William Hogarth, Luke Sullivan

Moses Brought to Pharoah’s Daughter

1752–62

Image released under Creative Commons CC-BY-NC-ND (3.0 Unported)

License this image

In Tate Britain

Prints and Drawings Room

View by appointment

Artists: William Hogarth 1697–1764
Luke Sullivan 1705–1771
Medium: Etching and engraving on paper
Dimensions: Image: 390 x 505 mm
Collection: Tate
Acquisition: Transferred from the reference collection 1973
Reference: T01798

Display caption

Luke Sullivan trained as an engraver, and was employed as an assistant in the workshop of the printmaker and painter William Hogarth. In 1759 Sullivan published a set of views of noblemen's country houses, which he had both drawn and engraved himself. From 1764 onwards he also produced painted portraits - including a celebrated one of the actor David Garrick - and portrait miniatures (see cabinet 2: The Portrait Miniature in the Eighteenth and Nineteenth Centuries).

Gallery label, August 2004

Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

Catalogue entry

T01798 Moses Brought to Pharaoh's Daughter 1752–62

Etching and engraving 390×505 (15 3/8×19 7/8) on paper 465×619 (18 5/16×24 3/8); plate-mark 426×526 (16 3/4×20 11/16)
Writing-engraving ‘And the child grew & she brought him unto Pharaoh's daughter & he became her son. And she called his name Moses.|From the Original Painting in The Foundling Hospital Engrav'd by Will.^m. Hogarth & Luke Sullivan.| Published as the Act directs Feb.^ry 5 1752’
Transferred from the reference collection 1973
PROVENANCE Unknown
LITERATURE Paulson 1970, I, pp.218–19, no.193, II, pl.208

Engraved after the painting Hogarth presented to the Foundling Hospital in 1747, where it still hangs. It was first published in 1752 as a companion to ‘Paul before Felix’ (T01805). Both prints were re-issued in 1759 with the addition of some disparaging remarks about the paintings from Joseph Warton's ‘Essay on the Genius and Writings of Pope’, published in 1756, engraved at the bottom. They were issued again with the remarks erased after Warton had offered an apology in the second edition of his ‘Essay’ in 1762. Both this print and T01805 are from this last issue (fourth state, according to Paulson), after the lines relating to Warton had been removed.

Published in:
Elizabeth Einberg and Judy Egerton, The Age of Hogarth: British Painters Born 1675-1709, Tate Gallery Collections, II, London 1988