| Method | Etching and aquatint |
| Artist | James Mérigot after William Hogarth |
| Published | [Pub. for S. Ireland May 1, 1799] |
| Dimensions | Image 129 x 167 mm, Sheet 130 x 169 mm |
| Notes |
From the second volume of Samuel Ireland's 'Graphic Illustrations of Hogarth, from pictures, drawings, and scarce prints'. Set within a studio, likely that of William Hogarth, the foreground of the image is dominated by the viewing of a painting for sale. The painting, which is of an elderly man alongside a bull, with 'W. Hogarth Painter' signed below, is held by a youthful man standing to the right. Standing to the left of the painting is another man, likely Hogarth himself due to the hat he wears, pointing towards the painting whilst talking to a customer. In the background, a young man leans onto a work top, gazing towards the men in the foreground, whilst another man can be seen at his easel painting. James Mérigot (1772 - 1816 fl.) was a French printmaker, originally specialising in 'manière de lavis', the precursor of aquatint, which Mérigot later specialised in. William Hogarth (1697 - 1764) was born in London, the son of an unsuccessful schoolmaster and writer from Westmoreland. After apprenticeship to a goldsmith, he began to produce his own engraved designs in about 1710. He later took up oil painting, starting with small portrait groups called conversation pieces. He went on to create a series of paintings satirising contemporary customs, but based on earlier Italian prints, of which the first was The Harlot's Progress (1731), and perhaps the most famous The Rake's Progress. His engravings were so plagiarised that he lobbied for the Copyright Act of 1735, commonly referred to as 'Hogarth's Act,' as a protection for writers and artists. During the 1730s Hogarth also developed into an original painter of life-sized portraits, and created the first of several history paintings in the grand manner. Condition: Trimmed to image, and graingerised. |
| Framing | unmounted |
| Price | £25.00 |
| Stock ID | 40317 |