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Gregor Reisch's Margarita Philosophica (Pearl of Wisdom) was an compendium of contemporary knowledge and science intended for young students. It included twelve sections: grammar, dialectics, rhetoric, arithmetic, music, geometry, astronomy and astrology, natural philosophy, the origin of things, powers of animal sensation, powers of the animal intellect, and moral philosophy. First published in 1503, it went through a number of editions through the sixteenth century, becoming one of the most influential works of the early Renaissance. Reisch (1467-1525) was a monk and prior of the Carthusian monastery at Freiburg, the confessor of Emperor Maximilian I, and the teacher of John Eck and Martin Waldseemüller. His Margarita Philosophica was influential not only because of its learned and encyclopedic yet accessible textual information, but because it was accompanied by numerous, delightful woodcuts illustrating the text. These are wonderful allegorical images from the early Renaissance.
The War of 1812 has often been called the "Second War of Independence," especially at the time. Following a series of naval victories and battles at Baltimore and New Orleans, Americans were infused with a new optimism based on a peace treaty that arranged for them to be left alone to develop their new country. This print uses symbols of republican virtues to express pride in the new country. Six lines of descriptive text explain that the focus is on Minerva, Goddess of Wisdom, who points to an escutcheon of the United States with the motto "Union and Independence," emblazoned on a shield held by America. Thrown down at their feet and behind them is a spear and shield with the visage of Medusa. To the right of this vignette is an equestrian statue of Washington at the entrance of a grand temple. To the left the god Mercury, representing commerce, points to proudly sailing ships to indicate his approval to the goddess Ceres, who holds wheat (a symbol of agriculture), while to her back are symbols of American industry: spinning, beekeeping, and plowing. This is a rich allegory to describe America.
We date this print at 1815 because that year marked the end of the War of 1812, and the message is appropriate for that time. Also, in that year Benjamin Tanner (1775-1848) entered a partnership with Vallance, Kearney & Company whose names are added to a later state of this print as described by David M. Stauffer. So the imprint, as well as the wonderfully strong lines, suggests that this printing is a first state. This print is after a drawing by John James Barralet (ca. 1747-1815), an Irish artist who came to Philadelphia about 1795. He had established a reputation as a landscape and historical artist in Dublin and London. When Barralet first arrived in Philadelphia he was hired as an engraver by Alexander Lawson and soon took up painting landscapes in and around Philadelphia. Among American engravers, Barralet is credited with inventing a ruling machine for work on bank notes. $3,200
Simpkins Clements. "The Glorious Battle of the Nile. From an emblematic drawing of large dimensions, presented to Lord Nelson on his arrival at Naples the 22d Septr. 1798, by the Baron de Fages, Vaumale Brigadier in the French King's Guards, and late Captain in His Brittanic Majesty's Service." From The Naval Chronicle. London: Bunney & Gold, 1800. 10 x 12 7/8 (plate marks). Engraving. With folds as issued. Tears and wear along folds repaired with archival tape. Overall very good condition.
A dramatic allegory of the Battle of the Nile, complete with mongrams of Horatio Nelson, obelisks, views of Gibraltar and Alexandria, surrounded by a decorative border listing the ships in teh fleet and their commanders. At the center, a lightning bolt assists in sinking the French ship, already broken, burning and being finished off by the British lion wielding a trident. A wealth of naval and national symbols abound, and mottoes in Latin, French and English adorn multiple banners. Interestingly, tigers flank the top cartouche which bears the adage "Fortuna Coronat Fidem" -- Fortune Crowns Faith. $225
Bernard Picart (or Picard). [Allegory of the Four Continents]. [Amsterdam:] 1719. 15 1/4 x 9 1/4 (neatlines) plus plate marks and margins, but trimmed to plate mark on left. Engraving. A strong strike.
Picart (1673 – 1733), a French engraver, studied under his father Etienne, as well as Benoit Audran and, after 1689, Sebastien Leclerc. In 1711 he settled in Amsterdam, and converted to Protestantism. There he developed a style more in tune with the Dutch tastes, but clearly based in a French method.
This illustration is characteristic of Picart’s cultural and religious liberalism. The allegory depicts Mercury presenting the four continents (Europe, Asia, Africa, and the Americas) as figures offering their own unique and precious gifts from all four corners of the world. Rich in iconography, the image boasts of the world’s diversity and new advances through travel to the New World and trade between Europe, Africa, and the Far East. The center of the image is focused on Europe holding the rudder of a ship highlighting the importance of shipping and trade with distance lands, and exploration in this age of discovery. America is represented rather savagely, yet bearing potential for the bounty of this new land. $450
Richard Corbould. "Botany." From Encyclopaedia Londinensis or, Universal dictionary of arts, sciences, and literature. London: J. Wilkes, March 1, 1805. Ca. 9 x 7 1/4. Stipple engravings with some line work by J. Chapman. Hand color. With light sticker mark in bottom margin. Otherwise, very good condition.
In the era of Enlightenment, books of knowledge, like Encyclopaedia Londinensis, took on a new importance and nobility in the scope of book publishing. Fine artists like Richard Corbould were employed to draw allegorical prints to embellish the volumes. Exalting the pursuit of knowledge, these allegorical prints draw on neo-Classical vocabulary to confer nobility on the studies of geography, botany, painting, and others. In classically-draped garments, female figures pose amid Roman architecture and artifact, employing the tools of investigation specific to their discipline. This wonderful image contains an allegory of the science of botany. $250
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"See from all Climes the Learn'd Their Incense bring." From The Gentleman's Magazine. London: Edward Cave, 1753. Engraving. 7 x 4 1/4 (image) plus plate marks and margins. With a title page and poem by Mr. Urban on completing his twenty-third volume. Very good condition.
A fascinating allegory making the point that Europeans were gaining in knowledge from their exposure to the rest of the world. The image shows the four continents personified accompanied by putti as they approach the god Mercury. The continents from right to left are Europe, Asia, Africa, and America (as an Indian). The putti hold riches associated with food, geography or lands, languages, fame in the form of a medallion, and on the foreground are a celestial map, a barometer and terrestrial globe. The idealized temple is the home of Mercury the messenger or European Civilization. A charming neoclassical artifact. $175
John Michael Enzing-Miller. "Family Monument From the History of our Country." New York: H.B. Sackmann & Sons, 1874. Engraving by J.M. Enzing-Miller. 21 7/8 x 29 7/8. Very good condition.
A wonderful allegory chock-a-block full of images "From the History of our Country." This print was issued in the midst of the Civil War and its purpose was clearly to present the glorious past of the United States as a graphic justification for the fight to preserve the country. The base of our history is rendered as the discoveries of Columbus-dated 1492 and with the explorer receiving the submission of Native Americans wearing the headdresses of the Plains Indians-and the Vikings-dated 1000 and depicted being shown the grapes from which they named Vinland. Just above is a line of early settlers, from the Pilgrims to a frontier family living in a hide hut. Above and to the right are scenes from the American Revolution, including a rather graphic image of the American Eagle ravaging the British Lion and Unicorn. In the upper left is a scene showing the growth and prosperity of the nation, with vast lands stretching off into the distance, a city on a river crowded with ships, and locomotives steaming by, while above this flies and American flag.
The entire image is crowned by a pyramid that mirroring the Acropolis, faced with the shields of the states of the union, and upon which stands line of fifteen Presidents, at the head of which Washington holds a hand on the Constitution, while covering his heart with his other hand. Seated nearby is a figure holding the Declaration of Independence, and flying above are goddesses of Liberty and Justice. In the distance, behind the Presidents, is shown the Capitol, with its new dome, surmounted by another large American flag. The artist, John Michael Enzing-Miller, who also engraved this impressive print, was a German-born painter who emigrated to America 1848, exhibiting his works at the National Academy and American Art Union. This print was a paean to his adopted country, and he intended the viewer of this teeming "Family Monument" of American history to be moved to wonder how anyone could wish to render the nation asunder. $1,800
F. Schummer & Co. "The Eternal Rock of the Roman Catholic Church." Baltimore, 1872. Lithograph by A. Hoen & Co. 19 5/8 x 25 5/8 (full sheet). Very good condition.
The (First) Vatican Council was summoned by Pope Pius IX (Giovanni Maria Mastai-Ferretti [1792-1878, pope from 1846]) in response to the rise of political liberalism in Europe, especially the Risorgimento by which the unification of Italy was accomplished, thus ending the existence of the Papal States and the "temporal power of the Pope." Meeting from 8 December, 1869, to 18 July, 1870, and besides important canons relating to the Faith and the constitution of the Church, the council decreed the infallibility of the pope when he defines a doctrine concerning faith or morals to be held by the whole Church. Such authority was asserted as descending upon popes as successors to the Apostle Simon Peter (petrus: rock). This doctrine was praised and criticized around the world, and the controversy was nowhere livelier than in the United States, where it meshed with questions of Catholic participation in American politics and, especially, of sectarian schools.
This print well illustrates the Roman Catholic position. In the center a massive rock is surmounted by St. Peter's Basilica, the seat of the popes, and bordered by the scriptural phrasing "…upon this rock …" At the base of the rock are eight vignettes from the life of Christ, each accompanied by a quotation from the Hebrew or Christian scriptures. The four evangelists appear in the corners. At the top are vignettes of the Annunciation of the Angel Gabriel to Mary and of Mary's Assumption into heaven, where she is being welcomed by God the Father, Christ, and the Holy Spirit in the form of a dove. To the left Christ presents the Keys of the Kingdom to Peter, behind whom stands the Pope with bishops and other clerics. To the right, Constantine points to his heavenly vision of a Cross surmounted by the words "In Hoc Signo Vinces" (In this sign shall you conquer), showing it to Charles V (1500-1558, the Holy Roman Emperor who issued a ban against Luther in 1521) and Henry II (St. Henry, 972-1024, Holy Roman Emperor), behind whom warriors are shown conquering under the banner of the Cross.
The Hoen Company in Baltimore was begun as E. Weber & Co by Edward Weber in 1835; Weber had learned lithography in Germany from its originator, Alois Senefelder. After Weber died in 1848 the firm was taken over by his nephew August Hoen. August Hoen, his cousin Ernest Hoen and Henry Hoen operated the business as A. Hoen & Co., renowned for medical and scientific illustrations for government publications, sheet music covers, views of Baltimore, innumerable maps, and miscellaneous commercial items. The firm continued in the lithography and printing business until filing for bankruptcy in 1981. Franz Schummer arrived in Baltimore in 1865, and operated as a "dealer in pictures" there in the1870s. $425
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