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Genuine, original William Hogarth engravings and etchings from Darvill's Rare Prints

William Hogarth was an English painter and printmaker who poignantly commented the English society of the eighteenth century with biting satire. The career and life of Hogarth were as unusual as his prints.

William was born as the son of a shopkeeper (his mother) and a schoolmaster and publisher. The youth of William was overshadowed by the chronic financial problems of his father, who was even imprisoned because of his debts. This humiliating experience formed Hogarth for the rest of his life.

Hogarth started an apprenticeship as a silversmith in 1714, but never finished it. He then tried his luck as an independent engraver for copper plates. His early commissions were for cards, book illustrations and single prints. In 1720, he registered at the John Vanderbank Art Academy. Around 1726 or earlier, he was taught painting by James Thornhill whose daughter he later married. He earned some reputation for theater decoration paintings.

Hogarth experienced his first big financial success with A Harlot's Progress, a series of paintings from which he produced engravings in 1732. Only the engravings survived. The paintings were lost in a fire in 1755.

A Harlot's Progress is a set of 6 prints about the hapless life of a prostitute. It was a completely new kind of genre prints that were referred as moral history subjects.

After the big success of A Harlot's Progress, Hogarth published a male counterpart series, A Rake's Progress - a story in eight plates showing the decline of a promising young man into a life of drinking and immoral behavior.

In 1743, the painting series Marriage à la Mode was completed. It is considered his masterpiece. In Marriage à la Mode Hogarth turned his satire on the follies of the upper classes. The theme of this series is about marriage for money. Although the prints of Marriage à la Mode sold well, the paintings did not. Therefore all prints designed afterwards, were created exclusively as print designs without any painted counterparts.

In 1747 followed the series Industry and Idleness, a moral story of an idle and an industrious apprentice in twelve plates.

In 1753 Hogarth wrote his book The Analysis of Beauty, a wrap-up of his artistic and esthetic principles.

Hogarth was a very controversial and individual character. Driven by a sense for justice, he missed no chance to get into a quarrel with his contemporaries. His most hated enemy was the British politician John Wilkes, whom he had ridiculed in one of his engravings. William Hogarth died on October 26, 1764.

 

Columbus Breaking the Egg
(click image for enlarged view of entire sheet)

"Receipt for the Election Prints"
and
"Columbus Breaking the Egg"

Original Copperplate Engraving/Etching from:
The Works of William Hogarth from the Original Plates Restored by James Heath, Esq., R.A.; With the Addition of Many Subjects Not Before Collected: To Which is Prefixed, a Biographical Essay on the Genius and Productions of Hogarth, and Explanations on the Subjects of the Plates by John Nichols, Esq., F.S.A.

London. Printed for Baldwin, Cradock & Joy, Paternoster Row
by Nichols and Son, Parliament Street
(1822)

Sheet size: approx. 24 1/2 x 18 5/8 inches
Plate size of "Receipt for the Election Prints": approx. 7 3/8 x 8 7/8 inches
Plate size of "Columbus Breaking the Egg": approx. 7 x 6 inches

Condition: Excellent, typical light age-toning of 200-year-old paper

$199.95



Columbus Breaking the Egg
(click image for enlarged view of entire sheet)


"Columbus Breaking the Egg"

Original Copperplate Engraving/Etching from:
The Works of William Hogarth from the Original Plates Restored by James Heath, Esq., R.A.; With the Addition of Many Subjects Not Before Collected: To Which is Prefixed, a Biographical Essay on the Genius and Productions of Hogarth, and Explanations on the Subjects of the Plates by John Nichols, Esq., F.S.A.

London. Printed for Baldwin, Cradock & Joy, Paternoster Row
by Nichols and Son, Parliament Street
(1822)


Sheet size: approx. 9 7/8 x 8 1/4 inches
Plate size: approx. 7 x 6 inches

Condition: Excellent, typical light age-toning of 200-year-old paper

$119.95

Columbus Breaking the Egg is a 1752 engraving (the above published in 1822) by English artist William Hogarth. Issued as the subscription ticket for his treatise on art, The Analysis of Beauty, it depicts an apocryphal tale (the "Egg of Columbus") concerning Christopher Columbus's response to detractors of his discovery of the New World. Hogarth uses the story as a parallel to what he considered his own discoveries in art. For more information, see Wikipedia's entry here.


"Receipt for the Election Prints"
(aka Crowns and Mitres)
(click image for enlarged view of entire sheet)


"Receipt for the Election Prints"
(aka Crowns, Mitres, Maces, &c)

Original Copperplate Engraving/Etching from:
The Works of William Hogarth from the Original Plates Restored by James Heath, Esq., R.A.; With the Addition of Many Subjects Not Before Collected: To Which is Prefixed, a Biographical Essay on the Genius and Productions of Hogarth, and Explanations on the Subjects of the Plates by John Nichols, Esq., F.S.A.

London. Printed for Baldwin, Cradock & Joy, Paternoster Row
by Nichols and Son, Parliament Street
(1822)

Sheet size: approx. 10 1/2 x 11 3/8 inches
Plate size: approx. 7 3/8 x 8 7/8 inches

Condition: Excellent, typical light age-toning of 200-year-old paper

$119.95



Crowns, Mitres, Maces, &c.
(click image to enlarge)

Crowns, Mitres, Maces, &c, &c.
[Receipt for the Election prints]


Original steel engraving from
"The Complete Works of William Hogarth"
(Mackenzie, London, 1870)

Sheet size: 8 3/4 x 12 1/4 inches
engraving on steel

Condition: Excellent

(note: entire sheet is too large to scan)

$49.95

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