Pesquisando por: "WILLIAM HOGARTH" - Fotoarena - Agência de fotojornalismo

2X6C63K Black and White Illustration: 'Arrested for Debt as Going to Court'. Engraving after William Hogarth (1697 - 1764) from his series, 'The Rake's Progress'

2X6C611 Black and White Illustration: Gaming House Scene. Engraving after William Hogarth (1697 - 1764) from his series, 'The Rake's Progress'

2X31PF6 The Lady's Last Stake, originally entitled Piquet: or Virtue in Danger, is a painting by William Hogarth, c. 1759. The work is a conversation piece

2X1A511 Cock fighting, engraving by William Hogarth, 18th century

2WNNG1R Beer Street. William Hogarth. February 1, 1751.

2WXT83X The Seven Years' War: Anti-French cartoon by English painter William Hogarth, illustration 1756

2WXT7WK Canvassing for votes, engraving by William Hogarth, 1757 England

2WKMJR6 A HARLOT'S PROGRESS The final scene in the series of six 1732 engravings by William Hogarth

2WJG2JD Black and White Illustration: 'The Industrious 'Prentice; Lord Mayor of London'. Engraving after William Hogarth (1697 - 1764) from his series, 'Industry and Idleness'. His earlier series of painted works, 'The Harlot's Progress' and 'Marriage à-la-mode' which were subsequently released as engravings, 'Industry and Idleness' was engraved from the outset. Hogarth's aim in this series was to illustrate the rewards for working hard, and the pitfalls of not doing so, a message predominantly aimed at working children. This reproduction was by Thomas Cook and originally published around 1806.

2WJG2GW Black and White Illustration: 'The Idle 'Prentice Executed at Tyburn '. Engraving after William Hogarth (1697 - 1764) from his series, 'Industry and Idleness'. His earlier series of painted works, 'The Harlot's Progress' and 'Marriage à-la-mode' which were subsequently released as engravings, 'Industry and Idleness' was engraved from the outset. Hogarth's aim in this series was to illustrate the possible rewards for working hard, and the pitfalls of not doing so, a message predominantly aimed at working children. This reproduction was by Thomas Cook and originally published around 1806.

2WJG2GN Black and White Illustration: 'The Industrious 'Prentice Alderman of London; The Idle One Brought Before him, and Impeached by his Accomplice'. Engraving after William Hogarth (1697 - 1764) from his series, 'Industry and Idleness'. Hogarth's earlier series of painted works, 'The Harlot's Progress' and 'Marriage à-la-mode' which were subsequently released as engravings, 'Industry and Idleness' was engraved from the outset. Hogarth's aim in this series was to illustrate the possible rewards for working hard, and the pitfalls of not doing so, a message predominantly aimed at working children.

2WJG2GE Black and White Illustration: 'The Idle 'Prentice Betrayed by a Prostitute and Taken in a Night Cellar with his Accomplice'. Engraving after William Hogarth (1697 - 1764) from his series, 'Industry and Idleness'. Hogarth's earlier series of painted works, 'The Harlot's Progress' and 'Marriage à-la-mode' which were subsequently released as engravings, 'Industry and Idleness' was engraved from the outset. Hogarth's aim in this series was to illustrate the possible rewards for working hard, and the pitfalls of not doing so, a message predominantly aimed at working children.

2WJG2GB Black and White Illustration: 'The Industrious 'Prentice Grown Rich, and Sheriff of London'. Engraving after William Hogarth (1697 - 1764) from his series, 'Industry and Idleness'. Hogarth's earlier series of painted works, 'The Harlot's Progress' and 'Marriage à-la-mode' which were subsequently released as engravings, 'Industry and Idleness' was engraved from the outset. Hogarth's aim in this series was to illustrate the possible rewards for working hard, and the pitfalls of not doing so, a message predominantly aimed at working children. This reproduction was by Thomas Cook.

2WJG2ER Black and White Illustration: 'The Idle 'Prentice Returned from Sea, and in a Garret with a Common Prostitute'. Engraving after William Hogarth (1697 - 1764) from his series, 'Industry and Idleness'. His earlier series of painted works, 'The Harlot's Progress' and 'Marriage à-la-mode' which were subsequently released as engravings, 'Industry and Idleness' was engraved from the outset. Hogarth's aim in this series was to illustrate the possible rewards for working hard, and the pitfalls of not doing so, a message predominantly aimed at working children. This reproduction was by Thomas Cook.

2WJG2DK Black and White Illustration: 'The Industrious 'Prentice Out of his Time, and Married to his Master's Daughter'. Engraving after William Hogarth (1697 - 1764) from his series, 'Industry and Idleness'. His earlier series of painted works, 'The Harlot's Progress' and 'Marriage à-la-mode' which were subsequently released as engravings, 'Industry and Idleness' was engraved from the outset. Hogarth's aim in this series was to illustrate the possible rewards for working hard, and the pitfalls of not doing so, a message predominantly aimed at working children. This reproduction was by Thomas Cook.

2WJG2DG Black and White Illustration: 'The Idle 'Prentice Turned Away and Sent to Sea'. Engraving after William Hogarth (1697 - 1764) from his series, 'Industry and Idleness'. His earlier series of painted works, 'The Harlot's Progress' and 'Marriage à-la-mode' which were subsequently released as engravings, 'Industry and Idleness' was engraved from the outset. Hogarth's aim in this series was to illustrate the possible rewards for working hard, and the pitfalls of not doing so, a message predominantly aimed at working children. This reproduction was by Thomas Cook and originally published 1806.

2WJG2DC Black and White Illustration: 'The Industrious 'Prentice A Favourite, and Entrusted by his Master'. Engraving after William Hogarth (1697 - 1764) from his series, 'Industry and Idleness'. Hogarth's earlier series of painted works, 'The Harlot's Progress' and 'Marriage à-la-mode' which were subsequently released as engravings, 'Industry and Idleness' was engraved from the outset. Hogarth's aim in this series was to illustrate the possible rewards for working hard, and the pitfalls of not doing so, a message predominantly aimed at working children. This reproduction was by Thomas Cook; 1806.

2WJG2DA Black and White Illustration: 'The Aprentice at Play in the Church Yard During Divine Service'. Engraving after William Hogarth (1697 - 1764) from his series, 'Industry and Idleness'. Hogarth's earlier series of painted works, 'The Harlot's Progress' and 'Marriage à-la-mode' which were subsequently released as engravings, 'Industry and Idleness' was engraved from the outset. Hogarth's aim in this series was to illustrate the possible rewards for working hard, and the pitfalls of not doing so, a message predominantly aimed at working children. This reproduction was by Thomas Cook; 1806.

2WR97G5 Sleeping parish, The Sleepy Congregation (title on object), Text in English in the bottom margin., print maker: Richard Purcell, after design by: William Hogarth, publisher: Robert Sayer, London, 1745 - 1794, paper, etching, height 354 mm × width 253 mm, print

2WR9775 Portrait of John Pine, print maker: James McArdell, (attributed to), after painting by: William Hogarth, London, c. 1755 - 1765, paper, height 349 mm × width 249 mm, print

2WR977G Portrait of John Pine, print maker: James McArdell, after painting by: William Hogarth, London, c. 1755 - 1765, paper, height 326 mm × width 225 mm, print

2WR93YT People with disabilities cast their votes, The Polling (title on object), Elections (series title), Four Prints of an Election (series title), People with disabilities and sick people are brought on a stage to cast their votes to take. Behind them under a canopy, others laugh at a portrait of a candidate and a news report about an execution. On the right, a carriage with an image of the Union Jack collapses. The female passenger, Britannia, tries to attract the attention of the coachmen, but they are busy playing cards., print maker: William Hogarth

2WR93XK Village view with two elected candidates in sedan chairs, Chairing the Members (title on object), Elections (series title), Four Prints of an Election (series title), In the center George Bubb Dodington almost falls from his sedan chair. The second candidate can be seen as a shadow on a wall in the background. A flag with 'True Blue' is carried in the parade. In the foreground there is a fight and a bear steals something from the barrel of a donkey. There is a monkey sitting on the bear with a gun, which is fired at two boys sitting on a wall . They hold glasses in front of a skull

2WR93WX Monk pokes a piece of beef held by a cook, O the Roast Beef of Old England, &c. (title on object), Scene in front of the gate in the port of Calais. To the right of the fat monk and the cook are thin French soldiers looking at the piece of meat. In the front right, an exiled Highlander sits with his hands folded against a wall. In the front left, three women with crosses around their necks are laughing at the face of a ray. Hogarth has depicted himself drawing on the left in front of the gate. A soldier's hand pulls Hogarth back, a reference to his arrest in Calais.

2WR93Y1 Fair with musicians, tightrope walkers and actors, Southwark Fair, On the left a wooden extension collapses on which the company of Theophilus Cibber and William Bullock performed 'The Fall of Bajazet'. Below that a shop with porcelain. To the right of center is another stage, 'Lee & Harpers Great Booth', featuring the company of Hannah Lee and John Harper. Above them an image of the Trojan Horse, with 'The Siege of Troy is here'. Right below an open window is the magician Isaac Fawkes., print maker: William Hogarth, after own design by : William Hogarth, London, 1733, paper, etching

2WR93Y4 Interior with a milkmaid demanding payment from a poet and his wife, The Distrest Poet (title on object), Sober interior with a woman who looks up in shock at the milkmaid in the doorway. There is a crying baby in the bed. A man sits at a table, working on a poem called 'Riches a Poem.' Above his head hangs a map with the title 'A view of the Gold Mines of Peru'. There are several written sheets of paper in front of the table., print maker: William Hogarth, after own design by: William Hogarth, publisher: William Hogarth, London, 1736 and/or Dec-1740, paper, etching

2WR93XJ Tom Rakewell Saved from Arrest by Sarah Young, Progress of a Libertine (series title), The Rake's Progress (series title), Tom Rakewell has just arrived by palanquin at St. James's Palace to celebrate Queen Caroline's birthday. He is about to be arrested for debts, but Sarah Young intervenes and offers the bailiff a bag of money. In the front right a group of children playing cards, playing dice and smoking. Another child robs Tom. Above Tom, a man stands on a ladder adding oil from a street lamp. Some oil drips on Tom's head., print maker : William Hogarth

2WR93M1 Entertainment as propaganda, An Election Entertainment (title on object), Four prints about an election (series title), Four Prints of an Election (series title), Text in English in the bottom margin. In an inn, two election candidates try to convince citizens using shoddy means. Outside, people demonstrate against the old policy., print maker: William Hogarth, after painting by: William Hogarth, William Hogarth, 1755, paper, etching, engraving, height 434 mm × width 552 mm, print

2WR93R8 Tom Rakewell marries an old rich woman, Progress of a Rake (series title), The Rake's Progress (series title), Text in English in the bottom margin. Tom marries a wealthy woman in St Mary-le-Bow to keep his fortune. In the background are Sarah Young with her child and two women fighting., print maker: William Hogarth, after painting by: William Hogarth, after own design by: William Hogarth, London, 1735, paper, etching, engraving, height 356 mm × width 410 mm, print

2WR93PE Army troops on their way to take on the Jacobites, A Representation of the March of the Guards towards Scotland in the Year 1745 (title on object), The March of the Guards to Finchley, In this fictional representation, English troops have converged on Tottenham Court Road to march to Finchley with the aim of defending London against the Jacobite Rebellion of 1745, which sought to restore James II of the Scottish House of Stuart to the throne. The soldiers are ridiculed for their lack of training and respect for discipline. Text in English in the bottom margin.

2WR93PA Moses was brought unto Pharaoh's daughter, And the child grew & she brought him unto Pharaoh's daughter & he became her son. And she called his name Moses (title on object), Text in English in the bottom margin., print maker: Luke Sullivan, print maker: William Hogarth, after painting by: William Hogarth, 1752, paper, etching, engraving, height 421 mm × width 522 mm, print

2WR93PF Paul brought before Felix by Tertullus, And as he reasoned of righteousness, temperance, and judgment to come, Felix trembled (title on object), Text in English in the bottom margin., print maker: Luke Sullivan, after painting by: William Hogarth, 1715 - 1752, paper, engraving, etching, height 420 mm × width 519 mm, print

2WR93KH Tom Rakewell drunk in a brothel, Progress of a libertine (series title), The Rake's Progress (series title), Text in English in the bottom margin. This scene takes place in the Rose Tavern brothel in Covent Garden. The dark spots on the women's faces suggest that they were suffering from syphilis, as it was common at the time to use make-up to cover up the sores. Tom's watch is stolen by two women. Damaged portraits of Roman emperors hang on the wall., print maker: William Hogarth, after painting by: William Hogarth, after own design by : William Hogarth, London, 1707 - 1764 and/or 1735

2WR93N9 Paul brought before Felix by Tertullus, And as he reasoned of righteousness, temperance, and judgment to come, Felix trembled (title on object), Text in English in the bottom margin., print maker: William Hogarth, after painting by: William Hogarth, 1752, paper, engraving, etching, height 423 mm × width 524 mm, print

2WR93R7 Death of the Count, Marriage A-la-Mode, Plate V (title on object), Unhappy Marriage (series title), Marriage A-la-Mode (series title), The Count, who has caught his wife and Silvertongue in a brothel, was stabbed by Silvertongue. He leans against a table and his sword falls to the ground. Before him his weeping wife kneels with folded hands. In the front right are masks and a paper that says 'The Bagnio'. Silvertongue flees out the window on the right., print maker: Simon François Ravenet (le vieux), after design by: William Hogarth, after painting by: William Hogarth, London, Apr-1745

2WR93K1 Tom Rakewell is fitted with a new suit, Progress of a libertine (series title), The Rake's Progress (series title), Text in English in the bottom margin. Tom pays his pregnant wife Sarah Young to annul their marriage. She stands sadly next to his mother at the doorway with the ring and love letters. Meanwhile, Tom has his measurements taken for a new suit. The avarice of Tom's recently deceased father is still visible in the room; he meticulously counted his money, patched his shoes with cloth, and carefully documented his belongings., print maker: William Hogarth

2WR93MP Tom Rakewell at Bethlem Royal Hospital, Progress of a Libertine (series title), The Rake's Progress (series title), Text in English in the bottom margin. Tom, apparently gone mad, is supported by Sarah Young. Around them are several patients from the psychiatric institution 'Bedlam'. The high-ranking woman in the background is probably visiting the shelter for entertainment. On the wall a circle containing the personification of England, Britannia., print maker: William Hogarth, after painting by: William Hogarth, after own design by: William Hogarth, London, 1735 and/or 1763, paper

2WR8WKB Taste in high life (title on object), Interior with elegant company, tea drinking, a reading monkey and a black boy as a servant., print maker: Samuel Philip Lowe Phillips, after painting by: William Hogarth, publisher: Boydell & Co., print maker: London, after painting by: United Kingdom, publisher: London, 1798 and/or 1-Mar-1808, paper, height 386 mm × width 463 mm

2WR8TG3 The diligent apprentice a favorite and confidante of his boss (plate 4), The Indoustrious 'Prentice a Favorite, and entrusted by his Master (title on object), Industry and Idleness (original series title), The diligent apprentice Goodchild wins the trust and the friendship of his boss. In the background the looms in the factory. Below the scene is a cartouche with a text from Matthew. Part of a series of twelve plates about the rise and fall of two students Francis Goodchild and Thomas Idle, after the original plates by William Hogarth from 1747., print maker: Thomas Cook

2WR8TGA The diligent student gives money to musicians (plate 6), The Industrious Prentice out of his Time and Married to his Master's Daughter (title on object), Industry and Idleness (original series title), The diligent student Goodchild is no longer a student but a partner joined his former boss's business and is married to his daughter. He hands out money and food to a group of musicians and beggars. In the background the Monument to the Great Fire of London, the monument for the fire of 1666. Below the scene is a cartouche with a text from Proverbs

2WR8TG2 The Diligent Disciple Performs His Christian Duty (Plate 2), The Industrious Prentice performing the Duty of a Christian (title on object), Industry and Idleness (original series title), The Diligent Disciple Goodchild attends church service at St. Martin-in- the-Fields, together with his master's daughter. Below the scene is a cartouche with a text from Psalms. Part of a series of twelve plates about the rise and fall of two students Francis Goodchild and Thomas Idle, after the original plates by William Hogarth from 1747., print maker: Thomas Cook, after design by: William Hogarth

2WR8TGB The diligent apprentice has become rich and appointed Sheriff of London (plate 8), The Industrious 'Prentice grown rich, & Sheriff of London (title on object), Industry and Idleness (original series title), The diligent apprentice Goodchild and his wife are presiding over a large banquet in the Fishmongers' Hall. Below the scene is a cartouche with a text from Proverbs. Part of a series of twelve plates about the rise and fall of two students Francis Goodchild and Thomas Idle, after the original plates by William Hogarth from 1747., print maker : Thomas Cook

2WR8PX3 Four drinking men next to a stand with sheet music, Night Amusement (title on object), print maker: anonymous, after design by: William Hogarth, (possibly), publisher: Robert Sayer, print maker: England, after design by: England, publisher: London, 1734 - 1794, paper, etching, height 152 mm × width 113 mm, print

2WR8GEY Christ Heals the Sick of Bethesda, The Pool of Bethesda (title on object), print maker: Simon François Ravenet (le vieux), print maker: Victor Marie Picot, after painting by: William Hogarth, London, 1772, paper, etching, engraving, height 391 mm × width 537 mm, print

2WR8AB6 Judges, The Bench (title on object), The central judge is probably John Willes and the sleeping colleague next to him is possibly Henry Bathurst. The other two judges may be William Noel and Edward Clive. Several caricatures are shown above the judges. Text in English in the bottom margin. Print is part of an album., print maker: anonymous, after print by: William Hogarth, after painting by: William Hogarth, 1758 - c. 1764, paper, etching, height 302 mm × width 205 mm, height 188 mm × width 205 mm, height 115 mm × width 205 mm, print

2WE8YG5 William Hogarth 1697-1764. Englischer Künstler. Aus dem Buch Gallery of Portraits, veröffentlicht 1833., Historisch, digital restaurierte Reproduktion von einer Vorlage aus dem 19. Jahrhundert, Record date not stated

2WYBJTK Sir Joshua Reynolds geb. 16. Juli 1723 in Plympton bei Plymouth, gest. 23. Februar 1792 in London war neben William Hogarth und Thomas Gainsborough de

2WY6NAK Sir Joshua Reynolds, geb. 16. Juli 1723 in Plympton bei Plymouth, England, gest. 23. Februar 1792 in London war neben William Hogarth und Thomas Gains

2WAEB3J William Hogarth, O the Roast Beef of Old England (The Gate of Calais), painting in oil on canvas, 1748

2WAEB2X William Hogarth, Satan, Sin, and Death (A Scene from Milton's 'Paradise Lost'), painting in oil on canvas, circa 1735

2WAEAW3 William Hogarth (1697-1764), The Painter and his Pug, (Self Portrait of the Artist and his dog 'Trump'), painting in oil on canvas, 1745

2TD1EHH Hogarth Memorial

2TD1EHF Hogarth Memorial

2TD1EHD Hogarth Memorial

2TD1EHC Hogarth Memorial

2R1HHGK Story of Prophet Moses, Moses is brought to Pharaoh's daughter, 1752, Ireland, Historic, digitally restored reproduction from an 18th or 19th century original

2T771PJ 'Cruelty in Perfection' cartoon engraving by William Hogarth 1751

2T771NR 'The Times Plate 1' cartoon engraving by William Hogarth 1762

2T771NJ 'The Times Plate 2' cartoon engraving by William Hogarth 1790

2T771NB 'The Distressed Poet' cartoon engraving by William Hogarth 1746

2T771N1 'The Reward of Cruelty' cartoon engraving by William Hogarth 1751

2T771N7 The Enraged Musician engraving by William Hogarth 1741

2T771JN 'Second Stage of Cruelty' cartoon engraving by William Hogarth 1751

2T771JE 'First Stage of Cruelty' cartoon engraving by William Hogarth 1751

2T771J7 'The Invasion of France Plate 2' cartoon engraving by William Hogarth 1756

2T771HR 'The Invasion of France Plate 1' cartoon engraving by William Hogarth 1756

2WDWM8W William Hogarth 1697 bis 1764. Englischer Maler, Grafiker, Bildsatiriker, Sozialkritiker und Karikaturist. Aus The National and Domestic History of England by William Aubrey veröffentlicht London circa 1890, Historisch, digital restaurierte Reproduktion von einer Vorlage aus dem 19. Jahrhundert, Record date not stated

2WWFHXA William Hogarth's 'The Tavern Scene' (circa 1732): Part of his series 'A Rake's Progress,' this painting is located in Sir John Soane’s Museum, London. It depicts Tom Rakewell, the protagonist, indulging in a night of gambling and indulgence at a tavern. Hogarth's work is rich in detail and satirical commentary, offering a vivid depiction of 18th-century London's vice-ridden underbelly.

2WWFHX7 William Hogarth's 'The Shrimp Girl' (circa 1740-1745): Held in the National Gallery, London, this work is thought to be a spontaneous sketch rather than a commissioned portrait, capturing the lively spirit of a young shrimp seller. Hogarth's depiction stands out for its fresh, direct approach, showcasing a moment of everyday life in 18th-century London.

2WWFHX6 William Hogarth's 'The Graham Children' (circa 1742): Located in the National Gallery, London, this painting is a vibrant portrayal of the four young children of Daniel Graham, the apothecary to King George II. 'The Graham Children' exemplifies Hogarth's skill in merging portraiture with storytelling, reflecting the social and familial values of 18th-century England.

2T8PE1P The Laughing Audience, William Hogarth (London 1697 - 1764 London), 1733, Print, etching, 18.5 x 16.3 cm

2T8PE1N Night, The Four Times of Day, William Hogarth (London 1697–1764 London), 1738, print, etching, copperplate

2T8P9KN The Rake's Progress 6, The Rake's Progress, William Hogarth (London 1697 - 1764 London), 1735, Druckgraphik, Kupferstich, Blatt: 35,9 x 41,2 cm, r.u. 'Plate 6

2T8P9KC The Rake's Progress 4, The Rake's Progress, William Hogarth (London 1697 - 1764 London), 1735, Druckgraphik, Kupferstich, Blatt: 36 x 41,2 cm, r.u. 'Plate. 4

2T8P9M4 Marriage à la Mode 2, Marriage à la Mode, William Hogarth (London 1697 - 1764 London), 1745, print, copper engraving and etching, sheet: 38.8 x 46.9 cm, below bottom 'Marriage - A - la - Mode, (Plate 2

2T8P9KM Marriage à la Mode 6, Marriage à la Mode, William Hogarth (London 1697 - 1764 London), 1745, print, copper engraving and etching, sheet: 38.8 x 46.9 cm, below bottom 'Marriage - A - la - Mode, (Plate 6

2T8P9M2 Marriage à la Mode 1, Marriage à la Mode, William Hogarth (London 1697 - 1764 London), 1745, print, copper engraving and etching, sheet: 38.6 x 47 cm, below bottom 'Marriage - A - la - Mode, (Plate 1

2T8P9MA Marriage à la Mode 4, Marriage à la Mode, William Hogarth (London 1697 - 1764 London), 1745, print, copper engraving and etching, sheet: 38.9 x 47 cm, below bottom 'Marriage - A - la - Mode, (Plate 4

2T8P9M7 The Rake's Progress 5, The Rake's Progress, William Hogarth (London 1697 - 1764 London), 1735, Druckgraphik, Kupferstich, Blatt: 36 x 41,3 cm, r.u. 'Plate 5

2T8P9K7 The Rake's Progress 3, The Rake's Progress, William Hogarth (London 1697 - 1764 London), 1735, Druckgraphik, Kupferstich, Blatt: 36,1 x 41,3 cm, r.u. 'Plate 3

2T8P9KE The Rake's Progress 7, The Rake's Progress, William Hogarth (London 1697 - 1764 London), 1735, Druckgraphik, Kupferstich, Blatt: 35,6 x 41 cm, l.u. 'Plate 7

2T8P9M0 Marriage à la Mode 5, Marriage à la Mode, William Hogarth (London 1697 - 1764 London), 1745, print, copper engraving and etching, sheet: 38.8 x 47 cm, below bottom 'Marriage - A - la - Mode, (Plate 5

2T8P9JJ The Rake's Progress 2, The Rake's Progress, William Hogarth (London 1697 - 1764 London), 1735, Druckgraphik, Kupferstich, Blatt: 36 x 41,2 cm, r.u. 'Plate. 2

2T8P9K5 The Rake's Progress 1, The Rake's Progress, William Hogarth (London 1697 - 1764 London), 1735, Druckgraphik, Kupferstich, Blatt: 36 x 41,3 cm, r.u. 'Plate. 1

2T8P9M5 Marriage à la Mode 3, Marriage à la Mode, William Hogarth (London 1697 - 1764 London), 1745, print, copper engraving and etching, sheet: 39 x 47.2 cm, below bottom 'Marriage - A - la - Mode, (Plate 3

2T8P9KX The Rake's Progress 8, The Rake's Progress, William Hogarth (London 1697 - 1764 London), 1735, print, copper engraving, sheet: 35.9 x 41.2 cm

2TBTBTD England, London, Self-portrait of William Hogarth (1697-1764) dated about 1757

2RX3CDC England, London, Self-portrait of William Hogarth (1697-1764) dated about 1757

2RECXB5 the auction scene: Graham Clark (Sellem) in THE RAKE'S PROGRESS at Glyndebourne Festival Opera, East Sussex, England 08/08/2010 music: Igor Stravinsky libretto: W H Auden & Chester Kallman conductor: Vladimir Jurowski design: David Hockney lighting: Robert Bryan director: John Cox

2RA367C Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto

2RA367A Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto

2RA3676 Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto

2RA3677 Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto

2RA3675 Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto

2RA3673 Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto

2RA366Y Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto

2RA3671 Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto

2RA3670 Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto

2RA366X Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto

2RA3650 Highlights Include: Sir Peter Paul Rubens’ Saint Sebastian tended by two angels Once Lost for Centuries and Now Revealed to be the Prime Version of a Major Early Work by the Flemish Master Est. £4-6 million One of the only Surviving Contemporary Portraits of Queen Katherine Parr Est. £600,000 – 800,000 An Exceptionally Rare Exquisitely painted 15th century panel Exhibited only four times in 500 years Est. £7-10 million Alongside Works by William Hogarth, Diego Velázquez and Canaletto