How coffee and coffee drinking have been celebrated in painting, engraving, sculpture, caricature, lithography, and music—Epics, rhapsodies, and cantatas in praise of coffee—Beautiful specimens of the art of the potter and the silversmith as shown in the coffee service of various periods in the world's history—Some historical relics
Coffee has inspired the imagination of many poets, musicians, and painters. In the seventeenth and eighteenth centuries those whose genius was dedicated to the fine arts seem to have fallen under its spell and to have produced much of great beauty that has endured. To the painters, engravers, and caricaturists of that period we are particularly indebted for pictures that have added greatly to our knowledge of early coffee customs and manners.
Adriaen Van Ostade (1610–1685), the Dutch genre painter and etcher, pupil of Frans Hals, in his "Dutch Coffee House" (1650), shows the genesis of the coffee house of western Europe about the time it still partook of some of the tavern characteristics. Coffee is being served to a group in the foreground. It is believed to be the oldest existing picture of a coffee house. The illustration is after the etching by J. Beauvarlet in the graphic collection at Munich.
William Hogarth (1697–1764), the famous English painter and engraver of satirical subjects, chose the coffee houses of his time for the scenes of a number of his social caricatures. In his series, "Four Times of the Day," which throws a vivid light on the street life of London of the period of 1738, we are shown Covent Garden at 7:55 A.M. by the clock on St. Paul's Church. A prim maiden lady (said to have been sketched from an elderly relation of the artist, who cut him out of her will) on her way home from early service, accompanied by a shivering foot-boy, is scandalized by the spectacle presented by some roystering blades issuing from Tom King's notorious coffee house to the right. The beaux are forcing their attentions upon the more comely of the market women in the foreground. Tom King was a scholar at Eton before he began his ignoble career. At the date of this picture, it is thought he had been succeeded by his widow, Moll King, also of scandalous repute.
Scene VI of the "Rake's Progress" by Hogarth is laid at the club in White's chocolate (coffee) house, which Dr. Swift described as "the common rendezvous of infamous sharpers and noble cullies." The rake has lost all his recently acquired wealth, pulls off his wig and flings himself upon the floor in a paroxysm of fury and execration. In allusion to the burning of White's in 1733, flames are seen bursting from the wainscot, but the pre-occupied gamblers take no heed, even of the watchman crying "Fire!" To the left is seated a highwayman, with horse pistol and black mask in a skirt pocket of his coat. He is so engrossed in his thoughts that he does not notice the boy at his side offering a glass of liquor on a tray. The scene well depicts the low estate to which White's had fallen. It recalls a bit of dialogue from Farquhar's Beaux' Stratagem (act III, scene 2), where Aimwell says to Gibbet, who is a highwayman: "Pray, sir, ha'nt I seen your face at Will's Coffee House?" "Yes sir, and at White's, too," answers the highwayman.
In the Club at White's Coffee House, 1733
From a painting in the series, "The Rake's Progress," by William Hogarth
After the fire, the club and chocolate house were removed to Gaunt's coffee house. The removal was thus announced in the Daily Post of May 3:
This is to acquaint all noblemen and gentlemen that Mr. Arthur having had the misfortune to be burnt out of White's Chocolate House is removed to Gaunt's Coffee House, next the St. James Coffee House in St. James Street, where he humbly begs they will favour him with their company as usual.