The Classic Boudoir Scene
Hogarth, William (1697 London 1764). The Countess’ Morning Levée. Engraving by Ernst Ludwig Riepenhausen (1765 Göttingen 1840, university engraver there). Inscribed: 24. / W. Hogarth inv. & pinx. / E. Riepenhausen. del & sc. 9¼ × 11¼ in (23.6 × 28.7 cm).
Marriage à la Mode IV. – Impression on slightly toned minor paper. – In the white lower margin left of the series title a negligible box pleat just reaching into the image. – Riepenhausen’s engravings after Hogarth (“very estimable”, Nagler) belong to his chief work and not least for being in the original direction they are partly even preferred to Hogarth’s own engravings. – The fourth plate of this
“ most beautiful painted satire of the century ”
(Dobson per Thieme-Becker).
Madame in the morning before the fateful masked ball linking her morning toilette, for which she uses the skills of a hairdresser, to her welcome, accompanied by music by the famous castrato Carestini and Charles Weidemann on German flute. By her side Councillor Silvertongue, known as her lover in spe from the contract scene and here resting with oriental-softish ease on a sofa as it would stand in his harem, the hero of the following night as which he illustrates to her the earmarked masquerade – monk + nun – by folding-screen, showing her also the code plan upon the locality of their rendezvous. Apart from that
the classic boudoir scenery par excellence
with the gallant pictures belonging to on the walls, and on the sofa, at the councillor’s feet, the “ill-reputed, hot-blooded” book Crebillon’s with just the same name. On the floor beside Carestini’s chair numerous playing and calling cards “trick on trick”.
Offer no. 7,675 / EUR 125. (c. US$ 151.) + shipping
– – – The same in engraving by Carl Heinrich Rahl (Hoffenheim 1779 – Vienna 1843). (1818/23.) Inscribed: 24. / Plate 4. 8¼ × 10½ in (21 × 26.7 cm).
Offer no. 7,674 / EUR 118. (c. US$ 143.) + shipping
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