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A group of perspective views of New York City during the American Revolution. A perspective view, or "vue d'optiques," was a special type of popular print published in Europe during the eighteenth century. These prints were a form of entertainment meant to be viewed through a device called an "optical machine" or an "optique." This machine used a lens to enhance for viewers the magnification and perception of three-dimensional depth of the prints. A mirror was often used so that the perspective prints could be viewed when laid flat, and this meant the image was viewed in reverse, which explains the appearance of a super-title above each image, printed in reverse so it would be readable when viewed through the optique. The titles are printed "right reading" at the bottom, in two languages as the prints were sold throughout Europe. [ Go to page with other perspective views of all parts of the world ]
A number of perspective prints depicted the American Revolution for a European audience hungry for news of the strange events in the British colonies. These four prints, produced in Germany, were supposed to display events in New York City. The images are not, however, accurate, but rather are creations of the artist's mind based on the accounts he would have received. The street scenes, for instance, are based on a typical European city of the day, not New York City. The prints do, however, beautifully reflect the European understanding of events across the Atlantic, events that were of great interest to Germans, French and the British when these prints were produced.
A series of contemporary prints of the American Revolution from Edward Barnard's History of England. This delightful history was described on one of the prints as "A Work Universally Acknowledged to be the Best Performance of the Kind,-on account of It's Impartiality, Accuracy, New Improvements, Superior Elegance, &c." It was issued at the end of the eighteenth century in response to the growing demand for works on all subjects by a newly educated reading public in England. The history was full of prints on all aspects of English history, including these images of the the Revolution.
Go to page with listing of other prints from Barnard's History
Robert Pollard. "Lieutenant Moody." London: R. Pollard, 19 February 1785. Aquatint by R. Pollard. Original hand color. 15 x 20 1/2. Trimmed just within plate marks, but all text and image is present. Small spot and short repaired tear in text area. Otherwise, very good condition.
Lt. James Moody (d. 1809), an officer in the 1st. battalion of New Jersey Volunteers, is said to have struck terror into the hearts of New Jersey Whigs. According to the text below the title, Moody heard of the imprisonment of a British soldier who had been captured by the Americans and falsely convicted of a capital crime. In May 1780, Moody made a daring nighttime raid on the jail, freeing the soldier and escaping the "rebel" pursuit. This image is beautifully rendered, showing Moody and his men unshackling the prisoner, who could not believe he was being freed. The scene is particularly dramatic with the central tableau lit only by candlelight. Not long after the event shown here, Moody was himself captured by troops under the command of Gen. Anthony Wayne and placed in irons in a rock dungeon at West Point. This rare British print is unusual in extolling the virtues of an American Tory. $1,600
James Trenchard. "Amelia: or the faithless Briton." From The Columbian Magazine. Philadelphia: October, 1787. Engraving by J. Trenchard. 5 x 3 3/4. Accompanied by text. Very good condition. Cresswell, 344.
This scarce piece of contemporary historical fiction about the American Revolution is from a novel serialized in Charles Willson Peale's magazine, Columbian Magazine. Amelia, a virtuous girl from a farm in New York, has been seduced by a British officer named Doliscus. When she had a child by him, he tries to escape to London, but she follows him. He spirits her away from his London estate and leaves her in a distant slum. The picture shows Amelia about to take her own life with a cup of laudanum when her father, Horatio Blyfield, enters the door. "(To be continued)." $125
"The Distressed Mother." London: G.G.J. & J. Robinson, July, 1788. "Engraved for the Lady's Magazine." Engraving. 6 1/4 x 4 1/4 (plate marks). Light smudge at left. Otherwise, very good condition.
A scarce and unusual picture, issued in Lady's Magazine, showing sentiments in England following the American Revolution. This escapist piece of fiction describes a young woman with child whose husband was serving in the "American War." She received a letter from him saying that he was wounded, but then later was informed by the government that he was dead. After suffering a number of reverses she was about the kill herself and her infant, when at that very moment her husband miraculously appeared and saved her. He sold his commission to be with her and live happily ever after. Ref.: not found in any source we have studied on the American Revolution. $125
"A View of St. John's upon the River Sorell in Canada, with the Redoubts, Works &c. Taken in the Year of 1776, during the late War in America." From Thomas Anburey's Travels Through the Interior Parts of America. London: William Lane, 1789. Engraving. 7 3/4 x 15 3/4. Complete margins; close and remargined at left. Very good condition. Cresswell: 349.
Thomas Anburey was one of Burgoyne's officers who wrote a memoir that was designed to defend his commanding officer and himself from those critical of the British defeat at Saratoga. Historians have criticized Anburey for copying from the writings of Burgoyne, Smyth, Henley and others, but that was the method of the day. What sets Anburey's work apart from others is the fascinating plates showing encampments and scenes from the British viewpoint during the American Revolution. This print shows St. John's, a settlement strategically located on the Richelieu or Sorell River between Lake Champlain and the St. Lawrence River. It consisted primarily of fortifications. The British built ships there for use on Lake Champlain. Brig. Gen. Richard Montgomery led an attack on the fort, capturing it in November, 1775, but the British retook St. John's the following year. $850
"View of Bunker's Hill." From Gentleman's Magazine. London: February, 1790. Engraving. 4 3/8 x 6 1/2. Very good condition. Cresswell, 510. With original issue of magazine.
In 1790, the Rev. Mr. J. Elderton sent to the editor of Gentleman's Magazine a "pretty drawing of Bunker's Hill, with the encampments of the Generals Howe and Clinton; and Charles Town, as it appeared after being burnt by our troops." The drawing "is by an officer who was in the 22d regiment at the time." This engraving is thus based on one of the very few contemporary images of Bunker Hill after the famous engagement of June 16, 1775. The view is from Boston, which is represented by a few buildings and a ship at the wharf. Across the Charles River are shown the hills arising just behind the burned out town of Charlestown. In the woods on Bunker's Hill are shown two encampments of British troops, those under Howe and Clinton. As this image would have found an audience eager to see scenes of the late war, so too it provides the modern audience with a fascinating contemporary glimpse of this seminal battle of the American Revolution. $425
John Graham. "...the Burial of General Fraser..." London: John Jeffreys, 1 May 1794. Engraving by W. Nutter. 16 3/4 x 23 1/4. Lovely hand color (probably period). Trimmed to image top and sides and just below title at bottom. Fully conserved and lined. Overall, very good condition and excellent appearance.
A rare British print of a poignant event in the American Revolution. In June 1777, Major General John Burgoyne began his campaign, with over 7,000 troops, heading south from Canada down the Lake Champlain/Hudson River valley in an attempt to cut off the New England rebels from those to the south. Though his troops fought bravely, the hostile wilderness and overwhelming number of opponents soon led him into dire straights. The commander of Burgoyne's advance corps, General Simon Fraser, was conspicuously brave and successful in a number of actions. On October 7, 1777, while leading his troops during the "2nd battle of Saratoga" at Bemis Heights, Fraser was targeted by American sharpshooters and fatally struck by a musket ball. Fraser's last wish was to be buried on the spot he had died defending. Fraser was adored by his companions and men and Burgoyne resolved to carry out this request despite the difficult circumstances.
As evening fell, a burial party carried Fraser's body out to the redoubt where he had been shot, which then lay between the opposing lines. Despite heavy fire by the Americans, the brave British officers, chaplain and surgeon solemnly went about their sad task. When the Americans finally realized the nature of this group of mourners, firing ceased except for a lone cannon which continued to fire at intervals in honor of the brave Fraser. This stirring occurrence became a popular subject in England, spurring John Graham in 1791 to paint a heroic image of the burial, all the individuals painted with careful likenesses. John Jeffreys then commissioned W. Nutter to produce this superb engraving of Graham's image. The identified figures are, from left to right: Earl of Harrington; General Burgoyne; Major-General Phillips; Reverend Brudenell; Captain Green; Lieutenant Colonel Kingston; Major Fraser; Mr. Wood, Surgeon; Earl of Balcarres; Major General Riedesel. $2,400
John Trumbull. "The Battle at Bunker's Hill, or the Death of General Warren." No publisher nor date, but between 1798 and 1817. Engraving by John Norman. 19 1/2 x 29 1/2. Printed from two plates, joined down center. Print laid onto canvas, at one time on stretcher within frame. Some darkening to paper, but overall very good condition. Stauffer: 2359.
A very rare and fascinating engraving of John Trumbull's famous image of the battle of Bunker Hill. The drama of the battle is strongly presented in this large scale print after Trumbull's painting. The British forces are seen cresting the last defenses of the rebels, who continue to fight on bravely. Maj. Gen. Joseph Warren is shown lying mortally wounded, while one of his companions and British officer Maj. John Small restrain a 'lobster back' from bayoneting him. Trumbull was uniquely qualified to produce a painting of this event for during the battle he was stationed in Roxbury on the far side of Boston from Charlestown, whence he could hear the sounds of the battle, and he personally knew many of the participants.
After Trumbull left the army, he eventually found his way to the London studio of Benjamin West under whom he studied. Inspired by this master, Trumbull conceived the notion of a series of paintings on the history of his country. It was difficult to make a living from the sale of such paintings, and Trumbull realized there was a greater chance of profit to be made from selling engravings after the paintings. Trumbull thus had engravings made of two of his paintings, the Battle of Bunker Hill and the Death of General Montgomery, which were engraved and published in Europe near the end of the century.
Unfortunately, these did not sell well and so Trumbull discontinued his planned series of prints, though in 1823 he did commission an engraving, by American Asher B. Durand, of his canvas of the Declaration of Independence. It is generally thought that Trumbull had only these three engravings, the two European-made ones and the one by Durand, done of his historical paintings, but it may be that he was involved in the production of this American-made engraving of "The Battle Bunker Hill, or the Death of General Warren." The true history of this print is something of a puzzle.
The print was engraved by John Norman, who trained as an engraver in London and emigrated to Philadelphia in 1773, where he continued in this trade, producing mostly small prints. In 1781, Norman moved on to Boston where he was particularly involved in engraving maps, becoming an important figure in the Boston chart trade. One of his most important works was the twelve plate "An Accurate Map of the Four New England States," published in Boston in 1785, and he also engraved plates for Mathew Clark's Charts of the Coast of North America, in 1789.
At first glance it appears that what we have with the Norman print of the Battle of Bunker Hill is something fairly common of the period, a crude attempt at copying a European-made engraving. Certainly many of Norman's other plates were such copies and this engraving of Bunker Hill appears to fit this picture. The problem with this is that the Norman engraving really doesn't fit this model that well. A separately issued print like this would have been produced on speculation, with the intent of making money from sales, and who would have had the resources and interest in paying for such a print? This was not just a cheap copy of Trumbull's image, but a large, elaborate and clearly expensive print. There is no evidence that Norman himself had the resources to undertake such an expensive proposition nor does it seem he ever had any inclination for such ventures. It also doesn't make sense that anyone else would have commissioned such an elaborate and expensive plate from an American engraver of, at least, suspect ability? When this print was produced, Trumbull's own print of the Battle of Bunker Hill would likely have been available to anyone who wanted such an engraving. It would not have been surprising if someone made a cheap copy, but not such an expensive and elaborate copy when the original was still around.
When Trumbull decided to make a print of his Declaration of Independence, about two decades after the first two prints, he hired English engraver James Heath to do the work, telling James Madison that he did not believe an American engraver had the experience or skill to produce a quality engraving of this magnitude. There was an outcry against using a European engraver for such a quintessential American subject, which is why Trumbull then turned to the American Asher B. Durand. It seems possible that Trumbull, hearing grumblings about his American subjects having been engraved in Europe, decided to try an American engraver to see if that would help the prints sell better. He might then have chosen John Norman to do this re-engraving because Norman had shown himself capable of engraving on a large scale, for he had made the twelve sheet "Map of the Four New England States" in 1785. The plates for that map are 54 x 42 cm, which David Bosse argues was larger than any other plates done at the time in America. It is interesting to note that for Norman's engraving of the Battle of Bunker Hill, which is printed from two plates, the larger plate is 54 x 43 cm.
It is even possible that Trumbull commissioned the print from Norman even before the European engraving was made. It took over two years from when he finished the painting for Trumbull to find an engraver for his Battle of Bunker Hill, so it seems possible that at that time Trumbull might have sent a copy of his painting to America to see if Norman could do the work. If that is the case, then this print is the first version of this classic American image, but even if done later, it is not unlikely that this print was in fact commissioned by Trumbull, who decided not to proceed after seeing Norman's regrettable lack of skill for such a project. In any case, certainly a very rare and fascinating print. $8,500
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
"Murder of Miss McCrea." Philadelphia, probably 1840s. Lithograph by Thomas Sinclair. 10 5/8 x 15 3/4. Conserved with expertly repaired tear into right margin and indications of former folds from having been inserted into a octavo book or magazine.
Jane McCrea was a lovely young American girl from a Tory family who lived in the Hudson Valley of New York during the American Revolution. Her fiancée was a British Army officer in Gen. Burgoyne's campaign from Canada in 1777. She was murdered by Indian allies of the British under circumstances that were then and now unclear, but the American patriots used the death to accuse the British of using Indians to kill other white men, and many Tories lost faith in the British because the ability of loyalist armies to protect civilians became doubtful. By the time of this publication the print could have been used to illustrate a captivity narrative, a popular literary genre, or to enflame general anti-Indian sentiments. The horror of her killing is enhanced by scenes in the dark forest background: to left a white man is killed by two Indians and to the right side a viper threatens a squirrel in a tree. Fascinating American gothic. $450
John Blake White. "Gen. Marion in his swamp encampment inviting a British Officer to dinner." New York: Apollo Association for the Promotion of the Fine Arts in the U.S., 1840. 16 5/8 x 20 3/8. Mezzotint by John Sartain. Light smudges in margins. Else, excellent condition.
A rare and exquisite historical mezzotint by John Sartain, one of the well-known Sartain family of engravers. The image was drawn by John Blake White and it shows the historic meeting between the "Swamp Fox" and a British officer. The British troops in South Carolina were hard pressed by Marion and were hoping for a 'regular' battle in the open rather than a continuation of Marion's favorite guerrilla tactics. The officer was captured by Marion and was quite surprised to be offered a civil and refined reception by Marion, who the British had characterized as a rough and crude ruffian. White's image depicted some interesting details, including showing the handkerchief that was used to blindfold the officer and an illustration of the dinner of sweet potato that Marion was asking the officer to share. This classic American scene makes this an artistically and historically most desirable print. $3,200
Ferdinand Perrot. "Episode de la Guerre de l'Indépendance." Paris: E. Savary, ca. 1844. With blind-stamp. 12 x 17 3/4. Two tone lithograph by F. Perrot. Excellent condition. Cf. Olds: 85.
A dramatic naval print from a series of images by French lithographer Ferdinand Perrot showing episodes from the engagement between the Bon Homme Richard and the Serapis. Here Perrot shows two ship's boats coming to grips, while the sailors filling each attack each other with guns, swords, pikes, and oars. In the background the larger ships can be seen with their cannons firing. Dramatic and lovely. $1,800
Tompkins Harrison Matteson. "The First Prayer in Congress. September 1774, in Carpenters Hall Philadelphia." New York: John Neale, 1848. 16 1/2 x 22 1/4. Mezzotint by H.S. Sadd. Printed by Neale & Pate. Strong impression. Excellent condition.
A patriotic rendering of the first prayer in the Continental Congress on September 7, 1774. Matteson created his painting based on a first had drawing made by one of the delegates to the Congress. The painting was purchased by and auctioned off by the American Art Union and also engraved into a this fine print by H.S. Sadd. The founding fathers, including George Washington, are shown in solemn prayer, preparing to face the needs of the nation. It is a moving scene from the founding of our nation and a fine example of nineteenth century printmaking. $750
William Ranney. "Marion Crossing the Pedee." New York: American Art-Union, 1851. Engraving by Charles Burt. 8 x 11 7/8.
The American Art Union (1839-1851) was an organization created to support contemporary American art and to develop a popular appreciation of it. The AAU is particularly well known today for the thirty-six engravings it published based on the paintings of some of the most luminous names in American art, e.g. George Caleb Bingham, Thomas Cole, F.O.C. Darley, Asher B. Durand, and William Sidney Mount. The association is especially important for the seminal role it played in stimulating American art and for spreading an awareness of this art throughout the country. With its gallery and thousands of subscribers, the AAU probably had more to do than any other force with the success of many of America's nineteenth century artists and the popularization of their work. The legacy of the American Art Union is immense and its prints are an important part of that. This print of Marion crossing the Pedee River is one of their excellent historically themed prints. Francis Marion (ca. 1732-95) was born in South Carolina and first saw military action under William Moultrie in 1761 with the Cherokee Expedition. He rose in prominence and wealth prior to the Revolution, but join the patriots and fought in the ill fated defense of Charleston in 1776. Subsequently he helped secure the interior for the rebels as a partisan cavalry leader working in conjunction with Gen. Greene's regular army. Often referred to as an American Robin Hood, he has become the most famous of the Carolina American leaders through history and myth. $1,200
F.O.C. Darley. "Wyoming." New York: W.H. Holbrooke, 1852. Engraving by J.C. McRae. 18 1/4 x 25 1/2. Hand color. Very good condition.
A dramatic, large engraving based on F.O.C. Darley's drawing of the Wyoming Valley massacre. Darley is perhaps best known as America's first great illustrator, producing numerous images for books and magazines in the nineteenth century. He also, though, produced many historical images which were made into separate folio prints. Indeed, such was Darley's influence through his illustrations and prints that he must be seen as seminal in the forging of the American national identity. This print shows the fight on July 3, 1777 between Patriot militia and Loyalist troops supported by Indian allies in the Wyoming Valley in northern Pennsylvania. After a brief but fierce battle, the militia troops fled, only to be pursed, especially by the Indians, who killed and tortured those they could catch. This "massacre" became a rallying point for Patriots leading to retaliation in the Sullivan-Clinton campaign against the Iroquois in 1779. This print was supposed to be "First of a Series of national Engravings" to be issued by W.H. Holbrooke, or both New York and London, but none others seem to have been issued. $1,200
Peter F. Rothermel. "Patrick Henry Delivering His Celebrated Speech In The House of Burgesses, Virginia. A.D. 1765." Philadelphia: Art Union of Philadelphia, 1852. 22 1/2 x 17 3/4. Engraving by Alfred Jones. Strong impression. Slight blemishes in margins, not affecting image. Else, very good condition. With Art Union blind-stamp.
Like the American Art Union, the Art Union of Philadelphia was formed in the mid-nineteenth century for the appreciation of American art. Historical depictions were one of the favorite topics of the prints issued by the Union for its subscribers. This print is a dramatically realized scene showing Patrick Henry delivering his famous speeches to the Virginia House of Burgesses in 1765. "Caesar had his Brutus--Charles the First, his Cromwell--and George the Third may profit by their example," and then to cries of 'treason,' "If this be treason, make the most of it." Peter Rothermel, best known for his famous image of the Battle of Gettysburg, presents the historic tableau in dramatic fashion, Henry standing calmly in the center of the turmoil of the other delegates, pointing to the higher authority of heaven. A emotional and patriotic rendering of this early Revolutionary episode. $1,250
Tompkins Harrison Matteson. "The Spirit of - 76." Philadelphia, 1862. Mezzotint and etching on steel by H.S. Sadd. 15 7/8 x 19. Trimmed to image at top and sides and to title at bottom. Some scattered surface abrasions, but image bright and crisp.
A classic picture of the soldier gallantly going off to war for family and country. The man of the family accepts a rifle from his elderly father and a sword from his mother. His distraught wife kneels before him while buckling his belt, and his eldest child holds his powder horn. His infant child sleeps in the arms of a nursemaid who holds a copy of the Declaration of Independence, while in the left background a soldier comes to the door bearing the call to arms. Implements of domestic life are scattered about the house interior to signify that they are to be left behind.
This print was published when the American Civil War was completing its second year, and the toll of death and destruction was making recruitment of troops more difficult. Reminding the populace of the heroism of the revolution that founded the country was a way to illustrate the necessity of continuing the heroism. We have seen this picture in later printings, but never before with the notation that it was given by newsboys to subscribers. Customarily given at Christmas time, the print would have been designed to encourage recruitment to military service with the intention to enlist and train men and boys for the coming Spring campaigns. A fascinating look at a patriotic appeal to not only Philadelphians but all Americans during the Civil War. $600
Emanuel Leutze. "Washington Crossing the Delaware." New York: Goupil & Co., 1853. 22 1/2 x 38 1/2. Steel engraving by Paul Girardet. Minor foxing stains in the sky around Washington's head. Overall, very good condition. Large margins.
One of the most famous pictorial images produced of the American Revolution. This scene depicts Washington and his men crossing the Delaware River on Christmas night 1776. In November of 1776, Washington was forced to abandon New York City and retreated down in to New Jersey. He crossed the Delaware on December 11, to cover the capital at Philadelphia. The British troops under Cornwallis did not attempt to follow and went into winter quarters. Washington saw his opportunity to attack, and on Christmas night, crossed the river and landed nine miles north of Trenton. He surprised the Hessian troops stationed in Trenton and captured them easily. Washington returned back into Pennsylvania, with his prisoners, and later returned to Trenton on December 30, and 31, to occupy the town. Even though this is a very stirring and patriotic image, there are a number of historical inaccuracies. The boat is the wrong size and shape; the flag shown was not in use until six months later; and Washington himself would most likely have been thrown overboard on that stormy night. Even with these embellishments this print is a testament to the spirit of the occasion.
This print is after a painting, executed in 1851, by Emanuel Leutze. Born in Germany in 1816, Leutze is known mainly as a historical and portrait painter. He and his family emigrated to the United States and settled in Philadelphia, where he studied painting under John Rubens Smith. In 1840 Leutze traveled back to Germany to study under Lessing. He lived in Germany for twenty years before returning to America in 1859 to paint "Westward the Course of the Empire", an allegorical-historical mural for the House of Representatives in Washington D.C. For the remainder of his life Leutze spent his time between New York and Washington, dying in the former city in 1868. Today, he is best remembered as the painter of this famous image. $7,600
Genl. George Washington. The Father of His Country." Hartford: Kellogg & Comstock, New York: George Whiting, and Buffalo: D. Needham. Lithograph. Ca. 12 x 9. Original hand color. Very good condition.
A portrait of Washington as general in during the War of Independence. Washington is proudly seated on his stallion and in the background is shadowy image of American troops. A nice example of the work by Currier & Ives' chief competitor for popular prints in the middle of the nineteenth century. $325
"The Declaration of Independence, July 4th. 1776." New York: J. Baillie. 8 x 12 1/4. Original hand color. Very good condition.
A nice popular print showing John Trumbull's classic image of the signing of the Declaration of Independence. $475
Max Rosenthal. “The Dawn of Liberty.” Philadelphia: William Smith, 1864. 16 x 22 1/4. Lithograph by L.N. Rosenthal. Wide margins. Very good condition.
A patriotic print issued towards the end of the Civil War, reflecting the notion that the belief in Liberty had its roots deep in American history. The Revolutionary War period scene shows General Thomas Gage meeting with a group of children who had been arrested by British troops for ‘revolutionary’ activity. Gage was so impressed with the boys’ bravery and high ideals that he remarks, “The very children here draw in a love of liberty with the air they breathe. You may go my brave boys, and be assured if my troops trouble you again they shall be punished.” The Civil War was seen in the North very much as a battle of principles, and prints such as this assured the public that their fight was part of a glorious and noble past. $350
Edward Lamson Henry. "Washington at the Battle of Trenton." Philadelphia: Charles J. Peterson, 1870. Mixed media engraving by Illman Brothers. 15 x 21 1/2. Light stains in wide margins. Very good condition and impression.
This dramatic engraving is one of the only antique print showing Washington's first important victory at Trenton. Here, on December 26th, 1776, and having just completed a hazardous crossing of the Delaware River, Washington defeated the Hessians encamped in Trenton, surprising them as they rested from their Christmas feasting. The Americans suffered less than ten casualties while almost two thirds of the Hessian force of 1,500 was killed, wounded or mostly captured. This victory gave new life to the Colonial army, which then went on to a second victory at Princeton. This image is inaccurate, but symbolizes this important engagement, with Washington astride his horse leading his men into the town, the Hessians shown futilely trying to set up a defense. The image wonderfully evokes the wintery conditions of the battle, with the snow skillfully shown falling by the engravers, Edward and George Illman of Philadelphia. This firm often did the engraving of plates for various ladies magazines published by Charles J. Peterson. This image is based on a painting owned by Peterson and the print was published by him. $1,300
After John Trumbull. "Declaration of Independence." Chicago: Kurz & Allison, ca. 1875. 17 1/2 x 25. Chromolithograph. Very good condition.
A bright and attractive print showing the famed moment of the signing of the Declaration of Independence. The print is taken from the memorable John Trumbull painting of the same subject which was designed for the rotunda of the Capitol in Washington, D.C. The Kurz & Allison firm is well remembered for their production of commemorative prints using the latest technological advances such as this use of chromolithography so that lively colors and clear definition stands out. The result is a fine historical document and a large scale decorative image. $550
"Battle of Princeton." Chicago: Louis Kurz, 1911. 17 1/2 x 25 . Chromolithograph. Very good condition.
A bright and attractive print showing the famed Revolutionary War battle. Washington is shown leading his troops against the Red Coat lines. Nassau Hall is shown in the distance and the ground is covered with snow. $550
Reference book on prints of the American Revolution
Donald H. Cresswell. The American Revolution in Drawings and Prints. Washington, 1975. Cloth. Very good condition. Out of print.
The most comprehensive listing of contemporary prints of the American Revolution, based on the collection in the Library of Congress. Lists and describes various types of contemporary images, with a particularly interesting section on cartoons and allegories. $275.00
Revolutionary War portraitsMaps of the American RevolutionRare books of the American Revolution
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![William Hamilton. "General G. A. Elliott,...The Gallant Defender and Preserver of the Important Garrison of Gibralter [sic] ..."](images/barnardgibraltar.jpg){kind=link}
