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Albion College Archives
Guide to
MSS-0023 Inclusive Dates: 1593-1783 Provenance William
Hogarth's The Harlot's Progress Processed by Jennifer Thomas,
Archivist - March 2005 The literary rights to this collection are assumed to rest with the person(s) responsible for the production of the particular items within the collection, or with their heirs or assigns. Researchers bear full legal responsibility for acquisition to publish from any part of said collection per Title 17, United States Code. The Albion College Special Collections Unit may reserve the right to intervene as intermediary at its own discretion. These materials were purchased with monies acquired through Faculty Development Grants for Drs. Sally Jordan and Ian MacInnes, as well as Special Fund Requests through the Stockwell-Mudd Libraries. Materials associated with a 2003 exhibit of the collection are stored along with the collection materials for their added informational value. The Teaching Histories of Race & Gender Collection contains materials from the years of 1593-1783, the bulk of which is from 1745-1783. The collection consists of prints, all of which at one time were contents of larger volumes, that depict different perspectives and elements of race and gender throughout the world. This collection consists of three series:
Series II: Gender Series III: Race & Gender INVENTORY & DESCRIPTIONS Box 1, Series II [William Hogarth's The
Harlot's Progress
Print Collection] by William Hogarth (1697-1764) From, Hogarth, W. (1732). The harlot's progress. London: R. Montagu. 6 matted plates; 32 cm
Plate 2: Having acquired a wealthy keeper (probably a Jew - note the anti-Semitic stereotyping), Moll lives a luxurious life as his mistress. The monkey and black servant boy are fashionable exotic touches. The presence of the man sneaking out the door indicates that Moll has another lover. Plate 3: Cast off by her keeper, Moll has sunk to a much humbler setting. Her servant is now a crude syphilitic who has lost part of her nose to the disease. The switches on the wall may indicate that flagellation is now part of the service Moll renders. Instead of the dainty dressing table in the previous print, Moll now has a fine-toothed comb for lice and broken mirror sitting on a rough table. Instead of the exotic monkey, she has a suggestively posturing cat. Magistrates and constables enter the room to arrest her. Plate 4: Now in Bridewell Prison, Moll wearily pauses from beating hemp as the jailor threatens her with leg-irons. Writings on the pillory and the whipping-post promise punishment for idleness. Her servant laughs at a woman stealing some of Moll's finery as another woman squashes lice. Plate 5: Dying of veneral disease, Moll breathes her last as her son obliviously cooks his dinner and scratches his lice-ridden head. Two quack doctors argue over whose cure works better. A woman goes through Moll's belongings, and only her servant offers Moll any comfort. The barren, crumbling room is full of medicines for veneral disease, and the teeth sitting on the paper in the lower right corner testify to the results of one popular treatment, mercury. Plate 6: At Moll's funeral, prostitutes guzzle gin and brandy and use her coffin as a bar. The clergyman has his hand up a woman's skirt, and the undertaker helps another woman on with her glove as she picks his pocket. Moll's son, clad in funeral finery, plays with a top. The coffin-plate tells us that Moll lived only to be 23. Note, This series tells the story of an innocent young girl from the country who falls into prostitution and disaster. It satirizes vice and vanity but also points out the vulnerability of women in a brutal urban world. Box 1, Series II
[George Henry Millar Print Collection]
by George Henry Millar From, Millar, George Henry. (1782). New and universal system of geography: Being a complete modern history and description of the whole world...including the ancient and present state, of all the various countries of Europe, Asia, Africa, and America. London: Alex Hogg. 2 plates, 1 mat; 38 cm
#2 A female of Morocco. Woman with bare arms, shoulder and neck Note, These pictures attest to England's interest in the exotic at this period. Lady Mary Wortley Montagu, who lived in Turkey for several years, claimed that although veils similar to that depicted here might seem to indicate female oppression, they actually allowed women greater freedom: "The perpetual masquerade gives them entire liberty of following their inclinations without danger of discovery." Box 1, Series III [Allain Manesson-Mallet Print Collection] by Allain Manesson-Mallet (1630?-1706?) From, Manesson-Mallet, A. (1683). Description de l'univers, contenant les differents systemes di monde, les cartes generales & particulieres de la geographie ancienne & moderne. Paris: D. Thierry. 6 matted prints; 39 cm #1 Nigeria: Man and woman in traditional dress. #2 North Africa: Man and woman in traditional dress. #3 Nigeria: Man, woman, child in traditional dress. #4 Nigeria: 'Naogani r(oi) des Negres'. [Zaogani, king of the Negroes] #5 Nigeria: 'Peuples de Guinee'. [People of Guinea] #6 Chile: Man and woman in traditional dress. Note, Mallet's Description of the Universe was a monumental effort, combining geography, cartography, and anthropology. In its insistence on comprehensive description it looked forward to the enlightenment. Its depictions of non-Europeans are affected by the emerging idea of the noble savage but also by a nascent economic imperialism. Box 2, Series I [Theodor de Bry's Grand Voyages print collection], 2nd German ed. by Theodor de Bry (1528-1598) From, De Bry, T. [After Jacques Le Moyne de Morgues' Grand Voyages]. (1593). Americae pars quarta. Sive, insignis & admiranda historia de reperta primum Occidentali India à Christophoro Columbo...Hieronymi Bezoni Mediolanensis. Frankfort: de Bry.
#2 Indian rowing out to greet Spanish. #3 Treatment of Negroes in the New World. Punishment of slaves #4 How they deal with prisoners. Preparing the dead to be eaten. This print is an illustration from Hans Staden's captivity among the Tupinamba cannibals of Brazil. It is based on a woodcut first issued in 1557. #5 The cruelties of DeSoto. #6 How they fell sick. #7 Native dance in Nicaragua. Note, These illustrations are from DeBry's version of Girolamo Bezoni's history of the Spanish in America. Bezoni's account is based on direct experiences in fifteen years of travel in the Spanish territories. These prints some of the first authentic graphic images of the Americas. Box 2, Series I
[Inhabitants of Tierra del
Fuego Print Collection] by William Frederick Martyn From, Martyn, William Frederick. (1783). The geographical magazine; or, a new, copious, compleat, and universal system of geography. Containing an accurate and entertaining account and description of the several continents, islands, peninsulas, isthmuses, capes, promontories, lakes, rivers, seas, oceans, gulphs, and bays of Asia, Africa, Europe, and America...With a concise history of each country, from the earliest periods... London: Harrison & Co. 1 matted plate; 45 cm
Box 2, Series I Ceremony of treading on the crucifix, and other images, at the beginning of the year, in Nagasaki, the imperial city of Japan. (1780). London: Alex Hogg. 1 matted plate; 50 cm
Box 2, Series I
[South African Hottentot Print
Collection] From, Histoire generale des voyages, ou nouvelle collection de toutes les relations de voyages par mer et par terre. (1748). Compiled by the abbe Prevost. Paris: Didot. 3 matted plates; 46 cm
#2 Hottentot Namaquas. Travel writers divided the native peoples of South Africa into various groups; these groups differed to some extent from author to author, but the Hottentot was almost always seen as the most brutish and barbaric. The Namaquas are presented here rather differently from the way the Hottentots are, in the other two prints from this group. They are richly, though scantily, dressed, and they wear rather elaborate jewelry. One of the men is carrying a spear and a bow and arrows, weapons familiar to Europeans from their own fairly recent past. The people stand in more classical postures that Europeans would consider more graceful. They are also in an attractive, pastoral setting. #3 Hottentot marriage drawn from Kolben. Early anthropological accounts were especially interested in ceremonies and rituals. This print shows a group of men and women in a crouching position surrounding a standing man with his back to the viewer, presumably the groom. Most of the surrounding figures are wearing some jewelry, and they are clothed to various degrees. The groom is wearing a cloak that covers his back fairly fully. A woman, presumably the bride, crouches before him, her arms crossed over her chest. She is entirely naked except for the rings around her lower legs. (Many writers claimed these rings were made of animal guts) As with the print of dancers, these figures are not dehumanized, but they are clearly marked by posture, clothing, and facial features, as well as by color, as non-European. Box 2, Series II
[William Hogarth's Marriage a la
Mode Print Collection] by William Hogarth (1697-1764) 6 matted plates; 40 cm; 1745
Plate 2: The morning after the grand entertainment. Husband and wife have returned home after evenings spent apart. The husband ignores his wife's attempts to attract his notice by displaying her ankle. She has hosted a fashionable card party, while he has been less innocently occupied, as indicated by the woman's cap that the dog is pulling from his pocket. The walls are decorated with elaborate bad taste, and a Methodist steward rolls his eyes at the stack of unpaid bills. Plate 3: Quack doctor's studio. Young Squanderfield has gone to a quack doctor seeking a cure for his veneral disease (note the large spot on his neck). Appropriately, the pill box nestles between his legs. The weeping child is perhaps his mistress, indicating how depraved his tastes have become. The angry woman may be another mistress angry at having contracted his disease, or she may be the child's procuress. Plate 4: Boudoir of the countess. Lady Squanderfield is now participating in the fashionable follies of the day. She ignores the guests and the singing of the Italian castrato at her levee, attending only to the lolling lawyer Silvertongue. The black servant-boy points suggestively to the horns on a figurine, indicating that Squanderfield is being cuckolded. Plate 5: The husband, the wife, and the lover. Young Squanderfield has discovered his wife in bed with Silvertongue, who has wounded him in the ensuing duel and is climbing out the window. The wife kneels to beg forgiveness. Plate 6: Suicide of the countess. Her husband dead and her lover hanged (note the paper on the floor), Lady Squanderfield has gone back to her father's house and poisoned herself. As she lies dying, a servant holds her daughter (who seems to suffer from hereditary syphilis) up for a last kiss, and her father coldly removes a ring from her finger. Note, This series satirizes "Modern Occurrences in High-Life." An aristocrat who has run out of money forces his son into marriage with the daughter of a wealthy middle-class merchant. Box 2, Series II
[Theatrum Mulierum Print
Collection] by Wenceslaus Hollar (1607-1677)
From,
Hollary, W. (1649). Theatrum mulierum, sive, Varietas atque
differentia habituum foeminei sexus, diuersorum Europae nationum
hodierno tempore vulgo in vsum. London.
#2 Civis Artificis Londinensis Uxor. #3 Mulier Anglica habitans in Pago. #4 Civis Londinensis meloris qualitatis Uxor. #5 Mulier Hibernica. [Iris woman] #6 Nobilis Mulier Anglica. [English noblewoman] #7 Mulier Generosa Anglica. [English gentlewoman] #8 Nobilis Mulier Anglica. [English noblewoman] from a work devoted to women of different classes and regions. Box 2, Series III [Africa Print Collection] by Thomas Salmon (1679-1767) 2 matted prints; 51 cm; [1753]
#2 Negro women in different dresses. Negroes climing [sic] palm trees. A Negroe [sic] playing on the ballard or balafo. Hutts [sic] of the Negros [sic]. This print shows an early interest in anthropological study, depicting several aspects of life among these people. The division of the page into several boxes concords with 18th century efforts to categorize and systematize. The people look tidy and content, and are less "other"-looking than in some representations of black people. Africans in art |
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