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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. This print concerns Logic, shown as a hunter (for truth?) chasing an allegorical hare, representing a "Pblenia" (problem), with his two dogs, "Veritas" (truth), and "Falsitas" (falsity). Various logical terms are engraved about the image. What is particularly interesting is that this version of this image is a crude copy of earlier versions. What is most noticeable is that most of the terms are printed backwards. The carver cut the terms front reading, meaning they printed the other way, so that it is quite difficult to figure out the various terms except by comparing them to an earlier version of the print. This does, however, lend a certain charm to the print, as evidence of human failings in the sixteenth century. $350
John Francis Renault. “The British surrendering their Arms to Gen: Washington after their defeat at York Town in Virginia October 1781. To the Defenders of American Independence, this print is most respectfully inscribed by their Fellow Citizen. Jn. Fcis. Renault.” Philadelphia: Tanner, Vallance, Kearny & Co., 1819. 20 1/4 x 32 3/4. Engraving by Tanner, Vallance, Kearny & Co. and Wm. Allen. A strong strike. Margins top and sides, but trimmed to platemark at bottom. Professionally conserved. Overall as good as they come. Fielding:1567; American Battle Art: 29.
A rare and fascinating group portrait/allegory of the surrender of the British at Yorktown. Renault was assistant secretary to Count de Grasse, commander of the French navy at Yorktown, and he was involved as an engineer at the siege. As with many other Frenchmen, Renault was inspired by the nation whose independence he helped win, thus this grand image is his homage to that nation and its ideals. The participants for both sides are depicted across the foreground, the central focus of which is Cornwallis in the act of handing his sword to Washington. These portraits are surrounded by a plethora of allegorical symbols. In the background, soldiers and citizens can be seen in a field and to the right a village on a hill. To the left is a neo-classical victory column and a funeral urn inscribed with the names of war heroes and surrounded by muses and a cherub holding a copy of the Declaration of Independence. To the right is an image of a goddess wearing the cap of liberty and striking down her foes with lightning bolts. However, there are some historical inaccuracies. Cornwallis did not participate in the surrender ceremonies due to illness. The Irish General O’Hara led the conquered army carrying Cornwallis’ sword. O’Hara offered the sword to fellow European Comte de Rochambeau, who waved him toward Washington. Washington in turn pointed to a subordinate who had been designated to receive the surrender and the sword was therefore handed to General Lincoln, who the year before had surrendered his own sword at Charleston.
The print was beautifully engraved by the Philadelphia firm of Tanner, Vallance & Kearney, which was in business only from 1819 to 1823. This print must have been one of their first efforts. Their primary business was the engraving of banknotes. The firm was reasonably prosperous but ended with the death of one of its partners, John Vallance, in 1823. The remaining prints were turned over to Tanner’s brother, Benjamin, who had an engraving shop of his own, and he offered them for sale through an advertisement placed in a New England newspaper in 1824. It is not known if Benjamin Tanner acquired the original plate and printed copies of his own.
Such a large, elaborate allegory on the Revolution and its ideals would have been well understood by the public at the time. Few would have been able to afford such a large engraving, but its message spoke to all Americans. This beautifully engraved print is a superb example of art inspired by the rousing ideals and dreams of our nascent nation. $6,500
John J. Barralet. "America Guided by Wisdom: An Allegorical representation of the United States, denoting their Independence and Prosperity." Philadelphia, ca. 1815. First state, previous to Stauffer, 3115. Engraving by Benjamin Tanner. 15 1/8 x 22 3/8. Good impression. Trimmed to platemark as usual. Very good condition. Fowble, 324.
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
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
[Allegory to the Arts in America] Title page. From Delaplaine's Repository of the Lives and Portraits of Distinguished American Characters. Philadelphia: Rogers and Esler Printers, 1815-. Line engraving with stipple by Gideon Fairman.
Joseph Delaplaine wanted to publish portraits and biographies of great Americans to counter the current arguments that people and institutions in America were inferior to those in Europe. He included his contemporaries as well as early voyagers to reflect on the strong and adventurous spirits that were involved in the founding of the New World and the American Republic. $90
"Young America." New York: Currier & Ives, 1857-72. Small folio. Vignette. Ca. 12 x 10. Lithograph. Original hand color. Narrow margins. Some old cracking at edges, but overall very good. C:6834.
An interesting picture by Currier & Ives from around the middle of the nineteenth century. Blue eyed, proud, and wearing Red, White & Blue, this was at least some people's idea of what "young America" looked like. $275
"L'Enfant Prodigue." Credits read, "Peint par E. Dubufe." and "Gravé par Leon Girardet." Steel engraving. 23 x 43 (platemarks) plus margins. Copyrighted by M. Knoedler in Washington, D.C. in 1878. Published by Goupil in Berlin, Paris, London and La Haye and by Knoedler in New York. Expertly repaired tears: three into image and some others. Professionally conserved. Overall impression is strong and lovely.
Benezit cites Edouard-Louis Dubufe's (1820-1883) triptych, oil on canvas as located in New York in 1887. The painting was in the collection of A.T. Stewart. Sale of the painting was no doubt spurred by the appearance of this fine and large engraving based on the painting which was probably done in Paris. See: DeCourcy E. McIntosh"s "New York's Favorite Pictures in the 1870s" in The Magazine Antiques (April, 2004) illus. p. 118.
The central panel shows the prodigal son drinking, wenching and gambling, while the left panel shows him among the swine (of a different sort) and the right panel welcomed back by his forgiving father. The popularity of pictures from Europe, especially from Paris, was the most popular in New York. Sales were greater than for those of other countries--even works by American artists. $800
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