Newly acquired antique prints and maps or items of particular interest

On January 13, 1840, the passenger steamer Lexington on its way from New York to Stonington, Connecticut, burned in Long Island sound. There were only four survivors from among the 150 passengers and crew members. This spectacular catastrophe was disastrous for many, but proved a boon for a young New York lithographer named Nathaniel Currier. The news of this tragedy reached New York two days later, and the next day the New York Sun came out with a broadside about the disaster which included a lithographed image of the disaster. The sensation caused by the burning of the Lexington continued for weeks, spurred on by the repeated reissued of updated versions of this broadside. One week after the first publication, a new, more accurate lithographed image appeared on the broadside, this one attributed to artist W.K. Hewitt and lithographed by Nathaniel Currier. With its correct nighttime imagery, giving it a much more dramatic appearance, this broadside kept interest in the tragedy alive. In the days before photography and television, the combination of fast reportage and a dramatic lithographed image made this Sun Extra a big success. The popularity of the broadside inspired Nathaniel Currier to take over its publication after the Sun stopped its involvement, and he issued another three versions thereafter. This is the second version, with Currier the publisher responsible for both text and image. According to Harry T. Peters, the popularity of his Lexington lithograph is what firmly established Nathaniel Currier as a financial and popular success, and allowed him to build his firm (later Currier & Ives) into the dominant American printmaking company. $3,800

In 1585, Sir Walter Raleigh sent out an expedition under the command of Sir Richard Grenville to found a colony, which Queen Elizabeth allowed to be named "Virginia" in her honor. The chief scientist in the expedition was Thomas Hariot who was instructed to study the Indian culture and the natural resources of the region. Hariot was accompanied by John White as surveyor and artist. The colonists settled on Roanoke Island in Pamlico Sound, where they built a fort. Grenville went back to England for supplies, leaving 107 men under the command of Ralph Lane. Relationships with the Indians deteriorated, and this combined with dwindling supplies led the colonists to return to England with Sir Francis Drake, who happened to call by after a raid in the West Indies. Ironically, a resupply ship turned up almost immediately thereafter, followed within two weeks by Grenville with more ships and supplies. Finding the colonists gone, Grenville left fifteen men to retain English possession of the region.

Raleigh did not give up with this failure, but put together a second expedition to settle further north on the Chesapeake. In 1587 these colonists, now under the command of John White, landed at Roanoke Island to look for the men left by Grenville the year before. No trace of these men was found, and the new colonists were unable to proceed north to the Chesapeake because of the refusal to do so by the master of the fleet, Simon Fernandes, who was more interested in hunting for the Spanish treasure ships. White spent only about a month at Roanoke before he was persuaded to head back to England to obtain more supplies. Through a series of misadventures, White was unable to return to Roanoke until 1590. When he finally arrived back in America, White discovered that the colonists were missing. The only clue left by the colonists was the word "CROATOAN" carved into a post, but White was unable to proceed to that island to look for them. Thus the fate of this "lost colony" has never been learned.

In 1588, Thomas Hariot issued A breife and true report of the new found land of Virginia, which was an account of the attempt to found the colony. Two years later, Theodor De Bry published this monumental volume which added to Hariot's account engravings based on John White's drawings. This work is the first account with images of a European colonization of North America and the images provide a unique and remarkable view of Native American culture in the mid-Atlantic region at the time of the first contacts between the Indians and Europeans. It was the first volume of De Bry's series Grand Voyages, which included accounts of sixteenth century exploration of the New World.

The text and views are thus of central importance in the documenting of American history, as is the map which accompanies the volume. The map is based on John White's rendering, updated with information from subsequent explorations by De Bry. It focuses on the Carolina region, extending north to the mouth of the Chesapeake and it is one of the foundation maps of the period of discovery in North America. Based on first-hand experience, Cummings says of this map that it was "the first printed map of this degree of detail and accuracy for any part of the present area of the United States," providing an excellent general picture of the Outer Banks and Pamlico Sound. The map was also the first to name the Chesapeake Bay, called "Chesepiooc Sinus," which is crudely shown as a large bay north of the Virginia colony. The map is as decorative as it is important. A large fleet of ships cruises the ocean off the banks, while some Indian canoes are depicted in the Sound. A few small Indian figures, based on other White drawings, are shown on the shore. A measuring compass, scale of miles, title cartouche, Royal coat-of-arms, windrose, and sea monster complete the decorative features.

Altogether an excellent example of a fundamental account of the early beginnings of the exploration and settlement of North America. Click to see other images of: front cover, back cover, Adam & Eve, Indian dance, Indian village. $70,000

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

"Virtue. Weeping over the Tomb of George Washington, President of the American Congress." High Holborn: Francis Anone, June 20, 1800. 10 1/2 x 9 7/8. Mezzotint. Early hand color. A few short tears and chip in top margin. Professionally conserved and very good condition.

A very rare memorial print to George Washington. A weeping woman leans against an ornamental base, pointing to a relief portrait of Washington carved into the base. The landscape includes a weeping willow and flowers. The only reference we could find to this print is in the 1910 Catalogue of the very important collection of rare Americana and fine engravings formed by the late Edwin Babcock Holden. That listing seems to indicate that there may have been a legend at the top which read "To the Memory of G. Washington Born 11th Feby 1732 Died Dec 19 1799," but that is missing from this example. The Holden catalogue notes that his print is not listed in Hart nor Baker, and indicates that the example in the Holden sale was "the only known impression." This print was issued within half a year of Washington's death and its symbolism linking Washington and Virtue demonstrates how highly even the British held the first President (said in the print to be the "President of the American Congress"). $2,600

D. T. Weist. "In Memory of Abraham Lincoln. The Reward of the Just." Philadelphia: William Smith, 1865. 24 x 18 1/4. Lithograph. Original hand color. Some light mottling in wide margins. Very good condition.

In 1802, John James Barralet issued a print showing the apotheosis of George Washington, the father of his country bring born to heaven by Father Time and Immortality, while America, an American Indian and three Virtues mourn his death. Six decades later, with the death of Abraham Lincoln, the 16th President was compared by many with Washington in his importance to the country and the preservation of its ideals. Thus Philadelphia print publisher William Smith conceived the idea of taking Barralet's image and modifying it by replacing Washington's head with that of Lincoln and placing the assassinated President's name on the tomb. All else is lef the same and much of it still applied, though the appearance of the American Indian is a bit strange, there are too few stars on the American shield held by the Bald Eagle, and the medal of the Society of the Cincinnatus is not appropriate for Lincoln as it was for Washington. The symbol worked wonderfully, nonetheless, and this is one of the most power prints related to Lincoln's death, well expressing the sorrow and loss felt by many Americans in 1865. $1,850

George Caleb Bingham. "Stump Speaking." New York: Goupil & Co., 1856. 22 x 30. Engraving by Gautier. With a dedication to the "Friends of American Art , by the Publishers Goupil & Co." Very good condition. Wide margins with some surface wear from old matting. One word in dedication worn. Professionally conserved. Image and overall condition is very good. Ref.: McDermott, p. 437, #9.

George Caleb Bingham is one of the greatest American genre painters of the middle of the nineteenth century. In his large canvases he showed daily life from American heartland. A number of these were made into prints, of which this is one of the most desirable and rare. The image is an icon of American art and politics. A group of voters (all men, the only enfranchised citizens at the time) gather beneath an oak tree on a Missouri farm to listen to the candidates present their positions and qualifications. The speaker leans forward for emphasis, while an imposing, opposing candidate sits behind listening and another makes notes on a pad. This latter individual is thought to be Bingham himself, who was involved in politics for a number of years. Though based on actual events witnessed by Bingham, the scene is general and iconographic. The mix of ages and social classes thoughtfully considering the candidates is an ideal image of American democracy. $6,200

"The Danger Signal." Currier & Ives, 1884. Large folio. On sheet 24 1/2 x 36 1/2. Chromolithograph. State with advertising text for United States Accident Association. With three repaired tears in wide margins. C:1351.

From 1834 to 1907 the firm of Currier & Ives provided for the American people a wide and varied gallery of prints for the new mass market of middle class society. The second part of the nineteenth century was a time when railroads were becoming an iconic symbol of the "progress" of America, both economically and politically, as the nation rapidly developed the trans-Mississippi west. Currier & Ives issued a number of wonderful prints of railroads, none more dramatic than this. This image was issued as a regular "frameable" print, but also as an advertising print for the United States Accident Association. Copies of the advertising version, with complete margins and text, are most rare and desirable. $25,000

Tompkins H. Matteson. “The Distribution of the American Art-Union Prizes at the Tabernacle – Broadway, New York 24th December 1847.” Drawn on stone by Francis Davignon. Lithograph. New York: Sarony & Major, 1848. 15 3/4 x 20 3/4. Very good condition.

The AAU is well known today for the thirty-six engravings it published based on the paintings of some of the most luminous names in American art, including George Caleb Bingham, Thomas Cole, F.O.C. Darley, R.C. Woodville, 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 it 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.

In this print, the AAU itself is held up for examination. Though some controversy surrounded the association’s lottery-style distribution, this print illustrates the open manner in which the drawings were conducted. AAU members fill the auditorium of the Tabernacle, observing a process presided over by various military officers and government officials. After Tompkins H. Matteson produced the drawing of the proceedings, it was lithographed and distributed to AAU Honorary Secretaries as an aid to garnering new subscriptions. That year, new memberships spiked, due at least in part to the appeal of this fine print. $7,500
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From 1834 to 1907 the firm of Currier and Ives provided for the American people a pictorial history of their country's growth from an agricultural society to an industrialized one. For nearly three quarters of a century the firm provided "Colored Engravings for the People" and in the process, because of the democratic philosophy of the business, became the visual raconteurs of nineteenth century America. Some of the finest artists of the day, Louis Maurer, Thomas Worth, Arthur Fitzwilliam Tait, Frances Flora Bond Palmer, George H. Durrie, Napoleon Sarony, Charles Parsons, and J. E. Butterworth were engaged by the firm to produce a variety of images. The prints were printed in black and white and then the finest colors were applied by hand. These prints, which were issued in small, medium and large folio size, were hung in homes, businesses and public venues all around the country and even overseas. One of the most popular subjects were sporting prints and the most renowned of the Currier & Ives sporting artists was A.F. Tait. Tait's hunting and fishing prints capture this popular nineteenth-century pastime like no other body of work. Tait was himself a sportsman (and he often included himself in his pictures), so the scenes, equipment, animals, and paraphernalia are all accurate and beautifully rendered. This set of four prints are classics of Tait's sporting prints.

• "American Field Sports. A chance for both barrels." C:148.
• "American Field Sports. 'Flush'd'." C:149.
• "American Field Sports. 'On a Point." C:150.
• "American Field Sports. 'Retrieving'" C:151. Set of four, $20,000

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