WhatsApp usMuch of the 18th century is seen as an extravagant period of baroque grandeur and aristocratic indulgence. However, not all artists were preoccupied with fashion and refinement, moving instead in a direction of moral commentary and realism. Whilst artists like William Hogarth still practiced traditional portraiture, he is remarkable for his production of comedic and socially satirical engravings.
Above: detail from a self portrait by William Hogarth, 1764
In a time when the printing press was coming into commercial use, artists sought secondary streams of income from engraved copies of their work. There was a focus on celebrity portraits, as well as serialised scenes as a new form of storytelling. This article will explore Hogarth’s famous prints, as well as how to protect, frame and conserve them.
Above: two engravings by Hogarth – An Election Entertainment (1755) from the Election Series and Southwark Fair (1733-34)
Who was William Hogarth?
The son of a school master, William Hogarth was apprenticed to a local goldsmith in the early 18th century. This skill allowed him to pick up engraving as an artistic technique and he began painting to practice his skills. Growing up, Hogarth experienced periods of wealth and poverty, depending on his father’s success. At one point, his father was imprisoned for debt, giving the young artist a stark glimpse into the experience of everyday people.
Hogarth’s initial works are themselves a break from the ordinary, composing ‘conversation pieces’ – a genre of portraiture that is less formal, for example a family engaged in conversation or an activity, rather than looking at the viewer.
Above: detail from The Wedding of Stephen Beckingham and Mary Cox by William Hogarth, 1729
Hogarth’s engraved prints were usually copies of his larger oil paintings, the satirical subjects focus on the breakdown and hypocrisy of modern morals and customs. He published them on subscription, but many were plagiarised. This led to him lobbying for the Copyright Act of 1735, one of the first steps towards the copyright laws we know today.
Above: Hogarth’s The Four Times of the Day series of engravings, 1738
One of his most famous works is a self portrait with his beloved pet dog, a pug called Trump. This companion starred in several of his paintings, but was also a matter to joke about for his critics – who loved to note his likeness to the animal. Although he was called “Painter Pug” the dog stood in as clever commentary on his ‘pugnacious’ personality.
“Tis Hogarth himself and his Friend..
Insep’rate Companions! And therefore you see
Cheek by Joul they are drawn in familiar Degree”
‘Modern Moral Subjects’
Hogarth’s pictorial tales are called his ‘modern moral subjects’ and play a huge role in the development of social satire and visual storytelling. In the enlightenment period, fashionable discussions of morality and the human condition came about. There was a mixture of academic, judgemental and charitable approaches to the subjects covered in Hogarth’s work – each story compelling different audiences with a new talking point.
Above: details from Gin Lane and Beer Street by Hogarth, 1751
These engravings present as a smorgasbord of comedic and tragic glimpses into the everyday life of London. Particularly, Hogarth’s Beer Street and Gin Lane are much acclaimed for their commentary on the plight of alcohol and the loss of morality caused by “the gin craze” versus the happier sociable effects of traditional beer.
Marriage à-la-Mode (seen above), A Harlot’s Progress and The Rake’s Progress are his most famous series of engravings. Each follows the rise and downfall of different protagonists, featuring themes of debt, prostitution, greed and disease. Further notable works include Industry and Idleness, The Four Times of the Day and The Four Stages of Cruelty.
Above: detail from The Enraged Musician, 1744
Caring for Hogarth Prints
We advise keeping your prints in an atmosphere of a relative 50% humidity level. Too dry of an environment may cause the paper to dry out and become brittle, whilst too much moisture can encourage the growth of mould or foxing spots. We also recommend that all works on paper are kept away from direct sunlight to avoid rapid temperature fluctuations. They should ideally be displayed behind UV protective glass.
Do not try to remove any glued down backing boards or surrounding mount yourself, as this may cause accidental damage. If you are keeping the print outside of a frame, be sure to keep it between pieces of acid-free paper and flat.
When discolouration is present, due to acidic framing materials or foxing (brown freckles or spots), be aware that this cannot be cleaned by any household treatments and will require a conservator to gently clean the paper in a controlled environment.
How to Frame Antique Engravings
Hogarth prints are famous for having a particularly Dutch style of framing, slim and black with gold detailing. You can also opt for a simple black frame with a thin profile, as long as it is still sturdy enough to protect the print effectively. Antique prints should be kept well back from the glass of a frame, using a double mount method to ensure they will not face surface abrasion or stick to the glazing.
The materials for a surrounding mount and backing board should be at a museum grade, that is low in acidity to avoid contamination and decay. The best environment for a valuable print is a well-fitted mount that is not too tight or too loose, allowing the fibres of the paper to move very slightly when atmospheric conditions shift.
Engravings by Hogarth include very fine details, so you may want to consider glass with lessened reflections for a much clearer view. We can provide this type of specialist glazing with the inclusion of a UV protective coating.
Engraving Conservation & Cleaning
Paper conservation helps to safely preserve engravings whilst resolving any visual issues. Our paper conservator is ICON accredited and is highly skilled at restoring even the most devastating levels of deterioration. Firstly, we put a treatment plan in place that will ensure the entire piece is in its very best condition.
Above: our conservator treating a work on paper with precise techniques
Discoloured prints can be sensitively cleaned with a solution tailored to the precise needs of the artwork. This process will lift away contaminants, as well as any signs of foxing, mould, soot, nicotine or tape marks. Washing will also help to reduce the chances of foxing or mould returning to the piece, as long as it is kept in a clean and safe environment.
Above: our conservator treating a stained area on the back of a print
Watermarks or tide lines can also be gently removed with this process. Our conservation treatment will return the visual appeal to the print and allow it to be displayed with the knowledge that it is stable.
A torn or creased engraving can be sensitively restored and stabilised. Brittle and flaking areas can also be conserved and re-adhered into place to reduce continued deterioration or loss of the original paper.
Above: an example of a water damage engraving restored by our team
Speak To Our Team
Please contact us to discuss your restoration project, no matter how complex it may seem. Our team of experts is happy to help.
As part of our service we offer a nationwide collection and delivery service as well as information on worldwide shipping to our studio. E-mail us via [email protected] or call 0207 112 7576 for more information.
