John Wilkes - William Hogarth
Archival giclée
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Description
A satirical etching by William Hogarth depicting the radical politician John Wilkes, complete with his iconic cap of liberty and The North Briton publications.
This etching by William Hogarth depicts the radical politician John Wilkes, a figure who became a symbol of resistance against the government of the time. Hogarth captures Wilkes in a seated pose, holding a staff topped with a cap of liberty. The composition is deliberate, placing Wilkes beside a table that holds copies of his publication, The North Briton, specifically referencing the controversial Number 45. The inclusion of these items serves to identify the subject through his political activities rather than merely his physical likeness.
Hogarth employs a sharp, biting line quality typical of his satirical works. The facial features of Wilkes are rendered with a degree of caricature, emphasising his distinctive squint and a knowing, almost mocking expression. The background is kept minimal, ensuring the focus remains on the figure and the symbolic objects he holds. This print functions as a visual commentary on the political climate of 18th-century Britain, where the press and public figures often engaged in heated debates regarding authority and personal freedom.
The technique demonstrates Hogarth's mastery of the copperplate medium. The cross-hatching and varied line weights create texture in the clothing and depth in the chair, while the clear, legible lettering on the documents provides necessary context for the viewer. As a piece of political satire, the work reflects the tensions between the establishment and those who sought to challenge it. It remains a clear example of how printmaking was used as a tool for public discourse during the Georgian era, allowing artists to disseminate their views to a wider audience beyond the confines of the gallery or the private collection.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
John Wilkes - William Hogarth
Artist Biography
William Hogarth
He was born in Smithfield, London, near the meat market. His father, a schoolteacher, was imprisoned for debt when William was a child. The experience of debtors' prison appears throughout his work. He apprenticed to a silver engraver and taught himself painting by copying old masters and observing London street life with the attention of a novelist.
He was shrewd about money and copyright. The Engraving Copyright Act of 1735 ('Hogarth's Act') was passed largely through his lobbying. It gave printmakers legal ownership of their designs for the first time, preventing pirated copies. He was protecting his income: the popular prints were his main revenue source.
He painted portraits, historical scenes, and the extraordinary Shrimp Girl, an unfinished head study of a street vendor that anticipates Impressionism by a century. The brushwork is loose, fresh, and immediate. It does not look like anything else painted in the 1740s. He also wrote The Analysis of Beauty (1753), a treatise on aesthetics that argued beauty derived from serpentine lines, which was mocked but was not wrong.
He died in 1764, at sixty-six. He is buried in Chiswick, west London. His tomb has a modest inscription. His influence on British satirical art, from Gillray to Banksy, has no inscription and no end.
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