A crowd of rotund stock brokers sit and stand around a table and against a wall with a clock. The broker centered in the front reads from a copy of the Gazette Extraordinary while some of the others peer over his shoulders looking for news, many where glasses and one uses a glass to read the print on the page. To his left at the table is a broker holding bank stock in his right hand, and another broker knocking over a bottle of Madeira at the table.
A copy after Hogarth’s print “Gin Lane” that first issued in 1751, with seven lines of text in letterpress below image warning of the evils of drinking gin: “The sin of drunkenness expels reason, drowns memory, distempers the body, defaces beauty … the root of all evil is drunkenness!
Printmaker: Marks, John Lewis, printmaker.
Title: To gin drinkers!! [graphic].
Publication: London : Published by J.L. Marks, 91 Long Lane, Smithfield, [between 1832 and 1855]
Copy in reverse of the first state of Plate 3 of Hogarth’s ‘The Rake’s Progress’ (Paulson 134): A room at the Rose Tavern, Drury Lane (after the painting at Sir John Soane’s Museum); to left, Tom, surrounded by prostitutes and clearly drunk, sprawls on a chair with his foot on the table; one young woman embraces him and steals his watch, another spits a stream of gin across the table to the amusement of a young black woman standing in the background; one woman drinks from the punchbowl; another is removing her clothes in order to perform “postures”; to the right, a harpist and a door through which enters a man holding a large dish and a candle, and a pregnant ballad singer holding a sheet lettered “Black Joke”; on the walls hang a map of the world to which a young woman holds a candle and framed prints of Roman emperors, all (except that of Nero) damaged. A second version of the paintings is at the Atkins Museum (Kansas City, Missouri).
Title: Revelling with harlots [graphic].
Publication: [London] : Publish’d wth. [the] consent of Mrs. Hogarth, by Henry Parker, at No. 82 in Cornhill, March 25, 1768.
Caricature of Queen Caroline, bedraggled and drunk as she sits slouched in an arm chair, her foot resting on a stool; she wears a hat with three ostrich feathers and around her neck hangs a small portrait (indistinct image) and holds a large glass of brandy while a servant (Alderman Wood wearing the fur-trimmed robes), his eyes cross-eyed, stands beside the chair in attendance with a decanter in hand.
A city scene with a line of poor men, women, and children lined up from a money lender’s shop to the “Temple of Juniper: Best gin”. In the background crowds stand at the doorways of the workhouse (right) and the county gaol (left).
Printmaker: Grant, C. J. (Charles Jameson), active 1830-1852.
Title: The drunkard’s progress [graphic] : from the pawnbroker’s to the gin shop from thence to the workhouse thence to the goal & ultimately to the scaffold.
Publication: [London] : [J. Kendrick], January 1st, 1834.
The more finished of the two wash drawing on recto shows a drunken tradesman (perhaps sailor or dustman) holding onto a post. Above him is written by the artist, “Niccup who are ye staring at. Take a little sober advice and go home for you seem to be beastly intosticated [sic].” On the verso, a graphite drawing of a baker(?). On the verso a pencil sketch of the same tradesman, unfinished.
Creator: Grant, C. J. (Charles Jameson), active 1830-1852, artist.
“A drunken party; four men drinking heavily in a tavern, one with a cloth over his head, the others gathered round him, a fifth laid out asleep on a table at left; on a barrel at right a statue group of Charity, echoing the poses of the main figures; numerous empty bottles in the foreground; after the painting by Hogarth”–British Museum online catalogue.