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Feel the passion of William Hodges in our art prints.

Our art reproductions bring moments of comfort directly into your home.

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William Hodges
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Museum Quality Art Prints
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Österreichische Kunstmanufaktur Passionate Customer Service
Museum Quality Art Prints
Customization Options Available


The most popular works of William Hodges

These artworks are particularly popular with our customers.

Pagodas at Deogur, 1787 (aquatint)
1787 | aquatint

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The East End of the Fort of Mong...
1787 | aquatint

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The most popular works of William Hodges

These artworks are particularly popular with our customers.


Discover more artworks by William Hodges

Discover more artworks by William Hodges

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William Hodges
A View of Calcutta taken from Fo...
Undated | oil on canvas

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William Hodges
A Banyan Tree, from 'Travels in ...
1792 | engraving

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William Hodges
 
Undated | oil on canvas

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William Hodges
The Ice Islands on the 9th Janua...
1777 | engraving

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William Hodges
South-West Face of the Fortress ...
Undated | oil on canvas

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William Hodges
Inhabitants of New Caledonia, fr...
Undated | colour engraving

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William Hodges
Benares on the Ganges, 1787 (aqu...
1787 | aquatint

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William Hodges
 
1780 | oil on canvas

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William Hodges
A View Near Agra, c.1780
Undated | Gouache on paper

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William Hodges
Group of Indian musicians playin...
Undated | oil on canvas

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William Hodges
Page 32b New Zealand Portrait of...
1768 | red chalk

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William Hodges
Camp of a thousand men formed by...
Undated | oil on canvas

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William Hodges
Page 26 The Resolution and Adven...
Undated | watercolour

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William Hodges
Page 8 (a) View of Porto Santo e...
Undated |

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William Hodges
Jacques and the Wounded Stag: As...
1790 |

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William Hodges
Page 3 Profile of the Island of ...
Undated | pencil, pen and ink and wash

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William Hodges
Interior of the Pantheon, Oxford...
Undated | oil on canvas

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William Hodges
Seven Dials, Covent Garden
Undated | oil on canvas

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William Hodges
Storm on the Ganges, with Mrs Ha...
Undated | oil on canvas

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William Hodges
The Fort of Bidjegur, c.1784 (oi...
Undated | oil on canvas

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William Hodges
Portrait of Captain James Cook (...
Undated | engraving

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William Hodges
Pl. 12 A View of the Mosque at F...
Undated | coloured etching with aquatint

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William Hodges
Page 1 (a) Profile of the coast ...
Undated | pencil, pen and ink and wash

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William Hodges
The Forest of Arden, Act II, Sce...
Undated | lithograph

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William Hodges
Fatehpur Sikri Palace (gouache o...
Undated | gouache on canvas

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William Hodges
Otoo, King of O-taheite, illustr...
1777 | engraving

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William Hodges
Belmont, Avenue to Portia's Hous...
Undated | lithograph

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William Hodges
Page 25b/a Map and profile of Pa...
Undated | pen and ink and watercolour

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William Hodges
 
Undated | oil on canvas

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William Hodges
View of Calcutta, c.1790 (oil on...
Undated | oil on canvas

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William Hodges
 
1790 | oil on canvas

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William Hodges
The Marmalong Bridge, with a Sep...
Undated | oil on canvas

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William Hodges
Pl. 41 A View of the Cuttera bui...
Undated | coloured etching with aquatint

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William Hodges
Otley Bridge on the River Wharfe...
Undated | oil on canvas

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William Hodges
Omai, engraved by J.Caldwall, 17...
1777 | engraving

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William Hodges
Pl. 33 A View of the Fort of Ili...
Undated | coloured etching with aquatint

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William Hodges
Pl. 26 A View of the Gaut at Eta...
Undated | coloured etching with aquatint

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William Hodges
Page 19a Portrait of a native, 1...
1768 | red chalk

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William Hodges
View of the inside of a Zananah,...
Undated | engraving

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William Hodges
A View of a Hill Village in the ...
1783 | grey wash and graphite on two joined pieces of paper

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William Hodges
Page 18 Otaheite native, 1768-75...
1768 | red and white chalk

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William Hodges
A View of the Ruins of the Palac...
Undated | wash and graphite on paper

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William Hodges
A View of the Bridge at Ilionpoo...
Undated |

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William Hodges
View of a Mosque at Chunar Gur, ...
1786 | aquatint

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William Hodges
View near Fort Gwalior, India, c...
Undated | oil on canvas

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William Hodges
Page 24a Otago, chief of Amsterd...
1768 | red and white chalk

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William Hodges
Hill Village in the District of ...
1787 | aquatint

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William Hodges
 
1772 | oil on canvas

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William Hodges
Pl. 34 A View of the Bridge at I...
Undated | coloured etching with aquatint

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William Hodges
Seven Dials, Covent Garden oil o...
Undated | oil on canvas

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William Hodges
View of the Jungle, 1788 (aquatint)
1788 | aquatint

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William Hodges
Musjid at Jaunpur, 1786 (aquatint)
1786 | aquatint

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William Hodges
A view of the Mosque at Mounheer...
Undated | pencil, pen, ink and wash on paper

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William Hodges
View of Part of the City of Bena...
Undated | grey wash with brush and ink over pencil on paper laid on wash mount

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William Hodges
Page 17 Potatow, the Otaheite ad...
1768 | red and white chalk

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William Hodges
Conway Castle (oil on canvas)
Undated | oil on canvas

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William Hodges
A view of the Mosque at Mounheer...
Undated | aquatint

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William Hodges
View of an Indian Village with a...
Undated | grey wash, pen and black ink and graphite on laid paper

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William Hodges
A View of the Mosque at Futtipoo...
Undated |

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William Hodges
Captain Cook landing at Tanna
Undated | engraving

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William Hodges
 
1773 | Oil on panel

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William Hodges
Page 27 Ice Islands
Undated | watercolour

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William Hodges
A View of the Gaut at Etawa, on ...
Undated | aquatint

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William Hodges
A Mosque at Gazipoor, 1787 (aqua...
1787 | aquatint

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William Hodges
A view of part of the Tomb of th...
Undated | coloured aquatint

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William Hodges
Foster 94 (88) Aurangzeb's Mosqu...
Undated | oil on canvas

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William Hodges
Page 25b/d Profile of unidentifi...
Undated | pen and ink and wash

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William Hodges
Page 15 War canoe, Otaheite
Undated | pen and ink and watercolour

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William Hodges
A view of a Mosque, at Rajemahel...
Undated | coloured aquatint

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William Hodges
 
Undated | oil on canvas

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William Hodges
Study in Durham yard before the ...
Undated | chalk on paper

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William Hodges
The Pass of Sicri Gully (Sakriga...
Undated | grey wash and graphite with bodycolour on laid paper

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William Hodges
View from the Pass of Sakrigali ...
Undated | grey wash, pen and black ink over graphite on laid paper

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William Hodges
Page 30 Ice Islands
Undated |

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William Hodges
Page 32 Dusky Bay, New Zealand
Undated | watercolour

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William Hodges
Page 14 The Otaheite fleet at Ap...
Undated | pen and ink and wash

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William Hodges
Page 21 A Fishing canoe of the F...
Undated | watercolour

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William Hodges
Page 32a View, possibly of Dusky...
Undated | watercolour

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William Hodges
Page 20 A large sailing canoe of...
Undated | pen and ink and wash

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William Hodges
 
1783 | oil on canvas

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William Hodges
Pl. 18 A view of the Mosque at M...
Undated | coloured etching with aquatint

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William Hodges
The Resolution in a stream of pa...
Undated | wash and watercolour on laid paper

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William Hodges
Page 27a Ice Island
Undated | watercolour

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William Hodges
'Ruins of Llanthony Abbey', 1764...
1764 | oil painting

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William Hodges
 
Undated | oil on canvas

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William Hodges
A View of the Cuttera built by J...
Undated |

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William Hodges
A Mosque at Gazipoor, c.1781 (pe...
Undated | pencil, pen, ink and wash on paper

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William Hodges
Page 3a Chart of Port Praya in t...
Undated | watercolour, pen and ink

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William Hodges
Page 10 Table Mountain, Cape town
Undated | watercolour

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William Hodges
 
Undated | oil on canvas

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William Hodges
The landing at Erramanga (or Ero...
Undated | engraving

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William Hodges
View of the Rajmahal Hills with ...
Undated | grey wash, pen and black ink and graphite on paper

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William Hodges
The war boats of the island of O...
Undated | oil on canvas

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William Hodges
The landing at Tanna (Tana), one...
Undated | oil on panel

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Page 1 / 2



William Hodges

William Hodges

  October 28, 1744
  June 6, 1797
   •   Romanticism   •   Wikipedia: William Hodges

The great expeditions of the 18th century mark the appropriation of the world by the European powers. In addition to the scientific exploration of the world, tangible military and economic interests were at the forefront. With his circumnavigations around the world and his exploration of the Pacific Ocean, James Cook laid the foundation for the colonial expansion of the British Empire. The work of the cartographers filled the white spots on the world picture of that time and brought Europe into contact with the most diverse indigenous cultures. Especially the voyages from Cook to the South Seas and to the edge of Antarctica fired the imagination of the people in a country that was at the beginning of an epochal upheaval, the industrial revolution. Parallel to Cook's travelogues, a revolutionary technology, the steam engine, emerged in the industrial centres of England. The discoveries and modern technology formed the basis for the British world power.

As part of the expeditions, in addition to representatives of cartography, the natural sciences and ethnography, a representative of the visual arts always travelled with the expedition, who took on the task of providing the images of the new worlds. For William Hodges, until then known as a theatre and landscape painter, participation in James Cook's second South Sea voyage offered the opportunity to gain popularity and recognition. The selection of Hodges by the Royal Society therefore offered two opportunities. On the one hand, to be the first artist to create the new worlds, on the other hand, to start a new career in his home country after a successful return home. In 1772, two ships under the command of James Cook set off on their round-the-world voyage. After passing Cape Horn, the expedition sailed towards Antarctica and was the first ship to cross the Southern Arctic Circle. This pioneering achievement led, among other things, to a mountain in Antarctica today being named Hodges Knoll after the artist. The ships then set course for the South Seas and New Zealand. Hodges' sketches, which were created during the voyage of discovery, are characterised by the accuracy and detail with which they depict the lives of the locals. The South Seas pictures that appeared later provided Europeans with a place of longing that stood for peaceful and serene life beyond the constraints of civilization. After the return of the expedition in 1775, Hodges was given a position with the Admiralty to work out his sketches and make them into paintings or engravings. Cook's travelogues appeared with Hodges' engravings.

However, the paintings and engravings gave rise to a heated discussion among the expedition participants. The Prussian naturalists Georg and Johann Forster, who had accompanied the expedition scientifically, criticized above all the ethnographic inaccuracies in Hodges' paintings. In the conflict between the South Sea idyll and scientific accuracy, the British painter chose the former. Hodges served the longing of his contemporaries. Everything that contradicted this painting or the moral concepts of the time has only been preserved in the original sketches.

William Hodges

William Hodges
  October 28, 1744
  June 6, 1797
   •   Romanticism   •   Wikipedia: William Hodges

The great expeditions of the 18th century mark the appropriation of the world by the European powers. In addition to the scientific exploration of the world, tangible military and economic interests were at the forefront. With his circumnavigations around the world and his exploration of the Pacific Ocean, James Cook laid the foundation for the colonial expansion of the British Empire. The work of the cartographers filled the white spots on the world picture of that time and brought Europe into contact with the most diverse indigenous cultures. Especially the voyages from Cook to the South Seas and to the edge of Antarctica fired the imagination of the people in a country that was at the beginning of an epochal upheaval, the industrial revolution. Parallel to Cook's travelogues, a revolutionary technology, the steam engine, emerged in the industrial centres of England. The discoveries and modern technology formed the basis for the British world power.

As part of the expeditions, in addition to representatives of cartography, the natural sciences and ethnography, a representative of the visual arts always travelled with the expedition, who took on the task of providing the images of the new worlds. For William Hodges, until then known as a theatre and landscape painter, participation in James Cook's second South Sea voyage offered the opportunity to gain popularity and recognition. The selection of Hodges by the Royal Society therefore offered two opportunities. On the one hand, to be the first artist to create the new worlds, on the other hand, to start a new career in his home country after a successful return home. In 1772, two ships under the command of James Cook set off on their round-the-world voyage. After passing Cape Horn, the expedition sailed towards Antarctica and was the first ship to cross the Southern Arctic Circle. This pioneering achievement led, among other things, to a mountain in Antarctica today being named Hodges Knoll after the artist. The ships then set course for the South Seas and New Zealand. Hodges' sketches, which were created during the voyage of discovery, are characterised by the accuracy and detail with which they depict the lives of the locals. The South Seas pictures that appeared later provided Europeans with a place of longing that stood for peaceful and serene life beyond the constraints of civilization. After the return of the expedition in 1775, Hodges was given a position with the Admiralty to work out his sketches and make them into paintings or engravings. Cook's travelogues appeared with Hodges' engravings.

However, the paintings and engravings gave rise to a heated discussion among the expedition participants. The Prussian naturalists Georg and Johann Forster, who had accompanied the expedition scientifically, criticized above all the ethnographic inaccuracies in Hodges' paintings. In the conflict between the South Sea idyll and scientific accuracy, the British painter chose the former. Hodges served the longing of his contemporaries. Everything that contradicted this painting or the moral concepts of the time has only been preserved in the original sketches.





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+43 4257 29415
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Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00

Do you have any questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


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