“ You near again , Swaying Figures ”
– Election Year is Yellow Press Year , too –
Daumier, Honoré (Marseille 1808 – Valmondois 1879). Ceci a tué cela. Looking up to God the lamenting figure points with the left to the oui’s of the ballot box, with the right at the fallen. Lithograph. (1870-71.) Monogrammed, otherwise as above. 9¾ × 7¾ in (24.6 × 19.8 cm).
Delteil 3845, III (of 4) with illustration of the 4th state; Rümann ills. 109. – Careful impression on better paper without the text on the back and the Actualité series title, before the black spot within the “oui” above the ballot box.
Worked in the great style of the final years, omitting all material and “accusing the wrong of the war in symbolic figures only” (Glaser). – See the complete description.
Offer no. 6,443 / EUR 343. / export price EUR 326. (c. US$ 394.) + shipping
Harmless Cause for Domestic Fire with Second Thoughts
Hogarth, William (1697 London 1764). The Politician. 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 pinxt. / T. Cook sculpt. / Published by Longman, Hurst, Rees, & Orme, July 1st. 1809., otherwise as above. Image size 7 × 5⅝ in (17.8 × 14.3 cm).
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 disregarding his own nearest problems indicated by his burning hat.
Offer no. 9,004 / EUR 189. (c. US$ 228.) + shipping
The Portrait of Corrupted Parties
and a Rotten Society
Hogarth, William (1697 London 1764). Four Prints of an Election. 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 1st. 1807 – Oct. 1st. 1809). Subject size 5¾-6⅛ × 7⅜-7¾ in (14.6-15.5 × 18.8-19.7 cm).
1. Humours of an Election Entertainment. – 2. Canvassing for Votes. – 3. Polling at the Hustings. – 4. Chairing the Members.
Hogarth’s famous set full of contemporary allusions – belonging to his “most mature creations” (Thieme-Becker) and here in Cook’s small repetition – is
the best known graphic depiction of an election of representatives .
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 ”
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 leaf 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. The election itself in turn taking up Tizian’s Presentation of the Virgin while the last leaf, 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. Wherein 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 through the centuries .
Which is even stressed by Hogarth’ often ambiguous or – depending on time and position – differently interpretable sarcasm. – See the complete description.
Offer no. 8,895 / EUR 375. / export price EUR 356. (c. US$ 430.) + shipping
– – – The same. Set of 4 sheet steel engravings. C. 1850. Inscribed. 5⅛-5¼ × 6¼-6⅜ in (12.9-13.5 × 15.8-16.2 cm).
Offer no. 12,169 / EUR 249. (c. US$ 301.) + shipping
“ Down with the Rump Parliament ”
Hogarth, William (1697 London 1764). Burning ye Rumps at Temple-Barr. Down with the rump parliament. 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 the London gate Temple Barr. One of the iconoclasts with the convenant of the Presbyterian Scots in his hands, another one holding up the banner: Down with the Rumps. Engraving. Inscribed: W. Hogarth inv. delin. et sculp. 10⅞ × 20¼ in (27.7 × 51.6 cm).
Nagler 10-11. – HUDIBRAS XI. – 6-quatrain caption abbreviated from Samuel Butler’s (1613-1680) 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., 4th ed., VIII , 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”]).
Scenically rich plate to the history of parliamentarism .
See the complete description.
Offer no. 14,730 / EUR 390. / export price EUR 371. (c. US$ 448.) + shipping
Raising the Spines , and then let’s go
Ridinger, Johann Elias (Ulm 1698 – Augsburg 1767). (The Porcupine.) In irritated state, raising its spines, and then let’s go. Printing plate in reverse. (1740.) Inscribed: J. E. R. fec., otherwise in German as before. 7⅜ × 6⅛ in (18.8 × 15.5 cm). – The optically excellently preserved original printing plate here seamlessly traced back directly to the master’s estate to sheet 90 (etching with engraving, Thienemann & Schwarz 480) of the Design of Several Animals (“These plates are much wanted and frequently copied”, Th. 1856). – With the number “87” as changed for the new edition by Engelbrecht/Herzberg at Augsburg of c. 1824/25 and as documented by Thienemann per parentheses, too. – With fittings for timeless-elegant frameless hanging. – See the complete description.
Offer no. 16,248 / price on application
towards the end of the 7-year war
as a Global Conflict of Modern Dimension
The Change of Government in England
threatens the Surviving of Prussia
1697 London 1764
John Wilkes Esqr. (editor of the North Briton Journal) + The Times or The Political Blaze caused by the Unlawful “General Warrant against Writers, Printers, and Vendors” of the North Briton. 3 sheet. Engravings, 2 of them by Thomas Cook (c. 1744 – London 1818). Inscribed (2). 13⅞ × 9⅝ and 9⅝-6⅛ × 12⅜-12⅝ in (35.3 × 24.5 and 24.5-25.5 × 31.5-32 cm) resp.
Wilkes’ (publicist, 1727-1797,
hero “of the even then highly important press”)
“ principal efficacy started, however, (June 1762) with his journal The North Briton (that) was soon recognized by the government (Pitt) as the most dangerous weapon of the opposition” (Lichtenberg). “The Under-Secretary Halifax then issued a warrant violating the habeas corpus act that was not directed at a special person, but against the authors of the paper in general (see above). W. then was imprisoned; the court, however, ordered his release … This result was insofar important for England as a whole as henceforth warrants without name remained abolished. Thereupon W. arranged a reprint of the ‘North Briton’ … ”
(Meyers Konversations-Lexikon, 4th ed. XVI, 648 in great detailness
and this still after 130 years !) .
“ Hogarth portrayed the figure when Wilkes was brought from the Tower to the Court of Common Pleas during the trial that made him to the hero of freedom … The leaf was published (on May 16, 1763) during the excitement Wilkes’ trial stirred up, and thus had such a success that several thousand impressions were sold in the first week ”
The sitting portrait shows him, 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 17th issue in which Wilkes criticized the 1st sheet of Hogarth’s Times.
The 2-sheet TIMES set in this context .
The first, published in 1762, shows the distributor of the North Briton and the Monitor with a visibly emptied push cart documenting the heavy demand amidst the (political) blaze of those days kindled by Pitt’s resignation
“ Really Friedrich (II of Prussia) got into worst crisis by the policy of the new English government under George III and Lord Bute: because England had obtained in overseas what it wanted it needed Friedrich’s no longer. Bute even intended to come to terms with Austria at the expense of Prussia. So Friedrich dispensed with further English support; nevertheless he collected an army of 120,000 men for 1762.
The way out to him opened the sudden death of his grim enemy Elizabeth (1762, daughter of Peter the Great) and the accession to the throne of czar Peter III; then this … made peace with him at 5th May … ”
(Orthbandt, Deutsche Geschichte, 1954, pp. 603 f.).
in the left dormer-window as the quarters of the poor yellow press
possibly Wilkes himself with a fire-hose directed against the Pitt successor Count Bute as the royal fireman. One of the most concentrated charges by the artist.
The 2nd sheet from 1763 depicting bouncing topsy-turvydom together with the hated Wilkes – wishful presentation in which government and, for quite personal reasons, see above, Hogarth met – with neck and hands in the pillory under the category Defamation, on his breast a North Briton, the purses empty, pissed at. The triumph of justice
— freedom , popular fame & big money for the publisher —
caused Hogarth as his widow, too, to hold back the already completed plate. It was published only posthumously by Boydell in 1790 and the impression here from the plate possibly retouched by the royal engraver James Heath about 1822 of correspondingly good quality. – Résumé :
The graphic triad of the artistic contemporary on the scene
to the European-German , together global , event of the century .
“ We all must take comfort from that, that our century forms an epoch of world history and that we werebeing witnesses of events as the change of things has not caused in such extraordinary manner for a long time. That means much for our curiosity, buth nothing for our fortune ”
(Frederick II to his favourite sister Henriette, margravine of Bayreuth).
The two Cook versions – in the original format as in none of the later Hogarth editions – in very fine impressions of inevitably wonderful contrast in TIMES I. The background hatching of the Wilkes portrait illustrating that he is behind bars. The first below, the latter on the left trimmed within the platemark. TIMES I slightly marginally foxing. Its backside certain foxing not showing through into the picture. – See the complete description.
Offer no. 12,387 / EUR 657. / export price EUR 624. (c. US$ 754.) + shipping
The Yellow Press – a (still) Poor Class
Hogarth, William (1697 London 1764). The Distrest Poet. In domestic harmony with the housewife in the center repairing the wardrobe, both disturbed though not surprised by the milk woman presenting a long and filled up record, now demanding payment. Engraving by Thomas Cook (c. 1744 – London 1818). 1797. Inscribed: Designed by W. Hogarth / Engraved by T. Cook / Published Octr. 1st.1797 by G. G. & J. Robinson Paternoster Row London. 14 × 16⅜ in (36.5 × 41.5 cm).
“ … an old but nevertheless always new theme … on the floor lies a proof of the poet’s merits in the Grubstreet Journal. Thus he is a
co-worker at the daily press then considered being very low … ” ,
which shall manifest itself sovereignly not even 30 years later (see John Wilkes Esqr. & The Times). – After the original of 1736, distinguished by the painting above the journalist on which Alexander Pope thrashes his severest and most persevering opponent in the train of The Dunciad, the bookseller, publisher and pirate printer Edmund Curll. Prototype for the character of the poet then probably also – so David Bindman, Hogarth and his Times, no. 21 – Pope’s King of Dunces, the satirist Lewis Theobald, who had incurred Pope’s wrath by criticizing his Shakespeare edition, while his own pioneering Shakespeare edition became the foundation of Edmund Malone’s edition as the standard till today. Adequately with quatrain from the first book of the Dunciad. Otherwise – contrary to all later Hogarth editions – in its original folio format. – See the complete description.
Offer no. 15,761 / EUR 430. / export price EUR 409. (c. US$ 494.) + shipping
– – – The same. Engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). Inscribed: 41. / The Distrest Poet. / W. Hogarth inv & pinx. 1740 / R. d & f. 8½ × 10¼ in (21.5 × 26.2 cm). – Early toned impression, also after the state of 1740, distinguished by the title and the painting showing “A View of the Gold Mines of Peru” instead of the thrashing scene.
Offer no. 7,733 / EUR 125. (c. US$ 151.) + shipping
Who would shoot himself for that !?
Take it easy
since the chain of those through the centuries is long !
And anyway you will have to donate it to your opponent
for that he will not … , see above !
Hogarth, William (1697 London 1764). A Country Inn Yard (or The Election Procession in the Yard). The last travelers enter the overland stagecoach, the postilion already took the box, and the landlady acting as post-mistress urges for hurry by heavily ringing the bell. In the front a hunched small postilion asks a corpulent gentleman changing coaches here for a gratuity for the previous stage. Engraving. Inscribed: Design’d and Engrav’d by W. Hogarth. — Publish’d According to Act of Parliament. 1747. 8⅝ × 12¼ in (22 × 31 cm).
Nagler 30. – After the painting of 1747. – Apart from the rich postal scene the actual happenings – in addition to the Four Prints of an Election – concern the mockery of a
“ candidate defeated in a parliamentary election ”
whose effigy – as already in regard of the Duke of Newcastle on plate 1 of the Election set – is carried round in a procession of the opposing party. This all the more annoying as the defeat is caused by formalities, that is the yet barely missed age of the candidate, and thus was foreseeable. Accordingly unwillingly an agent of the unfortunate – a copy of the Act against bribery and corruption in his pocket – foots the bill for the wasted election entertainment to the landlord.
“ The well-known plate … shows with Dickens’ humour a comfortable depiction of rural petty bourgeoisie ”
(Thieme-Becker XVII, p. 297, 2).
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., 4th ed., VIII , 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”]). – See the complete description.
Offer no. 7,803 / EUR 135. (c. US$ 163.) + shipping
– – – The same in engraving by Thomas Cook (c. 1744 – London 1818). Inscribed: Hogarth pinxt. / T. Cook & Son sc. / Published by Longman, Hurst, Rees & Orme, May 1st. 1808. Subject size 4¾ × 6¾ in (12.2 × 17.1 cm).
Cook’s smaller version, engraved together with his son. – Trimmed within the wide white platemark.
Offer no. 8,941 / EUR 60. (c. US$ 73.) + shipping
– – – The same in engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840). Inscribed: W. Hogarth pinx. 1747. / E. Riepenhausen sc. 8⅜ × 10½ in (21.3 × 26.7 cm).
Riepenhausen’s works after Hogarth ( “very valuable” ) belong to his major work and are partially even preferred to those by Hogarth. – In regard of the especially fine, sturdy paper supposedly an impression for a special edition about 1830. – Margins somewhat age-spotted. Equally the image itself slightly.
Offer no. 7,804 / EUR 118. (c. US$ 143.) + shipping
– – – The same in lithography. (1833/36.) Inscribed: Die Landkutsche. 9¾ × 9⅜ in (24.7 × 23.7 cm). – Extensive caption in German.
Offer no. 7,805 / EUR 125. (c. US$ 151.) + shipping
„ … zugleich bedanke ich mich für alles, was Sie im alten Jahr für mich getan haben. Mit vielen Grüßen Ihr … “
(Herr W. W., 20. Dezember 2008)