Editing William Hogarth (section)

===Early works===
[[File:William Hogarth - The South Sea Scheme.png|thumb|280px|right|''[[Emblematical Print on the South Sea Scheme]]'', 1721]]
[[File:HogarthWanstead.jpg|thumb|280px|right|''[[The Assembly at Wanstead House]]''. [[Richard Child, 1st Earl Tylney]] and family in foreground]]
Early satirical works included an ''[[Emblematical Print on the South Sea Scheme]]'' ({{Circa|1721}}, published 1724), about the disastrous stock market crash of 1720, known as the [[South Sea Bubble]], in which many English people lost a great deal of money. In the bottom left corner, he shows [[Protestant]], [[Catholic Church|Roman Catholic]], and [[Jewish]] figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride". The people are scattered around the picture with a [[willy-nilly (idiom)|sense of disorder]], while the progress of the well dressed people towards the ride in the middle shows the foolishness of the crowd in buying stock in the South Sea Company, which spent more time issuing stock than anything else.<ref>See Ronald Paulson, ''Hogarth's Graphic Works'' (3rd edition, London 1989), no. 43. For more details, see David Dabydeen, ''Hogarth, Walpole and Commercial Britain'' (London 1987).</ref>

Other early works include [[The Lottery (1724)|''The Lottery'' (1724)]]; ''[[The Mystery of Masonry brought to Light by the Gormagons]]'' (1724);  ''[[A Just View of the British Stage]]'' (1724); some book illustrations; and the small print ''[[Masquerades and Operas]]'' (1724). The latter is a satire on contemporary follies, such as the [[masquerade ball|masquerades]] of the Swiss impresario [[John James Heidegger]], the popular Italian [[Opera|opera singers]], [[John Rich (producer)|John Rich]]'s pantomimes at [[Lincoln's Inn Fields]], and the exaggerated popularity of [[Richard Boyle, 3rd Earl of Burlington|Lord Burlington]]'s protégé, the architect and painter [[William Kent]]. He continued that theme in 1727, with the ''[[Large Masquerade Ticket]]''.
[[File:William Hogarth - Self-Portrait - Google Art Project.jpg|thumb|''Self-Portrait'' by Hogarth, ca. 1735, [[Yale Center for British Art]].]]
[[File:Hudibras Triumphant - William Hogarth - 50-1929-10.jpg|alt=An engraving depicting Hudibras overcoming a fiddle player and placing him in the stocks. Above the stocks, the  fiddle and its case are displayed.|thumb|[[Hudibras]] Triumphant, one of the twelve engravings illustrating the adventures of Hudibras, a bumbling adventurer from [[Samuel Butler (poet)|Samuel Butler]]'s mock-heroic poem.]]
In 1726, Hogarth prepared twelve large engravings illustrating [[Samuel Butler (1612–1680)|Samuel Butler]]'s ''[[Hudibras]]''.
These he himself valued highly, and they are among his best early works, though they are based on small book illustrations.

In the following years, he turned his attention to the production of small "[[Conversation piece (paintings)|conversation pieces]]" (i.e., groups in oil of full-length portraits from {{convert|12|to|15|in}} high. Among his efforts in oil between 1728 and 1732 were ''[[The Fountaine Family]]'' ({{Circa|1730}}), ''[[The Assembly at Wanstead House]]'', ''[[The House of Commons examining Bambridge]]'', and several pictures of the chief actors in [[John Gay]]'s popular ''[[The Beggar's Opera]]''.<ref>Paulson, ''Hogarth'', vol. 1, pp. 172–185, 206–215.</ref><ref>Elizabeth Einberg, ''William Hogarth: A Complete Catalogue of the Paintings'' (New Haven and London: Yale University Press 2016), nos. 11, 20, 14, 13A–D.</ref> One of his real-life subjects was [[Sarah Malcolm]], whom he sketched two days before her execution.<ref>Einberg, ''William Hogarth: A Complete Catalogue of the Paintings'', no. 68.</ref><ref>[http://www.tate.org.uk/whats-on/tate-britain/exhibition/hogarth/hogarth-room-guide-room-8 Sarah Malcolm], The Hogarth Room, The Tate, retrieved 7 August 2014</ref>

One of Hogarth's masterpieces of this period is the depiction of an amateur performance by children of [[John Dryden]]'s ''[[The Indian Emperour]] or The Conquest of Mexico by Spaniards, being the Sequel of The Indian Queen]]'' (1732–1735) at the home of [[John Conduitt]], master of the mint, in St George's Street, [[Hanover Square, Westminster|Hanover Square]].<ref>Ronald Paulson, ''Hogarth'', vol. 2 (New Brunswick 1992), pp. 1–4.</ref><ref>Einberg, ''William Hogarth: A Complete Catalogue of the Paintings'', no. 63.</ref>

Hogarth's other works in the 1730s include ''[[A Midnight Modern Conversation]]'' (1733),<ref>Paulson, ''Hogarth's Graphic Works'', 3rd edition, no. 128.</ref> ''[[Southwark Fair]]'' (1733),<ref>[http://www.william-hogarth.de/Southwark.html Benjamin N. Ungar, "Take Me to the Southwark Fair: William Hogarth's Snapshot of the Life and Times of England's Migrating Early 18th Century Poor"].</ref> ''[[The Sleeping Congregation]]'' (1736),<ref>{{cite journal | url=https://doi.org/10.11588/artdok.00008020 | doi=10.11588/artdok.00008020 | year=2022 | last1=Krysmanski | first1=Bernd | title=Lust in Hogarth's 'Sleeping Congregation' : or, how to waste time in post-Puritan England | journal=Art History | volume=21 | issue=3 | pages=393–408 }}</ref> [[Before and After (Hogarth)|''Before'' and ''After'']] (1736), ''[[Scholars at a Lecture]]'' (1736), ''[[The Company of Undertakers]]'' (1736), ''[[The Distrest Poet]]'' (1736), ''[[The Four Times of the Day]]'' (1738),<ref>Sean Shesgreen, ''Hogarth and the Times-of-the-Day Tradition'' (Ithaca, New York: Cornell UP, 1983).</ref> and ''[[Strolling Actresses Dressing in a Barn]]'' (1738).<ref>Christina H. Kiaer, "Professional Femininity in Hogarth's ''Strolling Actresses Dressing in a Barn''," ''Art History'', 16, No. 2 (June 1993), pp. 239-65.</ref> He may also have printed ''Burlington Gate'' (1731), evoked by [[Alexander Pope]]'s Epistle to [[Richard Boyle, 3rd Earl of Burlington|Lord Burlington]], and defending [[James Brydges, 1st Duke of Chandos]], who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as [[Ronald Paulson]] no longer attribute it to Hogarth.<ref>See Paulson, ''Hogarth's Graphic Works'', 3rd edition, p. 35.</ref>