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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 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
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 platemarks, 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
Vues d'Optique or Perspective Views:
Perspective views, or "vues d'optique," are a special type of popular print published in Europe during the 18th century. These prints provided a form of entertainment when viewed through a device called an "optical machine" or an "optique." A number of perspective prints depicted American scenes at the time of the Revolution for a European audience hungry for news of the events in the British colonies. These images are supposed to show New York, though none is based on any actual New York view, and no buildings or docks such as those shown existed anywhere the city. However, the intent of thise prints was more to present a graphic picture for the viewer's interest rather than to record an accurate historical scene. As documents of American history and European printmaking, these are unusual and appealing eighteenth-century prints.
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
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 (platemarks). Light smudget 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
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 Congress as imagined by Matteson. This pious steel engraving is based on Matteson's drawing which was commissioned specifically for this print, an interesting comment on the taste of the mid-nineteenth century. The founding fathers, including George Washington, are shown in solemn prayer, preparing to face the needs of the nation. Since most of these prints were framed, they survive in less than perfect condition. $950
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
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 powderhorn. 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
Prints by Kurz & Allison. Chicago, ca. 1890. Uncolored lithographs. Ca. 11 x 17. Very good condition.
The Chicago firm of Kurz & Allison is well known for its production of commemorative prints of American historical scenes. Founded in 1885, the firm’s avowed purpose was to design “for large scale establishments of all kinds, and in originating and placing on the market artistic and fancy prints of the most elaborate workmanship.” Elaborate they certainly were--the majority of their prints being bright and dramatic, with action throughout the image. Drawn in a broad, graphic style that developed from Kurz’s background as a muralist, these prints are interesting examples of nineteenth century depictions of the American Revolution.
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