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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.
This satirical print of the American Revolution is based on an earlier British print from Westminster Magazine. The depiction of two land masses, separated by a body of water, is a representation of the conflict in America and on the Continent. A cow, symbolizing English commerce, is shown with one of its horns sawed-off and laying on the ground, while an Indian, a symbol of America, removes the other. The "cow" is being milked with much glee by a Frenchman, a Spaniard, and a Dutchman. A distraught Englishman stands in front of the cow not knowing how to help. To his left the British lion lays asleep while a small dog urinates on his back. In the background is the city of Philadelphia with Lord Howe's flagship run aground. At the table are the two Howe Brothers in a drunken stupor. This allegorical scene represents the hollow victory of the capture of Philadelphia. Just prior to English occupation many people fled the city leaving it partially abandoned. This example of the print is without text, indicating that either it was a proof state or the accompanying text has been since lost. $1,200
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
From Thomas Anburey's Travels Through the Interior Parts of America. London: William Lane, 1789. Engravings.
“View of the West Bank of the Hudson’s River 3 Miles above Still Water, upon which the Army under the command of Lt. General Burgoyne, took post on the 20th. Sepr. 1777. (Shewing General Frazer’s Funeral).” 7 3/4 x 15 7/8 (image) plus full margins. Engraving by Barlow. Light hand color. Folds evident as issued. Professionally lined with rice paper. Overall, very good condition. Cresswell, 272.
A print showing General Simon Fraser’s funeral on the upper Hudson River in 1777. Fraser (1729-1777) was a participant in General Burgoyne’s invasion of New York, and on October 7 he was mortally wounded in the action at Bemis Heights, better known as the Second Battle of Saratoga. Fraser was buried in one of the British redoubts along the river. The American forces, unaware of what was taking place, directed heavy fire against the redoubt during the event. $850
"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." 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
"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
John Trumbull. "Declaration of Independence. Of the United States of America July 4th, 1776." New York: John Neale, ca. 1860. Engraving by H.S. Sadd. 11 3/4 x 17 3/4. Hand colored. Very good condition.
John Trumbull was a participant in the American Revolution and a friend of most of the great figures of his day, including George Washington and Thomas Jefferson. After he left the army, Trumbull found his way to the London studio of fellow American Benjamin West. Inspired by his instructor, Trumbull conceived of a series of canvases on the history of his own country. He painted scenes of the Battle of Bunker's Hill, the Death of General Montgomery, and the Declaration of Independence. For the latter of these Trumbull resolved to show only accurate likenesses of the signers, in line with his concern of presenting a true memorial to this historic event. Trumbull drew images in person where he could, using other life portraits or portraits of the sons for any of the other signers who were no longer alive or available. Trumbull's image became an instant classic and even today is the scene most people think of when they consider this seminal American event. During the nineteenth century several printed versions appeared, including this strong image by noted historical print engraver, H.S. Sadd of New York City. $925
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
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
Peter F. Rothermel. "Committee Of Congress Drafting The Declaration of Independence. 1776." Philadelphia: Gibson & Co, 1865. 22 x 18 1/4. Engraving by T.D. Booth. Good impression. With bottom right corner replaced and other marginal wear. Professionally conserved. Overall, very good condition.
A strong image of the committee assigned to write the Declaration of Independence, drawn by Peter F. Rothermel, well known for his famous image of the Battle of Gettysburg. This print was issued at a time when many Americans keenly felt the importance of the beginnings of the nation in having preserved the Union in the Civil War. Many prints harked back to the Revolutionary period, proudly claiming the continuation of the worthy goals fought for a century before and in the recently concluded conflict. Here Rothermel shows Thomas Jefferson showing his draft of the Declaration to John Adams, Benjamin Franklin, Robert Livingstone and Roger Sherman. An interesting feature of the background is a wall map of eastern North America shown hanging on the wall over the fire place. $950
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
"The Tocsin of Liberty. Rung by the State House Bell, (Independence Hall;) Philadelphia, July 4th. 1776." New York; Currier & Ives, 1876. Lithograph. Original hand color. Small folio. 9 x 12 1/4. A few spots of surface wear and paper somewhat time toned. C:6085. Framed.
This print shows a scene of the ringing of the Liberty Bell, the "Tocsin of Liberty," in Philadelphia on July 4, 1776. The scene is imaginary, but this was a powerful part of the American myth at the time of the Centennial. $850
Go to list of other Currier & Ives prints of the Revolution
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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