William Hogarth & Simon Francois Ravenet

Marriage a la Mode: Plate 4 (The Domestic Life of Squanderfield's Bride)

William Hogarth and Simon Francois Ravenet, an original engraving, Marriage a la Mode (Plate 4): The fourth scene of Marriage a la Mode concentrates upon the domestic life of Squanderfield's bride. Beside her, lolling on a couch, is Silvertongue. Their gestures leave little doubt that an affair is in progress. To make the matter even clearer a black servant boy plays with a broken horned statue in front of them, suggesting that Squanderfield is cuckolded. Finally, the paintings deal with scenes of mythological or biblical sex. Silvertongue's portrait assumes a favorable position on the wall to the right.

To the extreme right a fat castrato is singing to musical accompaniment. One lady is enraptured by his voice. The expressions on the faces of the other characters range from boredom to vacuity.

Marriage a la Mode consists of six engravings first published by William Hogarth in 1745. Exploring the dire consequences of an arranged marriage, it examines both the foolish and dangerous natures of the aristocracy and the aspiring merchant class. Hogarth stated that he engraved the heads and faces in each scene. The backgrounds, however, demanded more technical expertise and he thus commissioned three French engravers working in London to complete the series. They are, Louis Gerard Scotin, born 1690 (plates 1 and 6), Bernard Baron, 1696-1762 (plates 2 and 3) and Simon Francis Ravenet, 1706-1774 (plates 4 and 5). Both Baron and Ravenet also assisted Hogarth in some of his other engraved sets.

Marriage a la Mode: Plate 4 (The Domestic Life of Squanderfield's Bride) was engraved by William Hogarth and Simon Francois Ravenet. This original engraving is printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. It is a fine, original example of the satirical art created by the British artist, William Hogarth. Marriage a la Mode: Plate IV; Paulson Catalogue #231, Third and Final State from Marriage a la Mode (Complete set of Six Original Engravings).

Original Line Engraving & Etching by William Hogarth and Simon Francois Ravenet

Marriage a La Mode, (Plate 4)

Plate 4, William Hogarth's fourth scene of Marriage a la Mode concentrates upon the domestic life of Squanderfield's bride.

# 17.- 'Marriage a La Mode' by William Hogarth (Complete Set of Six Original Engravings)
	Artist	Title & Artist	Medium	Date	Notes	-
01.-		Marriage a la Mode, Plate 1: Negotiations of matrimony for Squanderfield's son by William Hogarth and Louis Gerard Scotin.	Original Engraving	1745 (Heath Edition: 1822)	Paulson, Catalogue #228, Seventh and Final State.	Sold
02.-		Marriage a la Mode, Plate 2: Squanderfield's idleness and dissipated life by William Hogarth and Bernard Baron.	Original Engraving	1745 (Heath Edition: 1822	Paulson, Catalogue #229, Fifth and Final State.	Sold
03.-		Marriage a la Mode, Plate 3: The depraved entertainments of Squanderfield's life by William Hogarth and Bernard Baron.	Original Engraving	1745 (Heath Edition: 1822	Paulson, Catalogue #230, Third and Final State.	Sold
04.-		Marriage a la Mode, Plate 4: The domestic life of Squanderfield's bride by William Hogarth and Simon Francois Ravenet.	Original Engraving	1745 (Heath Edition: 1822	Paulson, Catalogue #231, Third and Final State.	Sold
05.-		Marriage a la Mode, Plate 5: Squanderfield fights a dying duel by William Hogarth and Simon Francois Ravenet.	Original Engraving	1745 (Heath Edition: 1822	Paulson, Catalogue #232, Fifth and Final State.	Sold
06.-		Marriage a la Mode, Plate 6: The Countess takes her life with an overdose of laudanum by William Hogarth and Louis Gerard Scotin.	Original Engraving	1745 (Heath Edition: 1822	Paulson, Catalogue #233, Third and Final State.	Sold

William Hogarth (London, 1697 - 1764)
#	Title & Artist	Medium	Date	-
01.-	An Election Entertainment by William Hogarth	Complete Set of Four Original Engravings	1755 - 1758 (Heath Ed)	Sold
02.-	Analysis of Beauty by William Hogarth	Complete Set of Two Original Engravings (Plate I & II)	1753 (Heath Ed)	Sold
03.-	A Midnight Modern Conversation by William Hogarth	Original Engraving & Etching	1732 (Heath Ed)	Sold
04.-	A Rake's Progress by William Hogarth	Complete Set of Eight Original Engravings	1735 (Heath Ed)	Sold
05.-	A Chorus of Singers by William Hogarth	Original Engraving & Etching	1732 (Heath Ed)	Sold
06.-	Battle of the Pictures by William Hogarth	Original Engraving & Etching	1743 (Heath Ed)	Sold
07.-	Boys Peeping at Nature by William Hogarth	Original Engraving & Etching	1730 (Heath Ed)	Available
08.-	Characters & Caricaturas by William Hogarth	Original Engraving & Etching	1743 (Heath Ed)	Sold
09.-	Credulity, Superstition and Fanaticism by William Hogarth	Original Engraving & Etching	1762 (Heath Ed)	Sold
10.-	Four Times of The Day by William Hogarth	Complete Set of Four Original Engravings	1738 (Heath Ed)	Sold
11.-	Four Stages of Cruelty by William Hogarth	Complete Set of Four Original Engravings	1750-1751 (Heath Ed)	Sold
12.-	Frontispiece to Taylor's Perspective by William Woollett & William Hogarth	Original Line Engraving	1761 (Heath Ed)	Sold
13.-	Gin Lane by William Hogarth	Original Engraving & Etching	1750-1751 (Heath Ed)	Sold
14.-	Illustrations for Samuel Butler's 'Hudibras' by William Hogarth	Complete Set of Twelve Original Engravings	1725 (Heath Ed)	Available
15.-	Industry and Idleness by William Hogarth	Complete Set of Twelve Original Engravings	1747 (Heath Ed)	Sold
16.-	John Wilkes Esquire by William Hogarth	Original Etching	1763 (Heath Ed)	Sold
17.-	Marriage a la Mode by William Hogarth	Complete Set of Six Original Engravings	1745 (Heath Ed)	Sold
18.-	Martin Folkes Esqr. by William Hogarth	Original Etching & Engraving	1742 (Heath Ed)	Available
19.-	Moses Brought to Pharaoh's Daughter by William Hogarth	Original Engraving & Etching	1752 (Heath Ed)	Available
20.-	Pit Ticket: The Cockpit by William Hogarth	Original Engraving & Etching	1759 (Heath Ed)	Available
21.-	Satire on False Perspective by Luke Sullivan & William Hogarth	Original Etching & Engraving	1754 (Heath Ed)	Sold
22.-	Scholars at a Lecture by William Hogarth	Original Line Engraving & Etching	1736 (Heath Ed)	Sold
23.-	Shrimps! by Francesco Bartolozzi & William Hogarth	Original Stipple Engraving	1782	Sold
24.-	Simon Lord Lovat by William Hogarth	Original Etching	1746 (Heath Ed)	Sold
25.-	Southwark Fair by William Hogarth	Original Engraving & Etching	1733 (Heath Ed)	Sold
26.-	Taste in High Life by Samuel Phillips & William Hogarth	Original Stipple Engraving	1808 (John Boydell Ed.)	Sold
27.-	The Company of Undertakers by William Hogarth	Original Engraving & Etching	1736 (Heath Ed)	Sold
28.-	The Distrest Poet by William Hogarth	Original Engraving & Etching	1736 (Heath Ed)	Sold
29.-	The Five Orders of Perriwigs by William Hogarth	Original Engraving & Etching	1761 (Heath Ed)	Sold
30.-	The Invasion: France, Plate I by William Hogarth	Complete Set of Two Original Engravings (England & France)	1756 (Heath Ed)	Sold
31.-	The Invasion: England, Plate II by William Hogarth	Complete Set of Two Original Engravings (England & France)	1756 (Heath Ed)	Sold
32.-	The Laughing Audience by William Hogarth	Original Engraving & Etching	1733 (Heath Ed)	Sold
33.-	The Politician by John Keyse Sherwin & William Hogarth	Original Engraving & Etching	1775 (Heath Ed)	Sold
34.-	The Sleepy Congregation by William Hogarth	Original Engraving & Etching	1736 (Heath Ed)	Sold
35.-	The Times by William Hogarth	Complete Set of Two Original Engravings (Plate I & II)	1762 (Heath Ed)	Sold
36.-	Time Smoking a Picture by William Hogarth	Original Engraving	1761 (Heath Ed)	Sold
37.-	William Hogarth Painting of the Comic Muse by William Hogarth	Original Engraving	1764 (Heath Ed)	Sold

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Title:	Marriage a la Mode: Plate 4 'The Domestic Life of Squanderfield's Bride' (Complete Set of Six Original Engravings)
Designer:	Hogarth, William (London, 1697 - 1764)
Engraver:	Ravenet, Simon Francis (Paris, 1706 - London, 1774)
Date:	1745 (Heath Edition: 1822)
Medium:	Original Line Engraving & Etching
Publisher:	William Heath, London
Note:	William Hogarth: The name of William Hogarth requires little in the way of an introduction. He is the unquestioned father of England's rich tradition of satire and remains one of the most original and lively minds in the entire history of British art. Famous for his paintings, Hogarth's engravings are even more paramount: the imagery from The Harlot's Progress, Marriage a la Mode, The Four Stages of Cruelty, The Four Times of the Day and a host of others are crucial to an understanding of eighteenth century art and culture. Yet Hogarth's art stretched beyond his time and his masterful engravings are as relevant to our society as they were to his. This original engraving and etching entitiled, Marriage a la Mode is plate # 4 from William Hogarth's set of six plates.
	Training first as an engraver, Hogarth became an independent illustrator as early as 1720. In his spare time he studied painting techniques, notably under Sir James Thornhill. By 1730 he established himself as a portrait painter. Yet at the same time Hogarth began creating sets of anecdotal pictures which brilliantly satirized society and its activities. The first such set, A Harlot's Progress (1732), gained for Hogarth a strong and lasting national reputation. During the following decades he both painted and engraved individual works and sets of images which forged the cornerstone for English satirical art. Such great masters as Rowlandson, Gillray, Heath and Cruikshank followed in Hogarth's footsteps.
	Simon Francois Ravenet (Paris, 1706 - London, 1774): An eighteenth century artist, Simon Francois Ravenet studied engraving and etching in Paris, under LeBas. After gaining a strong reputation for his skills in his native France, he was summoned to London in 1750 by none other than William Hogarth, in order to assist this famous satirical artist in the completion of his Marriage a la Mode set of engravings (plates 4 and 5). This original engraving is plate 4 (The Domestic Life of Squanderfield's Bride) from Hogarth's Marriage a la Mode set. Simon Ravenet then decided to work and reside permanently in London and, in 1766, he was made a full member of the Incorporated Society of Artists.
	During the 1760’s Ravenet’s services were in much demand. He was regularly commissioned by London’s major publisher, John Boydell, and was employed to engrave plates after the designs of Reynolds, Zoffany and Mercier. Ravenet also engraved the portraits of such eminent Englishmen as King George, Alexander Pope, James Thompson and David Hume. His art was equally esteemed in such diverse areas as landscape, figure studies and equestrian scenes.
	This original engraving is Plate 4 from William Hogarth's Marriage a la Mode. The fourth scene of Marriage a la Mode concentrates upon the domestic life of Squanderfield's bride. Beside her, lolling on a couch, is Silvertongue. Their gestures leave little doubt that an affair is in progress. To make the matter even clearer a black servant boy plays with a broken horned statue in front of them, suggesting that Squanderfield is cuckolded. Finally, the paintings deal with scenes of mythological or biblical sex. Silvertongue's portrait assumes a favorable position on the wall to the right.
Raisonne:	Ronald Paulson, Hogarth's Graphic Works, London, Yale University Press, 1965.
	Plate 4; Paulson #231, Third and Final State.
	Each engraving is the final state as listed by Paulson.
Source:	Heath Edition, London (Marriage-a-La-Mode, Set of Six)
Size:	Each engraving size is as listed by Paulson.
Note:	(Complete Set of Six Original Engravings)
	Unmatted
Condition:	Printed upon early nineteenth century wove paper and with large, full margins as published by William Heath in 1822. One should take note that Heath was the last publisher to print directly from Hogarth's original engraved plates. All 'Hogarth' prints appearing after this date are merely copies of these original graphic works of art. These original impressions contain some slight foxing in the margins. There is no foxing within actual plate mark. Plate I & II contain traces of water staining in the lower left margin about 1 1/2 inches from lower plate mark. Plate I contains a tear on the lower left margin which does not go into the plate. Plate IV also contains a very small tear on the left margin which does not go into the plate mark. Each engraving has been cleaned using archival methods. Else, they are finely printed impressions and in excellent condition throughout.
Price:	Sold - The price is no longer available.
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