Price: $12,000.00
SKU: 33674
ARTIST: William Hogarth
PUBLISHER: Invented Painted & Published by Wm. Hogarth. According to Act of Parliament April 1st. 1745.
MEDIUM: Copper plate engravings,
DATE: 1745.
EDITION SIZE: Average image size 13 7/8 x 17 3/8" (35 x 44 cm)
DESCRIPTION: Published in 1745, William Hogarth’s Marriage à la Mode is a satirical series of six engravings that critique the corrupt practices of arranged marriages for financial or social gain. The series unfolds like a tragicomedy, chronicling the lives of a young couple trapped in a loveless union, with disastrous consequences. Through his sharp eye for detail, biting humor, and moral commentary, Hogarth delivers a scathing critique of 18th-century aristocratic and mercantile society. Each plate is a meticulously constructed narrative filled with symbolism, drama, and irony, showcasing Hogarth’s brilliance as both a storyteller and an artist.<br><br> The story begins in The Marriage Contract, set in the home of Lord Squanderfield, who arranges his son’s marriage to a wealthy merchant’s daughter to settle his mounting debts. The young couple, indifferent to each other, sit in the background—she plays with her ring, while he admires his reflection in a mirror. The opulent surroundings, filled with symbols of vanity and decay, foreshadow the troubles ahead. In The Morning After, the growing disconnection between the couple becomes evident. The husband, returning from a night of debauchery, slumps in a chair while his dog sniffs at a woman’s cap in his pocket—a sign of infidelity. Meanwhile, the wife appears bored, surrounded by the remnants of a late-night card party. The disorder of the setting reflects the chaos of their relationship.<br><br> The Visit to the Quack Doctor highlights the physical consequences of the husband’s reckless lifestyle, as he and his mistress seek treatment for a venereal disease. The scene takes place in a chaotic “museum” filled with grotesque curiosities, amplifying the absurdity of the moment. The doctor and the characters exchange accusatory glances, while the oblivious husband brandishes a cane, indifferent to the gravity of the situation. In The Countess’s Morning Levee, now a widow, the Countess entertains guests in her boudoir. Her lover, the lawyer Silvertongue, arranges a clandestine meeting at a masquerade. The scene is littered with references to decadence and infidelity, including erotic literature and auctioned trinkets, underscoring the moral decay of the characters.<br><br> The series escalates in The Duel, where the Earl discovers his wife and Silvertongue at a bagnio (a bathhouse-turned-inn). A duel ensues, resulting in the Earl’s death, while Silvertongue escapes through a window in his masquerade attire. The disordered room, with toppled furniture and scattered costumes, heightens the sense of impending doom. The series concludes in The Death of the Countess, where tragedy reaches its climax. The Countess, devastated by Silvertongue’s execution for the Earl’s murder, has poisoned herself. Her pragmatic father removes her wedding ring, while her child—crippled and visibly ill—bears the consequences of her parents’ sins. The sparse and grim surroundings, including broken furnishings and signs of poverty, starkly contrast with the grandeur of the opening plate, completing the narrative arc of downfall and despair.<br><br> This powerful series is both a moral cautionary tale and a masterwork of satirical art, illustrating Hogarth’s unparalleled ability to critique societal flaws through his vivid storytelling and symbolic detail.<br><br> This set was removed from a period bound portfolio of Hogarth’s engravings. This set came out of the Boston, Massachusetts area in the early 1990’s. When we first started to offer the prints for sale we were contacted by the late Andrew Edmonds of London, one of the leading experts on the works of Hogarth. Andrew knew that two bound lifetime portfolios of Hogaths were sold and sent to Boston in the 18th century and he was certain that this set was one of the two. All the plates were early states and often beautiful impressions. This set of six “Marriage A la Mode”is the last important group of prints from that set.<br><br> Titles, Poulson number, engraver and states are as follows:<br><br> Marriage A - La - Mode., Plate I. Engraved by G. Scotin. Poulson #228. 5th state of 7. Marriage A - La - Mode., Plate II. Engraved by B. Baron. Poulson #229. 4th state of 5. Marriage A - La - Mode., Plate III. Engraved by B. Baron. Poulson #230. 3rd state of 3. Marriage A - La - Mode., Plate IV. Engraved by S. Ravent. Poulson #231. 3rd state of 4. Marriage A - La - Mode., Plate V. Engraved by R.F. Ravent. Poulson #232. 4rd state of 5. Marriage A - La - Mode., Plate VI. Engraved by G. Scotin. Poulson #233. 2nd state of 3.<br>
ADDITIONAL INFO:
CONDITION: Good condition save for occasional minor fox marks. B/W
REFERENCE: R. Paulson "Hogarth's Graphic Works" #158-163.
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