her father,* nor accompanied with a for-
tune, compelled him to redouble his pro-
fessional exertions. His first large print
was Southwark Fair, a natural and highly
ludicrous representation of the plebeian
amusements at that period; but by the
Harlot's Progress, he in 1734, established
his character, as a painter of domestic his-
tory. When his wife's father saw the de-
signs,—their originality of idea, regularity
of narration, and fidelity of scenery, con-
vinced him that such talents would force
themselves into notice, and when known,
must be distinguished and patronized.
Among a great number of copies which
the success of these prints tempted obscure
artists to make, there was one set, printed
pn two large sheets of paper, for G. King,
Brownlow-street, which being made with
the author's consent, may possibly contain
* It seems probable that Sir James was very soon recon-
ciled, for we find in the Craftsman of March 10, 1732-3,
that when Kogarth painted the portrait of Sarah Malcolm,
Sir James ThornhiU was present.
tune, compelled him to redouble his pro-
fessional exertions. His first large print
was Southwark Fair, a natural and highly
ludicrous representation of the plebeian
amusements at that period; but by the
Harlot's Progress, he in 1734, established
his character, as a painter of domestic his-
tory. When his wife's father saw the de-
signs,—their originality of idea, regularity
of narration, and fidelity of scenery, con-
vinced him that such talents would force
themselves into notice, and when known,
must be distinguished and patronized.
Among a great number of copies which
the success of these prints tempted obscure
artists to make, there was one set, printed
pn two large sheets of paper, for G. King,
Brownlow-street, which being made with
the author's consent, may possibly contain
* It seems probable that Sir James was very soon recon-
ciled, for we find in the Craftsman of March 10, 1732-3,
that when Kogarth painted the portrait of Sarah Malcolm,
Sir James ThornhiU was present.