
Offer no. 9,006 / EUR  71. (c. US$ 93.) + shipping

 

– – – The same in steel engraving about 1840. 16.4 x 12.3 cm. – Title in German + English.
Offer no. 7,863 / EUR  44. (c. US$ 58.) + shipping

Burning y^e Rumps at Temple-Barr. Down with the rump parliament. The 1653 symbolic burning of the parliament that in 1648 Cromwell cleaned of its Presbyterian members as a milestone for his further show of power. It then executed Charles I instead of holding negotiations with him and thus rang in the Puritan republic which itself almost turned into a Cromwell monarchy. Place of the event of 20 April the London gate Temple Bar. One of the iconoclasts with the convenant of the Presbyterian Scots in his hands, another one holding up the banner:

Down  with  the  Rumps .

Etching + engraving. (1726.) Inscribed: 11 (by the publisher) / W. Hogarth Inv. delin. et sculp. (in the subject border below right) / Burning y^e Rumps at Temple Barr. 27.7 x 51.6 cm.

HUDIBRAS XI. – Nagler 10-11; Hogarth Catalog Zurich, 1983, ills. 11 (2^nd state , inscribed “in the subject below left”!). – 6-quatrain caption abridged from Butler’s poem. – Impression on strong paper from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4^th ed., VIII [1888], 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).

HUDIBRAS “ is a vulgarized (English) Don Quixote , a dewitted Rabelais ” (Laaths, Geschichte der Weltliteratur, 1953, p. 375), a “satiric scourge” (Meyers Konv.-Lex., 4^th ed., III, 693/I) on the politically just sacked Puritanism and the best-known work of its creator esteemed by Charles II,

SAMUEL  BUTLER (Strensham, Worcestershire, 1612/13 – London 1680), as result of his impressions in the employ of Cromwell’s Colonel Sir Samuel Luke, “at which religious and political sects were about” (Meyers). Remaining incomplete the first two parts of the epic were published in 1663/64, a third one in 1678, then, joined, long-lived through the centuries.

The Hudibras set – Thieme-Becker judge – is “of decisive significance for Hogarth’s development.

Here  lies  the  key  to  the  understanding  of  the  satirist  H. ”

(Thieme-Becker XVII [1924], 300/II).

“ The negotiations the parliament had entered with the (imprisoned) king (Charles I) meanwhile (in 1648) and which were drawing to a close caused new acts of violence by the army after Cromwell was back from Scotland … and in such a way on 6 & 7 December

the  parliament  had  been  brought  to  heel

by  expulsion  of  all  Presbyterian  members ”

and demoted to the “Rump Parliament”, only

“ to  scatter  the  rest  by  musketeers ”

five years later for another reason, what is subject of the sheet here, while Cromwell stationed himself at the lead of a new executive board, ergo over the parliament. In which he had already practiced eight years ago. Then when in April 1645 for thoroughly given timeless reason he took care of parliamentary integrity, causing resignations, by the so-called

Bill  of  Self-Denial

according to which

“he himself maintained the command of the mounted troops, the second post in the army, by saving clause”. Nevertheless,

“ but the posterity get to the opinion that C. was one of the most essential founders of England’s greatness and one of the most outstanding statesmen of all times ”

(quotes from Meyers Konvers.-Lex., 4^th ed., IV [1880], 344 f.).
Offer no. 14,730 / EUR  390. / export price EUR  371. (c. US$ 488.) + shipping

 

– The Same. Engraving by Thomas Cook (ca. 1744 – London 1818). Inscribed: Pl. XI. / Hogarth pinx^t. / HUDIBRAS. / T. Cook & Son sc. / Published by Longman, Hurst, Rees, & Orme, May 1^st. 1808. Subject size 11.2 x 19.5 cm.

Cook’s popular later, smaller version with the caption being replaced by the series title. – In contrast to the Hogarth engraving, surely worked in reverse (repeated left-handedness) as in many cases, here in correct sense as known for Cook. – Trimmed within the wide white platemark and this chiefly in the outer part slightly foxed and browned resp.
Offer no. 8.858 / EUR  135. (c. US$ 178.) + shipping

 

And  who  is  willing  to  listen  he  listens :

Last  Station  before  the  Debtor’s  Prison

Near-Arrest for Debt. It is March 1^st, birthday of Queen Caroline, spouse of George II, and Rakewell is on his way to St. James’s. What does not keep the beadles of the law from stopping his sedan in the open street and presenting to the getting out Rakewell the arrest order – but for this time the purse of Sarah Young, the disgracefully left former mistress, still helps. On the left side in the background St. James’s Palace and White’s Coffeehouse, in front of which several further sedans. On the left a Welshman with the leek of St. David’s Day at his hat. Engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Drawn by W^m. Hogath (sic!) / Engraved by T. Cook. / Published October 1^st. 1796 by G. G. & J; Robinson, Paternoster Row, London. / Pl. IV. 35.8 x 41.7 cm.

The Rake’s Progress IV. – With multi-lined caption. – After the yet unchanged sunny first state (ills. Hogarth Catalogue of the Tate Gallery, 1972, 72a), thus without the street urchins added by Hogarth in the 3^rd state only and without the lightning at the sky, otherwise  – contrary to all later Hogarth editions – in his original folio size. – Of very fine chiaroscuro.
Offer no. 7,515 / EUR  343. / export price EUR  326. (c. US$ 429.) + shipping

 

– The same in engraving by Carl Heinrich Rahl (Hoffenheim 1779 – Vienna 1843). (1818/23.) Inscribed: 16. / Pl: 4. 20.9 x 27 cm. –  With  the lightning & the street urchin sujet added in the 3^rd state only with, not least,

(Lichtenberg).

Offer no. 5,938 / EUR  76. (c. US$ 100.) + shipping

… red-hot  updated
yet  just  trying  to  catch  up
with  the  gallopping  euro  rescue  billion  funds …

---

“ The prints arrived safely. What is your return policy? My boss, doesn’t like the images, which I understand is subjective (– probably in reaction on the 11^th September –) and no reflection on the condition or any representations you made. Sorry to bother you with this ”

(Mrs. A. P., September 26, 2001)

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