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Location: Tonawanda, New York
Ships to: US,
Item: 196769916294
Return shipping will be paid by:Seller
All returns accepted:Returns Accepted
Item must be returned within:30 Days
Refund will be given as:Money Back
Type:Print
Artist:WILLIAM HOGARTH
Theme:Social History,LONDON,GEORGIAN ERA,SATIRE,CARICATURE,PHYSICIANS,UNDERTAKERS,QUACK MEDICINE,DOCTORS
Subject:HISTORICAL,GEORGIAN ERA,SATIRE,SOCIAL CRITICISM,ARCHITECTURE,ARCHITECT
Production Technique:Steel Engraving
Original/Licensed Reprint:Original
Style:Realism,Vintage,ROCOCO STYLE,ANTIQUE
Features:STEEL ENGRAVING
Material:Paper
Year of Production:1854
Size:Small (up to 12in.)
Time Period Produced:1850-1899
Culture:ENGLISH
Region of Origin:LONDON, UK
Item Height:7.75
Item Length:10.5″
Item Width:10.5″
Signed:No
Framing:Unframed
Country/Region of Manufacture:United Kingdom
Unit of Sale:Single Piece
Image Orientation:Portrait
Handmade:No
Personalize:No
Period:Baroque/Roccoco (1600-1770)
Certificate of Authenticity (COA):No
Title:A Consultation of Physicians, or The Company of Undertakers
1854 Antique Original Steel Cut Engraving Print A Consultation of Physicians, or The Company of Undertakers 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. Within a lugubrious coat-of-arms, Hogarth depicts three well-known quacks with a group of twelve portly physicians. The three quacks at the top of the print are Joshua Ward, perhaps the most famous charlatan of his time; Sarah Mapp, a well-known bonesetter; and John Taylor, an oculist. The bewigged physicians dispel the stench of death by sniffing the pomander attached to the top of their canes. According to Hogarth, proper physicians and disreputable quacks are all members of the same Company of Undertakers. The Latin caption, Et plurima mortis imago, translates as «And many are the faces of death.» 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 QUACK PHYSICIANS GEORGIAN ERA MEDICINE ENGRAVING ANTIQUE ART PRINT HOGARTH 1854 Antique Original Steel Cut Engraving Print A Consultation of Physicians, or The Company of Undertakers 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. Within a lugubrious coat-of-arms, Hogarth depicts three well-known quacks with a group of twelve portly physicians. The three quacks at the top of the print are Joshua Ward, perhaps the most famous charlatan of his time; Sarah Mapp, a well-known bonesetter; and John Taylor, an oculist. The bewigged physicians dispel the stench of death by sniffing the pomander attached to the top of their canes. According to Hogarth, proper physicians and disreputable quacks are all members of the same Company of Undertakers. The Latin caption, Et plurima mortis imago, translates as «And many are the faces of death.» 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
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