Joseph Porter

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Joseph Porter

Artist William Hogarth (English | British, 1697-1764)

Dateabout 1740-1745

Dimensions35 11/16 x 27 13/16 in. (90.6 x 70.6 cm)

Mediumoil on canvas

ClassificationPaintings

Credit LineGift of Edward Drummond Libbey

Object number

1926.54

On View

Toledo Museum of Art (2445 Monroe Street), Gallery, 27

Collections

Paintings

Published ReferencesNichols, J.Biographical Anecdotes of William Hogarth, London, 1785, p. 99.

Nichols, J., and G. Steevens, The Genuine Works of Hogarth, London, 1808, I, pp. 422-423, II, 1810, pp. 286-287, repr., III, p. 172.

Trusler, Works of William Hogarth, London, 1827, II, p. 9.

Hogarth, William, Anecdotes of William Hogarth by Himself, London, 1832, p. 381.

Dobson A., and W. Armstrong, Hogarth, London, 1902, pp. 185, 188, 232.

Dobson, A., Hogarth, London, 1907, pp. 209, 219, 280 (as Captain Coram).

Reade, A.L., Johnsonian Gleanings, London, 1935, pp. 109-110.

Toledo Museum of Art Museum News, no. 80, September 1937, repr. on cover.

Godwin, Blake-More, European Paintings in the Toledo Museum, 1939, p. 280, repr. p. 281.

Schoolman, R., and C. Slatkin, Enjoyment of Art in America, 1942, repr. pl. 587.

Art in America, vol. 36, no. 4, October 1948, p. 173, repr. on cover, and on p. 174.

Beckett, R.B., Hogarth, London, 1949, p. 59, pl. 58.

Godwin, Molly Ohl, Master Works, Toledo, 1953, p. 26, repr. p. 27.

Rogers, Millard F., Jr., "Gentlemen and Gentry," Toledo Museum of Art Museum News, new series, vol. 3, 1960, p. 28, repr. p. 27.

Constable, W.G., Art Collecting in the United States of America: An Outline of a History, London, T. Nelson, 1964, p. 130.

Mandel, Gabriele, L'opera completa di Hogarth pittore, Milan, 1967, p. 111, no. 171, repr.

The Toledo Museum of Art: A Guide to the Collections, Toledo, 1976, repr. p. 71.

Toledo Museum of Art, The Toledo Museum of Art, European Paintings, Toledo, 1976, p. 78, pl. 308.

Morse, John D., Old Master Paintings in North America: Over 3,000 Masterpieces by 50 Great Artists, New York, Abbeville Press, 1979, p. 180.

Einberg, Elizabeth, William Hogarth: a Complete Catalogue of the Paintings, New Haven, Yale University Press, 2016, no.132, p. 214-215, repr. (col.) p. 215.

Exhibition HistoryLondon, British Institution, 1814, no. 123.

London, British Institution, 1843, no. 171.

London, South Kensington Museum, Second Special Exhibition of National Portraits, 1867, no. 341 (as Captain Thomas Coram).

London, New Gallery, Exhibition of the Royal House of Guelph, 1891, no. 320 (as Captain Thomas Coram).

Toledo, The Toledo Museum of Art, Portraits and Portraiture Throughout the Ages, 1937, no. 18.

San Francisco, Golden Gate International Exposition, Masterpieces of Five Centuries, 1939, no. 129, repr.

Washington, Phillips Memorial Gallery, Emotional Design in Painting, 1940.

Montreal, Montreal Museum of Fine Arts, Masterpieces of Painting, 1942.

Northampton, Smith College, William Hogarth, 1944.

Northampton, Smith College, English 18th Century Painting, 1947.

Toledo, The Toledo Museum of Art, English Art of the 18th Century, 1948, p. 22, repr. (in connection with the Proceedings of the Humanities Institute, The Age of Enlightenment, sponsored by the University of Toledo and the Toledo Museum of Art).

London, Tate Gallery, Hogarth, Dec. 2, 1971-Feb. 6, 1972, no. 116, repr.

Label TextThis forthright portrait of the London merchant Joseph Porter (1688/89–1749) is an example of William Hogarth’s insistence on the individuality of his sitter rather than on stylistic convention. The seascape seen through the archway may allude to Porter’s trade with Hamburg, Germany, across the North Sea. Regarded as the leading English painter of the first half of the 18th century, Hogarth’s fame was largely based on his inventive series of paintings of social and moral satires, The Rake’s Progress and The Harlot’s Progress, prints after which were widely distributed.