William Hogarth was an English painter, printmaker, pictorial satirist, social critic, and editorial cartoonist. His work ranges from realistic portraiture to comic strip-like series of pictures called "modern moral subjects", and he is perhaps best known for his series A Harlot's Progress, A Rake's Progress and Marriage A-la-Mode. Knowledge of his work is so pervasive that satirical political illustrations in this style are often referred to as "Hogarthian".
A Rake's Progress is a series of eight paintings by 18th-century English artist William Hogarth. The canvases were produced in 1732–1734, then engraved in 1734 and published in print form in 1735. The series shows the decline and fall of Tom Rakewell, the spendthrift son and heir of a rich merchant, who comes to London, wastes all his money on luxurious living, prostitution and gambling, and as a consequence is imprisoned in the Fleet Prison and ultimately Bethlem Hospital (Bedlam). The original paintings are in the collection of Sir John Soane's Museum in London, where they are normally on display for a short period each day.
A Harlot's Progress is a series of six paintings and engravings (1732) by the English artist William Hogarth. The series shows the story of a young woman, M. Hackabout, who arrives in London from the country and becomes a prostitute. The series was developed from the third image. After painting a prostitute in her boudoir in a garret on Drury Lane, Hogarth struck upon the idea of creating scenes from her earlier and later life. The title and allegory are reminiscent of John Bunyan's Pilgrim's Progress.
Colonel Francis Charteris, nicknamed "The Rape-Master General", was a Scottish soldier and adventurer who earned a substantial sum of money through gambling and the South Sea Bubble. He was convicted of raping a servant in 1730 and sentenced to death, but was subsequently pardoned, before dying of natural causes shortly afterwards.
Industry and Idleness is the title of a series of 12 plot-linked engravings created by William Hogarth in 1747, intending to illustrate to working children the possible rewards of hard work and diligent application and the sure disasters attending a lack of both. Unlike his earlier works, such as A Harlot's Progress (1731) and Marriage à-la-mode (1743), which were painted first and subsequently converted to engravings, Industry and Idleness was created solely as a set of engravings. Each of the prints was sold for 1 shilling each so 12 for the entire set, which is equivalent in purchasing power to approximately 80 GBP as of 2005. It may be assumed that these prints were aimed for a wider and less wealthy market than his earlier works. The originals currently reside at the British Museum.
Elizabeth Adkins, who was also known as Moll King, Moll Bird, Mary Godson, Mary and Maria Godson (1696–1747), was a prominent figure in London's underworld during the early 18th century. She owned King's Coffeehouse with her husband Tom King and she also allegedly worked in the sex trade and as a pickpocket.
Four Times of the Day is a series of four oil paintings by English artist William Hogarth. They were completed in 1736 and in 1738 were reproduced and published as a series of four engravings. They are humorous depictions of life in the streets of London, the vagaries of fashion, and the interactions between the rich and poor. Unlike many of Hogarth's other series, such as A Harlot's Progress, A Rake's Progress, Industry and Idleness, and The Four Stages of Cruelty, it does not depict the story of an individual, but instead focuses on the society of the city in a humourous manner. Hogarth does not offer a judgment on whether the rich or poor are more deserving of the viewer's sympathies. In each scene, while the upper and middle classes tend to provide the focus, there are fewer moral comparisons than seen in some of his other works. Their dimensions are about 74 cm (29 in) by 61 cm (24 in) each.
Sally Salisbury, real name Sarah Pridden and also known as Sarah Priddon, was a celebrated prostitute in early 18th-century London. She was the lover of many notable members of society, and socialised with many others.
The Society for the Reformation of Manners was founded in the Tower Hamlets area of London in 1691. Its espoused aims were the suppression of profanity, immorality, and other lewd activities in general, and of brothels and prostitution in particular.
Tom King's Coffee House was a notorious establishment in Covent Garden, London in the mid-18th century. Open from the time the taverns shut until dawn, it was ostensibly a coffee house, but in reality served as a meeting place for prostitutes and their customers. By refusing to provide beds, the Kings ensured that they never risked charges of brothel-keeping, but the venue was nevertheless a rowdy drinking den and a favourite target for the moral reformers of the day.
Jane Douglas, commonly known as Mother Douglas, was a brothel-keeper in mid-18th century London. Known at the time as "The Empress of the Bawds", her house in Covent Garden attracted customers from the higher echelons of society.
The Covent-Garden Tragedy is a play by Henry Fielding that first appeared on 1 June 1732 at the Theatre Royal, Drury Lane alongside The Old Debauchees. It is about a love triangle in a brothel involving two prostitutes. While they are portrayed satirically, they are imbued with sympathy as their relationship develops.
Betty Careless or Betsy Careless was a notorious prostitute and later bagnio-owner in 18th-century London. Probably born Elizabeth Carless, she adapted her name to better suit her profession. Her name, beauty and reputation made her, like Sally Salisbury before her, something of an archetypal courtesan for the popular culture of the day.
Charlotte Hayes was a highly successful brothel keeper in early Georgian London, and the owner of some of the city's most luxurious brothels in and around King's Place, in St James's.
Emblematical Print on the South Sea Scheme is an early print by William Hogarth, created in 1721 and widely published from 1724. It caricatures the financial speculation, corruption and credulity that caused the South Sea Bubble in England in 1720–21. The print is often considered the first editorial cartoon or as a precursor of the form.
Damaris Page also known as Damarose Page, was a London brothel keeper, entrepreneur and property developer, one of the most successful and famous prostitutes of her time.
Elizabeth Cresswell, also known as Mother Creswell and Madam Cresswell of Clerkenwell, was one of the most successful prostitutes and brothel keepers of the English seventeenth century. Starting with houses in Bartholomew Close, in the City of London and St Leonard's, Shoreditch, she built a widespread network of brothels across London, supplied with girls and women from across England. Her employees included the wives of soldiers pressed into service for Charles II and gentlewomen who had supported the Cavalier cause during the English Civil War and had since fallen on hard times. Her bawdy houses were favoured by King Charles and his court as well as powerful figures in government and city guilds. This position gave her a measure of immunity from prosecution and added to her profile as a caricature of iniquity and corruption.
Sarah "Sally" Lodge was an English prostitute and brothel-keeper in London. She had a high-class clientele and knew Alexander Pope and John Gay but lost everything in a confidence trick and ended her life as a barmaid in a public house in Wapping.
Harlots is a British-American period drama television series created by Alison Newman and Moira Buffini and inspired by The Covent Garden Ladies by British historian Hallie Rubenhold. The series focuses on Margaret Wells, who runs a brothel in 18th-century London and struggles to secure a better future for her daughters in an unpredictable environment.
Priss Fotheringham, was an English sex worker and madam from London who was described in a number of publications from the 1660s. One publication, The Wandering Whore, described her as the 'second best whore in the city'. A memorial plaque to her stands at the corner of Whitecross Street and Old Street in East London.
