Newly acquired antique prints and maps or items of particular interest
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A lovely pair of Prang genre prints. Johnson's "The Barefoot Boy" is one of the most famous of all Prang's chromos, advertised by Prang the personification of the American character, the boy "in homespun clothing, barefooted," symbolizing "that self-reliant aspect which characterizes the rural and backwoods children." This print was based by Eastman Johnson on John Greenleaf Whittier's poem, "The Barefoot Boy." The chromo was praised in magazines and books as the paradigm of what these prints could be, and Prang claimed that it was "the most popular of all our publications." It took three months to make the twenty-six stones used to make this print, and five months to print the first run. For promotion, Prang provided free copies to the poet and painter and then quoted their replies in his advertisements. Whittier wrote, "It is a charming illustration of my little poem, and in every way satisfactory as a work of art," and Johnson claimed that, "It strikes me as being one of the best chromolithographs I have ever seen."
Prang was inspired by the popularity of Johnson's "The Barefoot Boy" to commission a companion image from George C. Lambdin. Lambdin was an artist from Germantown, PA, who later moved to New York City where he was elected an Academician at the National Academy. Lambdin painted genre and military scenes, but later in his life he devoted his time to paintings of flowers. This Lambdin painting shows a shy girl, also barefoot, leaning on a tree and holding a hand-full of grapes. This image, entitled "Wild Fruit," was published as a companion chromolithograph by Prang two years after Johnson's barefoot boy. The prints, in matching period frames, make a lovely pair that beautifully express the ideal image of American youth held by many after the Civil War. These prints also are wonderful examples of the quality of prints published by the greatest of American chromolithograph publishers. $900
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.
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
Charles Fenderich after Robt. Mills, Archt. "Design of the National Washington Monument, to be Erected in the City of Wasihngton [sic]." Washington: Charles Fenderich, 1846. Lithographed by A. Hoen & Co. 18 7/8 x 14 3/4 (image). Some ink splatters (likely from original printing) in sky. Otherwise, very good condition. Parker & Kaplan, Charles Fenderich: 244; Reps, Monumental Washington, pp. 102-3.
The Washington National Monument Society was founded in 1833, and in 1836 it selected a design by Robert Mills of South Carolina. Some money was raised over the years until 1848 when Congress authorized a site and construction began. This lithograph served as a certificate to be awarded to a person who contributed to the campaign for the monument. The design was drawn by Charles Fenderich, of Washington, after the design by architect Robert Mills. Fenderich, a Swiss immigrant, was best known for his lithographed portraits of politicians, but his printmaking did not seem terribly successful, for in 1849, he joined a gold-prospecting group heading to California, where we worked as an artist until his death.
Fenderich's image of the monument appeared in a number of variations by Fenderich and other printmakers, of which this is the most unusual. In this particular print "Washington" is misspelled in the title, where it appears as "City of Wasihngton." It is not clear if this mistake was later corrected. Parker & Kaplan cite the title as reading "City of Washington," but this may have been just a natural overlooking of the misspelling. Beyond this, Fenderich's image is quite interesting, showing the early design of the monument, complete with the pantheon and terrace, and including a bas-relief of John Trumbull's "Surrender of Cornwallis" on the side of the obelisk. In the background can be seen the Tiber Creek Bridge, and Whitehouse, Treasury, Capitol, and Smithsonian buildings. In the foreground are a number of citizens visiting this impressive planned monument. This fine lithograph, and its siblings, must have been fairly successful, for the Monument Society had raised $87,000 by the time construction began on July 4, 1848. It is interesting that the Associated Press reported that another example of this print with the misspelling was being claimed to be worth more than 2 million dollars. While this seems an overreach in value, it is a rare and most fascinating view of our nation's capital. $2,400
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.
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'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. These are wonderful allegorical images from the early Renaissance.
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