Newly acquired antique prints and maps or items of particular interest
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Illuminated Antiphonal Leaves

The notes look similar to modern printed music, but the staff often does not have five lines, and the notation is quadratic (square). The Latin text is often difficult for the modern reader to decipher, due to medieval lettering style and abbreviations. Large, fancily illuminated initial letters served a dual purpose: most obviously, beauty, as well as a way for the singers to find their place, especially in a dimly lit church setting.

• [edunt de mias que cadunt] 22 1/2 x 14 1/2. One small hole in the right margin about half way up. Else, very good condition. $175
• [patres nostri] 20 x 14 3/4. Very good condition. $375
• [tentationis in deferto] 32 1/2 x 22 3/4. Top right corner missing (due to a burn). Otherwise, very good condition. $350
• [Illumina] 27 3/4 x 18 1/2. Very good condition. Here is the back view. Though verso has lighter text, the illuminated letter is quite beautiful [Illustrated above]. $1,200

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

After Benjamin West. “Christ Showing a Little Child as the Emblem of Heaven.” London: Valentine Green, 21 June, 1807. 25 1/2 x 35 1/4. Mezzotint. Lovely and rich original hand color. Margins including title trimmed to image. Six inch tear into image from right hand side expertly repaired. Overall, very good condition. Helmut von Erffa and Allen Staley’s The Paintings of Benjamin West (New Haven & London: Yale University Press, 1986), #325.

A stunning and beautifully executed engraving after a painting by Benjamin West. In total West painted five different versions based on this title. This print is after the first painting which was executed between 1790 and 1801. The oil was originally painted for Thomas Macklin in order to appear in an illustrated edition of the Bible.

In the bottom margin was inscribed a dedication to the governors and guardians of the Foundling Hospital and a quotation from Matthew 18: v. 2-5:

“And Jesus called a little child unto him, and set him in the midst of them. And said, Verily I say unto you, except ye be converted, and become as little children, ye shall not enter into the kingdom of heaven. Whosoever therefore shall humble himself as this little child, the same is greatest in the kingdom of heaven. And whoso shall receive one such little child in my name receiveth me.”

This lush mezzotint was engraved by Valentine Green who is considered to be one of the finest English mezzotint portrait engravers. Green, who was an associate engraver to the Royal Academy and engraver to King George III, produced more than four hundred plates after paintings by Benjamin West, Joshua Reynolds and other well known painters. This print is very scarce and a major piece of study of Benjamin West’s work.

A mezzotint is the inverse of the other intaglio processes, for the design is created working from black to white, rather than vice versa. A metal plate is worked using a rocker, which roughs the entire surface of the plate. If the plate were printed at this time, the image would be completely velvet black. Areas that are to appear in lighter tones or in white are smoothed out on the surface so that they will hold less ink. A mezzotint makes a very richly textured image, and it was particularly popular for portraits. Overall, the skills of the painter and engraver are superbly blended in this large and elegant print. $1,500

Randolph Caldecott. (1846-1886) "St. Valentine's Day." From The Graphic. London: February 13, 1875. 12 x 9. Chromolithograph. Very good condition.

This charming scene of cupid as a letter carrier, delivering Valentine's Day greetings to the girls and women in a household bursts with details, such as a decorative border filled with flowers, leaves, putti and lovebirds. The poem below the image adds further:

See, here comes the postman; we'll open the door,
And ask for our budget of letters, before
He touches the knocker; but, oh! he's so small,
He never can reach the knocker at all.
* * * * *
Why, who can he be? We are all of us stupid,
For this is none other than the little god CUPID.

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

Thomas L. McKenney and James Hall. History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principle Chiefs. Embellished with One Hundred and Twenty Portraits, from the Indian Gallery in the Department of War, at Washington. Philadelphia: J. T. Bowen. Vol. I, 1848. Vol. II, 1849. Vol. III, 1850. All first edition. Octavo. 120 lithographic plates, each with original hand color. Full leather binding, with gold tooling. Original boards, rebacked. Some rubbing to binding. Interior generally very good condition. Text some light spotting throughout and tissues also somewhat stained. Plates generally clean and bright, though some spotting on first few plates in each volume. Frontispiece of volume II (Red Bird) with chipping and repaired tears on outer edge. Frontispiece of volume III (Prairie on Fire) with a couple chips on outer margin. Overall, very nice set of the very rare first edition octavo set. Denver.

A fine set of first editions of the octavo McKenney and Hall series of Indian portraits. This important American document was primarily the creation of Thomas McKenney, for many years head of the United States Bureau of Indian affairs. McKenney was a champion of the Indian and fought throughout his tenure to preserve something of their culture, so integral a part of the history of the United States. McKenney took office in 1816 and shortly thereafter began to plan an archive which would house Indian memorabilia. In the winter of 1821-22 a large delegation of Indians comprising Pawnee, Sauk, Fox, Menominee, Miami, Sioux, and Chippewa came to Washington to see President Monroe. McKenney took advantage of this opportune time to record their likenesses by commissioning Lewis and King. More paintings were added to these over the years resulting in an impressive gallery of Indian portraiture. In 1830, McKenney was dismissed by President Jackson and at this time began to plan for the publication of a portfolio of prints of these portraits.

The results of years of struggle, McKenney's folio edition of his History was completed 6 years later, Volume I being first published in 1832. This work was a collaborative effort, the text written by James Hall. The magnitude of the project was overwhelming. McKenney battled poverty, politics, and printers to achieve his goal. Although he was acutely aware that he was preserving a chapter in history, he could not have known that had he not undertaken this project that the originals of the gallery would almost all be destroyed in a 1865 fire at the Smithsonian.

Between 1848 and 1850, a reduced, octavo size of the work was issued. As stated in the preface, "This universal approval of the folio edition of the work, has induced the publishers of the present edition to alter the size to royal octavo, and thus place it within reach of the thousands, who, with taste and learning equal to those of the patrons of the large edition, have no less capacity to appreciate its worth and beauties." (p.1) Though smaller, the quality, historic import, and attractiveness of this octavo edition was equal to its big brother and indeed is an easier work to read and enjoy. The set was reissued in subsequent years, but this first edition is very rare and desirable. $24,000
Go to individual McKenney & Hall octavo prints for sale

J. Whitehorne. "United States Senate Chamber." Ca. 1842. 27 x 36 1/4. Mezzotint by T. Doney. "Proof." Printed by Powell & Co. Some old insect damage and minor tears, expertly conserved. Overall, very good condition and appearance. With rare, original etched key.

A superb image of the original Senate Chamber drawn by J. Whitehorne, filled with over one hundred figures of Senators and spectators. 97 of the figures have their faces clearly presented, each based on a daguerreotype from "The National Miniature Gallery of Anthony Clark & Co. (late Anthony, Edwards & Co.)" These individuals are identified with the accompanying "Key to the Engraving of the U.S. Senate Chamber," which in this case has the manuscript addition "in 1842 Mr. Clay taking leave of it, the faces are remarkably correct. (this key should be carefully preserved). N. Armory, an eye witness at the time." Clay indeed is pictured in the background of the image, though he does not appear to be the focus of the event. Clay left the Senate in 1842, which would seem to give an approximate date for the print, though other sources give dates of 1846-47. Besides Clay, 71 Senators are depicted, including Daniel Webster, John Quincy Adams, Martin Van Buren, Thomas H. Benton and John Calhoun. Among the identified spectators are John James Audubon, Mrs. J.Q. Adams, Dolly Madison, Mrs. James K. Polk and Henry Longfellow. Besides it interest for the personages depicted, The rendering of the original Senate Chamber has excellent and accurate detail, including the chandelier, desks, and architecture of the room. This one of the first depictions of the U.S. Senate in Washington and a superb example of American historical prints. $2,900

Jacob van der Schley. “Buffle.” From A.F. Prévost's' Histoire Géneral des Voyages. Ca. 1750. 7 1/2 x 11 1/4. Engraving by J. van der Schley. Excellent condition.

A delightful image of the American bison, from an early edition of Prévost’s Histoire. That work, first issued from 1746 to 1789, included accounts of voyages around the world and included numerous maps and engravings showing natural history in different parts of the world. This engraving was clearly drawn by an artist who had never seen a buffalo in person, basing the image on descriptions sent back by explorers. A delightful and rare image. $175

First published in 1491 the Fasciculus Medicinæ, attributed to Johannes de Ketham, was the first printed medical book to include realistic illustrations: it contained ten woodcut images attributed to Gentile Bellini, or the school of Andrea Mantegna (Bellini’s brother in law). These illustrations included veins for bloodletting, urinoscopic consultation, a pregnant woman, “wound man,” Zodiac man, and dissection of a cadaver, among other subjects. In 1493 and later editions, the image of the pregnant woman was changed to a more attractive one, possibly because the original wood block had been damaged.

The volume was reprinted in Latin as well as translated into Italian for more than ten editions in the decade following its first publication. The text was actually a collection of late medieval medical texts that had been available previously in manuscript. It is thought that the attribution to de Ketham, a physician practicing in Venice in the late 15th century, was due to his having owned an early copy. Leonardo da Vinci was known to have owned two: one in Latin, the other in Italian.

• Pregnant Woman/Zodiac Man [Illustrated above left and center] $950
• Wound Man/text on verso [Illustrated above right] $850

Frederick E. Church. [Niagara Falls.] Printed & published, London: Day & Son, 1857. Copyrighted, New York: Williams, Stevens, Williams & Co., 1857. 16 5/8 x 36. Chromolithograph by Charles Risdon Day. Some faint surface spotting. Some rubbing 1/4" in from edge around, from old map. Otherwise and overall, very good condition. A fine example. Impressions of Niagara: 298.

The first and finest print after Church's famous 1857 painting of Niagara Falls. This was and still is considered to be one of the best American painting ever done. The painting was purchased for $2,500 by Williams, Stevens, Williams & Co., who also purchased the copyright to make reproductions of the painting for $2,000. The painting was exhibited in their New York gallery, where is was a sensation. In the summer of that same year, 1857, Church's "Niagara" was sent to be exhibited in London. There the first print, a chromolithograph, was produced by Charles Risdon Day & Son. "Both painting and print created a sensation, with the print beautifully demonstrating how well lithography could duplicate the color, meticulous brushwork, and atmospheric depth of the original painting." (Roylance, American Graphic Arts, p. 153). The first subscriber for the print was President Millard Fillmore, a native of nearby Buffalo, New York. Not only is this one of the finest prints of Niagara Falls, but it is a superior example of mid-nineteenth century printmaking. $2,800

George Lambert and Samuel Scott. "Bombay." London, 1735. Etching by Gerard Vandergucht. 15 3/4 x 22 5/8. Full hand color. Trimmed to neat line at top; expertly remargined with similar paper. Else, excellent condition.

A superb view of the East India Company's settlement at Bombay. The Company commissioned George Lambert (1710-1765) and Samuel Scott (1703-1772) to paint six paintings of their most important holdings--the Cape of Good Hope, St. Helena, Tellicherry (Malabar), Fort William (Calcutta), Fort St. George, (Madras), and Bombay--in order to grace the East India House in London. The paintings were relatively accurate, even though neither of the artists visited India for their work. Lambert was responsible for the buildings, which he based on eighteenth century plans, and Scott drew the shipping, based on his considerable experience with marine paintings. The paintings were installed in 1732 in the East India House and shortly thereafter they were made into prints by Gerard Vandergucht. This was a period when the East India Company was in the ascendant and this terrific print well documents the glory that was then theirs. $2,150

Charles Fenderich. "Chev. Orozio de Attellis." [Orazio de Attellis Santangelo] Washington : C. Fenderich, 1843. 12 x 11. Lithograph by P.S. Duval, Philadelphia. Printed on India paper and mounted on original sheet with title and text. Left margin with short repaired tear and tiny hole. Otherwise, excellent condition.

Orazio de Attellis Santangelo (1774-1850), the last scion of a noble Italian family, became a soldier, political journalist and American patriot. As the Marquis of Sant'Angelo, he fought in several of the Napoleonic wars prior the restoration of the Bourbons. In 1824, he was forced to flee to the United States to escape arrest for his involvement in uprisings in Naples and Spain. He renounced his title and became an American citizen in 1828. His political activity continued, and because of his support for the Texans, Santangelo was first expelled from Mexico in 1826 and then again in 1835, after he had begun publishing a newspaper, El Correo Atlántico. Settling in New Orleans, Santangelo continued to issue the Correo, supporting Texas independence. In 1844 he published his The Texas Question, Reviewed by an Adopted Citizen. In 1847, Santangelo returned to Italy, where he remained embroiled in political affairs, up to his death in 1850. This print was drawn from life and lithographed by Charles Fenderich, a Swiss lithographer who had emigrated to Philadelphia in 1831. In Philadelphia, Fenderich issued a number of lithographs jointly with fellow Swiss artist J.C. Wild and also on his own until about 1837, at which time he moved to Washington, D.C. There Fenderich, realizing the opportunities afforded in the nation's capital, began to issue a series of fine lithographic portraits of, as he states in the title of his portfolio of prints, "Living American Statesman: embracing the Executive Officers of Government, Distinguished Members of Both Houses of Congress, and others of all Parties." These fine portraits were primarily based on his own life-drawings, for as his reputation spread, most of the political figures in Washington were delighted to sit for him. In all, Fenderich made about 84 portraits in Washington between 1837 and 1848, before he joined the California Gold Rush and finished his days as an artist on the west coast. Fenderich's portraits are not only beautifully made, but they provide us with excellent life-portraits of most of the important American statesmen of the third and fourth decades of the nineteenth century. $850

Gregor Reisch. "Typus Logicæ." From Margarita philosphica. Basel, 1536. Woodcut. Ca. 6 x 5. Very good condition.

Gregor Reisch's Margarita Philosophica (Pearl of Wisdom) was an compendium of contemporary knowledge and science intended for young students. It included twelve sections: grammar, dialectics, rhetoric, arithmetic, music, geometry, astronomy and astrology, natural philosophy, the origin of things, powers of animal sensation, powers of the animal intellect, and moral philosophy. First published in 1503, it went through a number of editions through the sixteenth century, becoming one of the most influential works of the early Renaissance. Reisch (1467-1525) was a monk and prior of the Carthusian monastery at Freiburg, the confessor of Emperor Maximilian I, and the teacher of John Eck and Martin Waldseemüller. His Margarita Philosophica was influential not only because of its learned and encyclopedic yet accessible textual information, but because it was accompanied by numerous, delightful woodcuts illustrating the text. This print concerns Logic, shown as a hunter (for truth?) chasing an allegorical hare, representing a "Pblenia" (problem), with his two dogs, "Veritas" (truth), and "Falsitas" (falsity). Various logical terms are engraved about the image. What is particularly interesting is that this version of this image is a crude copy of earlier versions. What is most noticeable is that most of the terms are printed backwards. The carver cut the terms front reading, meaning they printed the other way, so that it is quite difficult to figure out the various terms except by comparing them to an earlier version of the print. This does, however, lend a certain charm to the print, as evidence of human failings in the sixteenth century. $350

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