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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 Vanderlyn. "The Landing of Columbus. From the original painting in the rotunda of the Capitol. Washington D.C." London, Edinburgh, & New York: Joseph Laing, ca. 1850. Engraving by John C. McRae. 20 x 30. Excellent condition.
The Capitol dome was designed by Charles Bulfinch and built between 1818 and 1824. It was designed to have eight niches reserved for large patriotic paintings. One of these was an image of the landing of Columbus, commissioned from John Vanderlyn in 1839. Completed in 1847, this impressive scene hangs proudly in the Capitol, and its fame resulted in the publication of this engraving based on the painting. Christopher Columbus is shown landing on San Salvador on October 12, 1492. He and the captains of the Niña and Pinta claim the lands for his Spanish patrons. The quality of the print, an excellent engraving by John McRae, speaks of the high regard in which Vanderlyn's work was held. $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
Peter F. Rothermel. [Plymouth Rock. 1620.] Boston: J. Andrews, 1869. Proof before letters, printed by William M. Miller. Engraving by J. Andrews. Signed in pencil by Andrews. Wide margins. Excellent impression. Very good condition.
A superb example of historical printmaking from the nineteenth century. The image was drawn by Peter F. Rothermel, one of the most famous American historical painters of the period. Known for his images of George Washington, the Battle of Gettysburg, and other events in our history, it is not surprising that Rothermel would take on one of the seminal iconographic images from America's past. The pilgrims are shown landing in the New World, reaching safety in fact and ideal from the stormy seas. A strong central figure brings his wife to the shore, while grateful pilgrims kneel and give thanks for their deliverance and the bright future. The light of heaven shines down on these brave pioneers through the storm of their previous travails. Besides its poignant symbolism, this is an excellent example of printmaking, with beautifully rendered workmanship, which is especially highlighted here by the excellent impression of this rare proof before letters. $750
Christian Schussele. "Zeisberger Preaching to the Delawares of Goshgoshunk." Philadelphia: John Skirving, 1864. 18 x 28 1/4 (image) on chine applique attached to heavy wove paper; 26 1/2 x 35 (full sheet). Mezzotint by John Sartain. Proof before letters with printed signatures of artist and engraver. Minor staining in bottom margin of heavy wove backing paper. Some wrinkles and minor repairs in margin corners of the chine appliqué. All not affecting image. Professionally conserved. Otherwise, very good condition with superb, rich texture.
This print depicts a very interesting and little known event in American history. In the autumn of 1767 David Zeisberger, a Moravian minister, accompanied by two Indian converts, set off from the Moravian settlement on the north branch of the Susquehanna, on a missionary reconnaissance westward. Having penetrated the wilds of what is now Western Pennsylvania for almost 200 miles, they reached the Goshgoshunk villages on the Allegheny, in Venango County, on the 16th of October. Here the missionary announced the object of his coming, and after nightfall proclaimed the Gospel of Christ to an audience of Indians, who had hastily collected around a fire in the forest. Zeisberger was at this time in the prime of his life, and in the midst of his missionary work with the Indians which he continued for almost half a century. While his knowledge of Indian life, character and language ranks him a high authority in all that appertains to the history of these people, his devotion to their spiritual welfare has earned him the title of "The Apostle of the Indians." Born at Zauchtenthal in Moravia 1721, Zeisberger died at Goshen, on the Muskingom River, Nov. 17, 1808.
This beautiful mezzotint was done by John Sartain. Called the 'father of mezzotint engraving' in the United States, Sartain emigrated from England to Philadelphia in 1830, and he stayed there until his death in 1897. Between 1830 and 1865, he engraved prints for over 60 gift books issued in New York, Boston, and Philadelphia. Sartain also engraved prints for many periodicals in this period, including his own Sartain's Union Magazine of Literature and Art (1848-1852). This print depicts Zeisberger at the height of his speech with his hands and eyes raised upward to heaven. With the fire illuminating the faces of his audience, one can see the effect Zeisberger's words are having. The Indians are caught up in the moment, some are obviously in awe of the speaker while others sit meditating or even in a trance. This picture celebrates the power of a great awakening in the wilderness, and even in the background, dark figures of other Indians can be seen approaching the fire--representative of the light of religion. All in all, a wonderful and emotional depiction of the many Protestant missionaries, known and unknown, who ventured into the American wilderness to bring Christianity to Native Americans. $950
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. 27 1/4 x 33 3/4. Engraving by R. Whitechurch. Repaired tear into image at top right. Some wear and light stains at edges of margins. Else, excellent condition and 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. $2,650
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
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"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
This exquisite and powerful engraving celebrates the triumphal procession of Frederick Barbarossa the First Holy Roman Emperor. The source of the idealized fete is unknown among the many paintings, murals, tapestries and other art works that Charles LeBrun (1619-1690) created for the monarchies of Louis XIII and Louis XIV, working in his early years for Cardinal Richelieu and later under the patronage of Colbert. Multi sheet prints such as this were often done in Amsterdam, as with this by Jan Van Vienen (ca. 1660- ca. 1726), because the Dutch had a propensity for large plates, and some French taxes were avoided. Franciscus [also Francois] Halma (1653-1722) was a prolific publisher of books as well as prints and maps in Amsterdam, Utrecht and Leeuwarden. The scene of an 1155 A.D. event is set into the architectural and costumed milieu of the great and triumphal age of the Roman Empire. Monumental architecture, exquisite depictions of human figures along with the violent theme, and a most delicately detailed escutcheon at bottom center all attest to art interpreting the beginnings of modern European history for the Age of Enlightenment. $1,500
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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