More paintings by William Hogarth
(Showing 6 of 8 works)
This is the first in Hogarth’s series of six paintings titled Marriage A-la-Mode. They were painted to be engraved and then sold after the engravings were finished.The Earl of Squander is negotiating the marriage of his son to the daughter of a rich Alderman of the City of London. The Alderman’s...
Not on display
This is the second in Hogarth’s series of six paintings titled Marriage A-la-Mode. It is a few months after the wedding of the Earl of Squander’s son to the Alderman’s daughter. The bride stretches sleepily, apparently after spending the whole night playing cards. The groom sprawls in his chair,...
Not on display
The third scene in the series of six paintings by Hogarth titled Marriage A-la Mode is set in the consulting room of the French doctor M. de la Pillule. Viscount Squanderfield is accompanied by a sickly looking little girl and a woman who is probably the girl’s mother and madam.The child stands b...
Not on display
The fourth scene of Hogarth’s Marriage A-la-Mode takes place in the wife’s bedroom. Now a Countess, she is following the aristocratic French fashion of receiving visitors as she finishes getting dressed. A coral baby’s teether hanging from the back of her chair indicates that she has become a mot...
Not on display
This is the fifth scene of Hogarth’s series of six paintings titled Marriage A-la-Mode. After the masquerade, the Countess and her lover Silvertongue have taken a room above the Turk’s Head – a Turkish baths, or Bagnio. The scene is set at night by firelight; the Countess’s hooped underskirt, wha...
Not on display
This is the final scene of Hogarth’s series of six paintings, Marriage A-la-Mode. The wretched Countess, dogged by the scandal following Silvertongue’s arrest, trial and sentence to death for the murder of her husband the Earl, has returned to her father’s house in the City of London.On receiving...
Not on display
These are the four Graham children. Their father was Royal Apothecary to George I and George II. Thomas, in his gilded baby carriage adorned with a bird, had already died when Hogarth was working on the picture. The crossed carnations (funeral flowers) beside him are a tender reminder of death. A...
Hogarth certainly painted this sketch from life, and although he may never have known the girl’s name, this is definitely a portrait of an individual. For at least a century before and after Hogarth painted The Shrimp Girl, most of the travelling sellers of shellfish in London were women, usually...
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