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A Selection of Interesting Prints:
Through posture, facial expressions and statements these political caricatures illustrate reactions to financial problems associated with the Mississippi, West Indies, and South Seas companies. Here is middle class Europe being not at all happy but still fat and well clothed. The first plate shows the devil embracing social activities within an intricate cartouche containing the 1720 imprint. The second plate shows a sordid peddler with his magic lantern referring to the ability of a disreputable person being able to convey illusions through his trade. The third plate shows a doctor strolling in his slippers and has the luxury of owning a pet bird while another doctor in the background gives alms to a couple. Plate four shows a wealthy woman desiring to sell her shares and still with plenty to eat. Plate five shows a man selling lottery tickets. Plates six and seven show a scholar and then a gambler, both still active. The last is a lawyer who like an alchemist can make gold out of paper. So very baroque! For the set of eight: $1,200
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
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After Benjamin West. "William Penn's Treaty with the Indians." Philadelphia: Illman & Sons, 1857. With engraved facsimile of William Penn's signature. Line engraving. 14 1/2 x 11 (plate marks) plus margins. Steel engraving. Overall excellent condition. Not in Snyder, Mirror.
An intriguing 19th-century broadside illustrating Penn's legendary treaty of friendship with the Lenni Lenape Indians. The theatrical rendering of the figures after Benjamin West's painting, along with the exuberant poem (appropriately enough, in 18th-century heroic couplets) perpetuate nicely the happy legend. A charming piece of Philadelphia history that was prepared for distribution by newspaper carriers who sold them as a memento or gift at the beginning of the new year. This is one of the most attractive and accomplished of these carriers' broadsides that is a recognized genre produced in American cities in the nineteenth century. $450
F. Otto Becker after Casilly Adams. "Custer's Last Fight. The Original Painting has been Presented to the Seventh Regiment U.S. Cavalry by Anheuser-Busch Brewing Association, St. Louis, MO., U.S.A." Milwaukee: Milwaukee Lithograph Co., 1904. 42 x 32. Chromolithograph. Some wear in margins; expertly conserved. Otherwise, very good condition. Framed in rag mat in early tramp-art frame. Denver.
This dramatic, well-known scene of General Custer's last Indian battle was issued by Anheuser-Busch in 1904 as one of many creative give-away items for company promotion to saloon owners and potential clients. Specifically, the "artistic" interpretation of this action-packed moment draws attention to Custer's last battle at the Little Big Horn and ultimately to the sponsor. Adolphus Busch was well-known for clever sales promotion ideas and began a marketing philosophy that is heavily employed today.
This print was based on a painting by Casilly Adams. The painting was originally commissioned for a traveling Indian exhibit. The exhibit did not do well and the painting was sold to a saloon in St. Louis. Adolphus Busch bought the painting and decided to have it made into a print in order to promote his company. The painting was redrawn for the lithograph by F. Otto Becker, who made a number of changes. Once the print was made, the painting was given to Seventh Regiment of the United States Cavalry. Unfortunately, the painting was lost in a fire when the officers club at Fort Bliss, Texas burned to the ground.
This wonderful example of American battle art became very well known to the general public. Many drinking establishments across the country displayed this fine print. First issued in 1896, seventeen other editions were eventually produced, some as recently as 1962. It was in this way that this print became one of the great pieces of American advertising art. $4,800
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
Peter F. Rothermel. "The United States Senate, A.D. 1850." Philadelphia: John M. Butler and Alfred Long, 1855. 29 1/2 x 37 1/2 (platemarks) plus all margins. Engraving by R. Whitechurch. Minor wear on side of Clay's face and the group of men directly behind him. Small expertly repaired tears in the faces of the men just in front of Clay. Otherwise, incredibly good condition for a large separately issued print. Strong strike and even impression.
A dramatic print of Rothermel's painting featuring Henry Clay addressing the Senate. The event depicted here is Clay's argument for the "Compromise of 1850" or the "California compromise," to admit California into the Union as a free state in an attempt to prevent what became the American Civil War. Details of the Old Senate Chamber and the august members of the Senate, including Daniel Webster, John C. Calhoun and Thomas Hart Benton, are sharp, down to the patterned carpet and draperies behind the president's chair, where Vice President Millard Fillmore is seated. The faces are accurate because Rothermel used daguerreotypes of the major figures in his painting. This print's crowded gallery, and the seriousness of expression in its subjects pay fitting tribute to Clay, the orator and statesman, as he made an historically important argument just two years before his death. One of the best American political prints of the nineteenth century. $3,600
Tompkins Harrison Matteson. "Union." New York: Augustus W. Saxton, 1852. First state. Engraving by Henry S. Sadd. 19 5/8 x 26 1/2. Full margins. Excellent condition. Holzer, Boritt, & Neely, The Lincoln Image, p. 68.
A strong engraving issued to commemorate the Compromise of 1850. This political consensus was seen as the resolution of the tempest over the issue of free and slave states that had been tearing the Union apart. The individuals involved in the compromise are shown seated in a formal setting. The two major protagonists, Daniel Webster and John C. Calhoun, and "The Great Compromiser," Henry Clay are most prominent, shown around a bust of Washington, the former two with their hands on a copy of the United States Constitution. Arrayed around them are other important participants, including Lewis Cass, Winfield Scott, Sam Houston and Millard Fillmore. Liberty blesses the group from above, while in the background the curtains part to reveal the Utopia that the strengthened Union was seen as now proceeding towards. In the lower right corner Fillmore is shown holding an American shield above the 'thrown down' royal crown and scepter, a symbol of America's struggles of the past. A wonderful document of this important agreement in American history. Alas, despite its hopeful prognosis, this compromise was ultimately a failure, and it was soon to be followed by much bloodshed. $1,500
Go to section on American political events
"Terrible Conflagration and Destruction of the Steam-Boat 'New-Jersey,' on the River Delaware, opposite Philadelphia, on the Night of Saturday, March 15th, 1856, between 8 and 9 o'clock, by which Dreadful Calamity Sixty-One lives were lost." Philadelphia: A. Pharazin, 1856. 7 5/8 x 12 3/4. Lithograph. Original hand color. Very good condition.
In the nineteenth century, "rush" lithographs were one of the few ways that the general public had access to visual information of events which interested them such as elections, battles and disasters. These prints were rushed out shortly after the events by publishers hoping to sell them as sensational broadsides. The images were often drawn after "on the spot" sketches, though sometimes they were made up out of whole cloth. The year 1856 was a bad one for disasters around Philadelphia, including a spectacular fire on the ferry between Philadelphia and Camden. On March 15, 1856, the ferry caught fire, and because of the ice in the river and a loss of steering, the ferry was never able to reach the shore. Sixty one lost their lives; the names of the "dead," "missing," and "saved" are listed below the image. $650
Below is a small sampling of the prints in our inventory. All are about 5 x 8 and in very good condition, except as noted. If you have an event of particular interest, please contact us to see if we might have a print of that subject.
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