A collage drawing with "When was the future?" in the middle of the object. The words are cut out of pictures of trees and a city's skyline. The background of the collage is the view of of a tall building and a cutout of a youth doing a handstand is placed on the balcony. A picture of a tree is included by the person.
This sketch depicts a man in profile, facing toward his right. He wears a turban and an elaborate collar.
The drawing, perhaps an informal portrait, depicts a man whose features suggest his European origins. He wears, however, a turban and collar that indicate travels abroad, perhaps to India. The style of the drawing has been associated with the work of George Chinnery, a London-born painter who lived in India from 1802 until 1825 before relocating to China.
This is a black ink print on a cream colored background, filled with images of human heads.The upper portion contains a multitude of facial profiles with various features and expressions. At the bottom, there are seven men, depicted larger than the others and text at the bottom of the page identifying the figures on the left as "Characters" and the ones on the right as "Caricaturas". Between the fifth and sixth figures there is a simple line drawing of a face. Another line of text reads: " For a Farther Explanation of the Difference Betwixt Character and Caricatura See ye Preface to Jo. Andrews".
Hogarth created this print originally in 1743 as a receipt for advance orders of his "Marriage à la mode" series, but it was later issued as a print in its own right. He had been critcized as having portrayed figures in a an exaggered manner, like a caricature, and responded with this work as a comparison of "characters" versus "caricaturas". In the lower left area, Hogarth depicted characters from Raphael's tapestry cartoons with caricatures by Leonardo da Vinci, Annibale Carraci and a contemporary artist, Pier Leone Ghezzi, on the right. He also included a line drawing in this area to demonstrate the simple process for creating a caricature. The remaining area of the print is filled with faces with all manner of expression and appearance to show the subtlety of character portrayal. The text at the bottom refers to Henry Fielding's preface to the book, Joseph Andrews, published in 1742, in which Fielding had praised Hogarth as a comic history painter. " For a Farther Explanation of the Difference Betwixt Character and Caricatura See ye Preface to Jo. Andrews".