Gathering funds by subscriptions, the Union purchased and then redistributed paintings and engravings, creating a structure that made high art accessible to the middle class. For a small membership fee, participants would receive an annual members' engraving as well as a chance at the lottery of paintings and prints purchased with AAU funds. Based in Manhattan, the American Art Union also kept an open gallery, which drew large numbers of visitors keen to see the paintings advertised. In addition to issuing annual subscription prints, the AAU commissioned three medals commemorating important American artists including Gilbert Stuart, John Trumbull, and Washington Allston. These and other goings-on of the organization were reported to members in the AAU Bulletin, published once or twice annually. With its gallery and thousands of subscribers, the AAU probably had more than any other force to do with the success of many of America's nineteenth century artists and the popularization of their work. The legacy of the American Art Union is immense, best exemplified today in the thirty-six engravings it published based on the paintings of some of the most luminous names in American art, including George Caleb Bingham, Thomas Cole, F.O.C. Darley, R.C. Woodville, Asher B. Durand, and William Sidney Mount.
William Sidney Mount. "Farmers Nooning." New York: Apollo Association for the Promotion of the Fine Arts in the U.S., 1843. Engraved by Alfred Jones. Printed by George S. Appleton. 12 5/8 x 16. Very good condition. $1,600
Francis William Edmonds. "Sparking." New York: American Art-Union, 1844. Engraved by Alfred Jones. 12 7/8 x 16 7/8. With hand color. $1,200
A second copy, uncolored. $1,200
Asher B. Durand. "The Capture of Major Andre." New York: American Art Union, 1846. 13 x 17 3/4. Figures engraved by Alfred Jones; landscape engraved by James Smillie & Hinshelwood. Large margins. Later hand color. Very good condition. Ref.: Mann, p. 42.
By mid-nineteenth century the story of John Andre's arrest as a spy in the Benedict Arnold treason plot had reached mythic proportions along with the deification of Washington and Horatio Alger fiction. The plans for West Point were found in the British officer's boot. Andre had offered his captors a bribe, but as American patriots, the three irregulars refused and turned him in to the American army. Later debunkers of American history would say they were ruffians and Andre had not offered them enough, but at this time, 1846, the capture was a lesson in patriotism. $1,200
Daniel Huntington. "A Sibyl." Engraved by John Casilear. New York: American Art Union, 1847. Steel engraving. 9 1/4 x 7 3/4 (image) plus full margins. Excellent condition. Mann, p. 45.
This print is an example of American academic classicism. Daniel Huntington (1816-1906) was a prolific historical and landscape painter from New York City. He attended Hamilton College where he studied with Morse and Inman as well as traveled abroad. He twice served as president of the National Academy and had his paintings rendered into prints by not only the American Art Union, but also the Apollo Association. John William Casilear (1811-1893) was also a painter but excelled as an engraver of portraits and banknotes. "The engraving of The Sibyl after Huntington, distributed as the second print for 1847, won high praise." Mann, p. 109. $425
Felix Octavius Carr Darley. "Illustrations of Rip Van Winkle." New York: American Art-Union, 1848. Set of six etched plates. Scattered foxing, mostly in margins, though some in images; very good condition.
Born in Philadelphia, Felix Darley was one of America's first well known illustrators. He worked in both Philadelphia and New York before eventually settling in Claymont, Delaware. There he worked for the next nineteen years producing drawings for prints, magazines, and more than 200 books. These included best-selling works by such prominent authors as Washington Irving, Charles Dickens, and Henry Wadsworth Longfellow.
Plate 1; Plate 2; Plate 3; Plate 4; Plate 5; Plate 6. $275
Felix Octavius Carr Darley. "Illustrations of The Legend of Sleepy Hollow."New York: American Art-Union, 1849. Set of six etched plates. With original (though very worn) covers.
Plate 1; Plate 2; Plate 3; Plate 4; Plate 5; Plate 6. $200
"Ann Page, Slender and Shallow." New York: American Art-Union, 1850. Engraved by Charles Burt. Printed by James Dalton. 16 1/8 x 20 1/4. Three light spots in margin. Three tiny abrasions in image. Overall, very good condition. $650
Asher Durand. "Dover Plains." New York: American Art-Union, 1850. Engraved by James Smillie. 6 7/8 x 10 3/8. Time toned, else very good condition. $750
Thomas Cole. "Dream of Arcadia." New York: American Art-Union, 1850. Engraved by James Smillie. Printed by W.E. Smith. 6 1/2 x 10 1/2. Paper lightly toned. Overall, very good condition. NA
F.W. Edmonds."The New Scholar." New York: American Art-Union, 1850. Engraved by Alfred Jones. 7 1/4 x 10 1/4. $625
William Sidney Mount. "Bargaining for a Horse." New York: American Art-Union, 1851. Engraved by Charles Burt. 7 3/4 x 10. Very good condition. $1,200
John F. Kensett. "Mount Washington. From the Valley of Conway." New York: American Art-Union, 1851. Engraved by James Smillie. 7 x 10 3/8. Repaired tear (1 3/4 long in lower margin, to the left of the title.). Overall, very good condition. $750
Thomas Cole (1801-1848) is known as the founder of the Hudson River School of landscape painting and produced primarily realistic and imaginary landscapes. Samuel Ward commissioned Cole to paint a set of four allegorical paintings in 1839. These four prints, engraved after Cole's paintings, depict the stages of life from birth to death. Cole's inspiration may have come from a sermon by Reverend Reginald Heaver referring to "life [which] bears on us like the stream of a mighty river."
In 1849, Smillie engraved "Youth" for the American Art Union (1839-1851), an organization created to support and develop popular appreciation of American art by issuing prints engraved after paintings which the organization owned. The favorable reception of this print led Smillie to engrave the three other voyages and issue the four print set in 1855. This image shows the man just beginning to depart from his guardian angel, before he begins to deal with the difficult currents of manhood through appeal to God. $1,200
Thomas Faed. (1826-1900) "The Little Wanderer." Chicago: Crosby Opera House Art Association, 1866. 16 1/4 x 23 3/4. Steel engraving by Christian Rost. Printed by W. Pate, N.Y. Some chips at extreme edges of margins; tide mark at bottom margin, into publication line, but still legible. Else excellent condition.
This fine engraving was made by Rost after Faed's painting, "The Mitherless Bairn," which was first exhibited at the Royal Academy in London, in 1855, where it achieved a notable popularity. The painting shows an idealized incident from Faed's early years: a small child pretending to be orphaned, has imposed on the family. In spite of having been treated and fed well while in their care, his behavior devolves, and it becomes known that he is no orphan, but in fact the child of two well known tramps.
Thomas Faed, born in Scotland, was one of five siblings who became accomplished artists. Credited for popularizing Scottish art to a degree similar to the way Robert Burns' works did for Scottish song, Faed painted for most of his life, to great acclaim.
This print was one of two premium options for single shareholders of the Crosby Opera House Art Association, an elaborate lottery to pay off the cost overruns caused by war shortages. Uranus H. Crosby built his famous Italianate Opera House on Washington Street, between State & Dearborn in Chicago. While the lottery was a great success, the structure was destroyed in the Great Chicago Fire in 1871. $450
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