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The complexity of this dedicatory print to George Washington almost defies description. It is a most impressive exercise in penmanship and engraving by Benjamin O. Tyler, "Professor of Penmanship." A strong, stipple engraving of Washington after the Stuart portrait is in an oval which surmounts two statements which mourn his death: "Gen. George Washington departed this life Decr. 14th 1799 AE67. And the tears of a NATION watered his grave" and at the base "Washington's no more by silence grief's express'd / Lo! here he lies, his Works proclaim the rest." The portrait is flanked by Masonic symbols: a book held open by a compass and angle on the left and a shining sun on the right. The emphasis of the text appearance is calligraphy using many letters and ingenious figures of angels to express encomiums and prayers.
The story behind it tells volumes about the reputation of Washington among the American people in the first half of the nineteenth century. In his landmark article "American History in Image and Text," in Proceedings of the American Antiquarian Society, Vol. 98, pt. 2(1988) see especially pp. 247-53, John Bidwell has shown that Benjamin Tyler's memorial was first issued at the same time as John Trumbull's famous print of the Declaration of Independence, and, indeed, it competed with it because Trumbull complained of the situation. In this third state of the memorial, Tyler added a facsimile of Washington's signature to the bottom right corner, thus appealing to the new fashion of collecting authentic signatures at that time. In this way, Tyler also aligned his print to compete with John Binns' famous print of the "Declaration of Independence" which contained facsimile signatures of all the signers. This beautiful, complex, and fascinating print expresses much about the patriotic fervor of Americans at this time. $1,600
John I. Donlevy. "Sacred to the Memory of the Illustrious Champion of Liberty General George Washington First President of the United States of America." New York: John Donlevy, circa 1832. Engraving. 16 1/2 x 14. Wear in lower left and some minor surface blemishes. Expertly conserved and overall very good appearance. Hart: 862a; Wick, pp. 58-62.
Calligraphic illustrations were popular means for engravers to demonstrate their skill (cf. Tyler print above), and that is well evidenced by this tour-de-force by John I. Donlevy. Donlevy, who lists himself as an "Intaglio-chromographic and Electrographic Engraver," used his engraving and calligraphic skill to make this memorial image of Washington based on Stuarts' "Athenaeum" painting. The face of the portrait is a straight engraving, but the rest of the bust is done with effusive swirls, and the writing giving the title, as well as Washington's dates, is done in various elaborate calligraphy styles. A nice example of a memorial for Washington and a particularly fine example of American engraving. $1,250
Alfred Newsam. "George Washington. 1st. President of the United States." Philadelphia: C.W. Williams, 1846. Ca. 10 1/2 x 9. Lithograph by P.S. Duval. Original hand color. Very good condition.
A handsome portrait from a rare series of "Portraits of the Presidents." The publisher of this series was C.W. Williams, who used two of the most important figures in early American lithography, Alfred Newsam and P.S. Duval. Alfred Newsam, a deaf mute, began work as a lithographic artist almost two decades before working for Cephas G. Childs, a Philadelphia engraver and print publisher. Newsam was particularly noted for his portraits, including all the earliest images for the McKenney & Hall series of Indian portraits. In 1831, Childs formed a partnership with Henry Inman, at which time he went to Europe to learn more about lithography, which was still in its early stages. Childs came back with P.S. Duval, to help run the Childs & Inman presses. This was perhaps Childs' most significant contribution to American lithography, for Duval was to become one of the foremost lithographers in the country and the world. The quality of the work of both Newsam and Duval is evident in this fine portrait, which is finely drawn, lithographed, and colored. The image is surrounded by an elaborate border, indicating that Williams wanted his series to stand out from the plainer prints issued by his competitors. His strategy does not appear to have been very successful, as the scarcity of these images indicates not that many were sold. $575
Stearns. "Life of George Washington. [The Christian.]" New York: M. Knoedler, 1853. 18 1/4 x 24 1/2. Lithograph by Regnier. Printed in Paris. Narrow margins top and sides, and bottom margin with short repaired tear and with sub-title trimmed off. Otherwise, very good condition.
A beautifully rendered death bed scene of George Washington. With north-south tensions threatening to split the United States apart in the middle of the nineteenth century, those who wished to preserve the country turned to Washington, the 'father of our country,' as an icon for unity. Thus there appeared at the time a large number of frameable portraits of Washington as President and in various scenes throughout his life. This is a rare example done in lithography, made in Paris as is indicated by the superb workmanship. Washington's family and friends gather at his bedside, Washington preparing himself for death with an equanimity founded in his knowledge that he had lived his life well and honorably. $325
A.H. Ritchie. “Washington And His Generals.” New York: James Tyroller, nd, but late 19th century. Engraving by A.H. Ritchie and with the 1856 copyright date. 23 1/2 x 35 3/4 (image) plus generous and complete margins. Good margins, with short repaired tear. Slight creasing at bottom. Otherwise, very good condition.
A wonderful, large engraving by A.H. Ritchie, one of the best historical print makers of the mid-nineteenth century. Ritchie is particularly known for the clarity and richness of his engravings, and this fine image is an excellent example of his work. In the image, the “Father of His Country” is shown surrounded by his generals in Fraunces Tavern, in York City. Washington stands center stage, his noble pose highlighted with the sun streaming in from a window. The scene depicted is a historic recreation of an event which was supposed to have occurred just prior to Washington’s official resignation as commander in chief. He takes leave of the generals, his companions of the war, departing the military in preparation for his entrance into political life. The portraits of Washington and the officers are excellent likenesses, making identification of most possible. The surrounding detail, including a bust of Benjamin Franklin, are also very finely engraved. This print was certainly part of the myth-making associated with Washington in the nineteenth century, but one where the quality and size was well above the average. $1,850
William Pate. "Washington's Last Interview with his Mother." New York: Max Jacoby & Zeller, 1860. 24 x 17 7/8. Steel engraving. One repaired tear on lower left, just into image. Else, very good condition.
Washington and his visibly feeble mother say their farewells as a friendly dog looks on. An interesting period piece with good interior detail. Many retrospective historical prints like this were issued around the period of the Civil War as part of the myth-making of American history. This print is typical of the type, and it provides not only a visually interesting document, but one that tells us more about the period when it was issued than of the period depicted. $350
G.G. White. "Father, I Cannot Tell A Lie: I Cut The Tree." New York: John C. McRae, ca. 1860. 14 3/4 x 21 1/2 (image) plus full and generous margins. Engraving by John C. McRae. Some old stains in upper left margin. Otherwise, very good condition.
A sentimental image of this apocryphal story of Washington's youth. The "Cherry Tree" episode was invented in 1806 by Parson Mason Weems in a book commemorating Washington's life that was first published in 1800. The book was issued in numerous edition through the 1830s, and this print, separately issued around 1855, is a wonderful reminder of the popularity of the story that exists even today as part of the Washington 'image'. The imagery of the print is very interesting, for the house shown in the background is a small, wood, single-story building, more appropriate to Lincoln's childhood than Washington's. Also shown are three black farm hands (slaves?). Another interesting feature is the fact that in this image Washington has not actually cut down the cherry tree, but rather just taken one cut of it. Perhaps the artist did not want Washington to have caused serious harm, just to have made a childish mistake? $600
William E. Marshall after Gilbert Stuart. "G. Washington." New York: W.E. Marshall, 1862. 13 3/8 x 11 1/4. Steel engraving by W.E. Marshall. Very good condition.
An excellent engraving of George Washington by William E. Marshall, based on the famous oil portrait in the Boston Athenaeum by Gilbert Stuart. Marshall was well known for his superb portrait of Lincoln, issued in 1866, and for his equally fine engraving of Grant issued a few years later. Those prints were perhaps inspired in part by this excellent portrait of Washington. It was issued as a subscriber's print for The Christian Union, a newspaper published by J.B. Ford & Co. One of the best mid-nineteenth century portraits of the first president by an artist who would later produce what is often considered the best contemporary portrait of the 16th president. $600
T. P. Rossiter and L. R. Mignot. "The Home of Washington." New York: Rossiter & Mignot, 1863. Engraved by Thomas Oldham Barlow. 18 7/8 x 29 7/8. Very good condition. Framed.
A classic American historical print, with a scene which expresses the ideals of the American gentleman farmer and which features more than meets the eye at first glance. This pleasing picture shows George Washington on the porch of the East Front of Mount Vernon with the Potomac River in the background. The bucolic setting and at leisure figures had a serious message for the print's audience. Issued during the American Civil War, the print represents the ideal for America from a Northern perspective. Washington is conversing with John Jay, principal author of The Federalist Papers and thus a representative of the position supporting centralized power for the federal government. The elements of peace and family are present with the gentlemen in relaxed conversation and the ladies engaged in polite activities, while two children play with a toy cannon nearby. The message is that it would be better that war should be only an imaginary event, the powder horn lying on the grass in the foreground and labeled "1776," representing the last war that American should have had to fight. To see the parallels of Washington with Robert E. Lee, also a Virginian and a general, is to recognize the propaganda value of this well executed print. While Lee was leading the Confederate insurrection, the 'father of his country' is shown as a uniting factor between North and South. $950
John Whetton Ehninger. "Washington's First Interview with His Wife." New York: William Pate, 1863. 23 1/2 x 28 1/8. Engraving by G. R. Hall. Repaired tears in bottom margin and some light staining, mostly in margins. Image with good impression and appearance.
A sentimental and symbolic image showing George Washington courting Martha Custis. Martha is depicted sitting in a chair with her two children playing at her feet. Next to Martha is a larger, but empty, ball and claw leg Chippendale arm chair. Symbolically, the arm chair indicates that this chair is intended only for the "Man of the House." The fact that it is empty communicates to the viewer that Martha is a widow. George is seen standing next to the arm chair, with his hand on top of the back, which visually represents his interest and possible intentions of permanently occupying this chair. Overall, this scene has a classic formality and composition, keeping Washington in his 'heroic' plane even though engaged in the very human activity of courtship. $350
Daniel F. Huntington. “Lady Washington’s Reception.” New York: Emil Seitz, ca. 1865. 21 1/2 x 35. Engraving by A.H. Ritchie. Strong impression. Very good condition. Ref: Karal Ann Marling, George Washington Slept Here, 1988.
A superb engraving of Daniel F. Huntington’s painting “The Republican Court in the Time of Washington, or Lady Washington’s Reception Day.” This painting by the president of the National Academy of Design was designed to show not one particular reception, but rather to be a representative tableau of the Friday evening “teas” held by Martha throughout her husband’s term. The scene is filled with symbolism representing the august status conferred on Martha and George in the mid-nineteenth century. The elegance of the surroundings, the richness of the dress of those at the reception, and the formality of the situation and poses all recall a scene from any of the royal courts of Europe in the late eighteenth century. Indeed, it was likely the depicted refinement of the costumes and the obvious high status accorded to these American socialites that most explains the popularity of Huntington’s canvas and this elaborate print.
This engraving was a subscription print produced with the intent of generating a profit based on the popularity of the painting. In the nineteenth century, artists were often able to make more money from the sale of prints after their paintings than from the original canvases. Huntington clearly hoped he would benefit in this way, and the public exhibition of the painting in New York City during the fall of 1865 was precisely designed to achieve this end. Huntington hired a superior craftsman to render his image in steel. A.H. Ritchie, the engraver, was one of the best historical printmakers of the mid-nineteenth century. He is particularly known for the clarity and richness of his engravings, and this fine image is an excellent example of his work. The costumes, faces, and architecture are precisely and richly engraved. The merit of this print as an excellent example of historic printmaking from the last century is equaled by its value in depicting how George and Martha Washington were accorded an exalted status in the years following the Civil War. $900
After Gilbert Stuart. "Washington." Philadelphia: William Smith, ca. 1865-76. Tinted lithograph. 26 1/2 x 22 (full sheet). Excellent condition.
A bust portrait of George Washington based on paintings by Gilbert Stuart. A fine image of Washington whose memory was used to keep the United States together during the crises of the 1850s, during the Civil War, and through the Reconstruction Period. George Washington was a plantation owner, had slaves, and was a Southerner, but he was also a Federalist who wanted a strong central government and a balance of power among the branches of government. A portrait such as this would have hung in homes and offices and especially in schools. $350
The Currier & Ives print is a loose rendering of the Edward Savage painting, "The Washington Family." The family, consisting of the Custis grandchildren, George and Martha, sits in an apparent geography lesson with both a map and globe in view. The servant William Lee looks on from behind Mrs. Washington. $750
A large steel mezzotint engraving by William Sartain of George Washington and his family. The 'Father of the Country' sits in uniform surrounded by his family and symbols of American life. On a table, center, lies a copy of the official plan of the City of Washington. To the right the General has laid aside his sword, and to the left is an olive plant representing peace. Martha sits across the table of Washington and her two grandchildren flank their step-grandfather. Coming in the door is Washington's servant, William Lee. The handsome figures with calm demeanors, rich clothing and furniture, and many symbols graphically illustrate the ideals of American life in the nineteenth century. $650
Etchings from the portfolio "The Bicentennial Pageant of George Washington." George Washington Memorial Association, 1932. Plates printed by Henry E. Carling, London, England. Edition 1000. Plates cancelled. Paper watermarked "GW" in circle at lower right, with Washington's coat of arms (shield, crown, and eagle) at upper left. Very good condition.
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