Two fine allegories of an Apothecary and his wife, each festooned with the tools of the trade, including a syringe, medicinal plants, mortar and pestle, boxes, bottles and phials, among other things. $450 each, or $800 for the pair.
Woodward. "The Mourning Apotecary [sic]!!!" London: William Holland, 1801. 12 1/4 x 9. Aquatint with original hand color. Trimmed to neat line at top and sides; lined with old paper. Else, very good condition.
An Apothecary weeping at the grave of a wealthy patient; her memorial stone engraved with a humorous poem about her lingering hypochondria, and adorned with vials and small mortars. The inscription reads: "Sacred to the Memory of Kate Jones, a wealthy spinster; aged fourscore, Who'd many aches and fancied many more; Knolling her friends to the grave with church yard cough, Long hung she on death's nose, till one march morn There came a cold north east and blew her off, Leaving her Potticary quite forlorn. Obit 1801. Aged 80." $400
"Die wohleingerichtete kleine Hausapotheke für einen seine Gesundheit liebenden CHOLERA PRÆSERVATIVMANN." Germany, 19th c. 11 x 8 (plate mark); 10 1/8 x 7 1/2 (mat burn). Engraving by Wunder on wove paper, with original hand color. In addition to mat burn, old ink smudge in lower right margin, away from image. Else, very good.
A humorous portrait of a man taking every precaution against Cholera, standing on bricks to avoid the germs of the street, wearing a mask, and surrounded by an archway built of medical books, preventatives and cures. $400
"The debilitated situation of a monarchical Government..." [and] "The Flourishing condition of a well-formed industrious Republic." Philadelphia?, ca. 1836. 12 x 16 1/2. Lithograph. Very good condition. Reilly: 1836-2.
This picture shows an international situation that had importance for domestic American politics. Andrew Jackson holds up the "Treaty of 4 July 1831" in which France had agreed to pay the United States $5,000,000 in spoliations claims dating back to the Napoleonic Wars. Across a body of water representing the Atlantic Ocean stands King Louis-Philippe scowling. Both men have six unidentifiable countrymen standing behind them. The Americans are noble looking, happy, and exhibiting energy and pride; they stand next to a table with an American eagle and crest, a chest full of money with a view of the Capitol in Washington on the inside of the lid, and two books alluding to George Washington and military victories. The Frenchmen look perplexed and frightened, and an officer throttles a seaman. In the background, ships of the two navies are facing each other.
The legends beneath the picture contrast French destitution with a sound American economy, and indeed it was a time of unparalleled prosperity in the United States. France was ready to go to war against the United States when its first payment on the spoliation claims bounced, and Jackson insulted the French ambassador. An unlikely mediator, Lord Palmerston reminded the French government that in case of war, the American navy could easily take all the French West Indies possessions. In response, France retreated and eventually paid on the check. This cartoon was made to remind Americans of the unprecedented victory of the Jackson administration in completing the spoliation claims. Previous administrations of such diplomatically astute presidents as Jefferson, Adams, Madison, and Monroe had never completed them, and now Old Hickory from the backwoods of Tennessee had done it. The long term results of the Treaty of 4 July 1831 were not as favorable as Americans would want, but at this time the Jackson supporters were using it as a further claim to support the president's choice of Martin Van Buren in the election of 1836. $1,400
Lithograph "From A Pfotho[gr.]" "The Battle Of Bull's Run." 1861. Lithograph. 11 5/8 x 17 3/4. A few repaired tears, and chips in margins. Bottom right corner missing, just affecting last word of attribution. Otherwise, very good image and condition. Weitenkampf: 130.
An unusual pro-Confederate cartoon, lampooning the Northern forces and politicians in the wake of the first Battle of Bull Run, July 1861. In this early engagement of the Civil War, the Union attack on the Confederate position was turned back. An initially orderly retreat turned into a full-fledged rout, with the troops racing back to Washington. The battle is noteworthy for the many politicians and civilians, including many women, who carriaged from Washington in order to watch an anticipated Union victory. These spectators joined in the flight after the battle, adding significantly to the confusion and panic. This print caricatures the Union troops, politicians, and civilians, including "ladies as sputatiers," all of whom are shown fleeing from the Confederate troops in the background. A key at bottom identifies many of the participants, including Jeff. Davis, Gen. McDowell, and several members of Congress. The central figures are from the New York Fire Zouave troop, who were routed by the Virginia Black Horse Cavalry. This event was a long-time sore point for the Union infantry and was ridiculed in a number of popular illustrations, including this one. This separately issued print is unidentified other than the claim that it was based on a 'pfothograph.' Though pro-Southern, the print may have been issued in the North, where sympathies had not yet fully swung behind the Union cause. $1,200
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W.H. Davenport. "The Commencement Season -- Graduates Armed and Equipped for the Battle of Life." From Harper's Weekly. New York: June 26, 1873. 9 x 13 1/2. Wood engraving. A few tiny spots, else, very good condition.
Harper's Weekly was a New York based newspaper in the last half of the nineteenth and early twentieth century. In weekly issues, Harper's presented a mixture of news stories, gossip, poetry, and most notably, wood-engraved illustrations. These pictures remain one of the best sources for lively, informative images of nineteenth-century America. With photographs in a primitive stage, and no television, it is through these illustrations that much of the country got its visual information about the events, personalities and places of the time. These illustrations are also one of the few sources we have today for these same things. Major artists were employed to do drawings on the spot, which were then turned into lively and detailed prints in an amazingly short period of time. While originally issued in large numbers, few have survived the ages in good condition. These are interesting, historical and very collectable prints. A charming satire of the late 19th century "college man." $75
Six Satires depicting Abraham Lincoln. These are reproductions of satires that were drawn in 1864 by Henry Louis Stephens who moved from Philadelphia to New York in 1859. He was a brilliant satirist who even managed to lampoon the works of John James Audubon after working for that family. He drew political and social cartoons mainly for magazines such as Frank Leslie's and Harper's during the war. These images appeared in a British magazine.
The six reproductions were commissioned by Townsend and Fuller in 1930 and lithographed by the famous Hoen & Co. in Baltimore. This publisher incorrectly named the artist as "L. H. Stephens" instead of "H.L." An interesting selection that appeared in a city which retained its Southern sympathies into the Twentieth Century. Price for the six $85
"Say Mister! My Taxes Are Too High!! I Won't Stand For It!!!" [Simon Gratz.] Ink and watercolor. 18 x 11 7/8. Excellent condition.
In this early twentieth century political cartoon/caricature, "C. Sparrow" is protesting to the Philadelphia Board of Revision of Taxes the "Tax Assessment" of "5 cents" on his "Dwelling House [One Room]." Shown writing in a ledger is Simon Gratz, prominent Philadelphia civic leader and President of the Board of Revision of Taxes, to which he was appointed in 1886 and whose operations he was credited with revising and reforming.
Simon Gratz (1837-1925), for whom Simon Gratz High School in Philadelphia was named, was son of Edward Gratz (1806-1850) and a grandson of Simon Gratz (1773-1839), the founder of Gratz, Pennsylvania. His great-grandfather was a prominent merchant in colonial days, having been engaged in the India trade, and was one of the signers of the Non-Importation Resolutions adopted by the citizens of Philadelphia in 1765. His father, Edward, took an active part in the public affairs in the city and was interested in furthering a scheme for the construction of the Pennsylvania Railroad and also in the consolidation of the old city with its outlying districts in 1854.
Educated at the University of Pennsylvania, Simon Gratz served a term in the state legislature before he even reached 21 and before he began his long career as a lawyer. His public service began simply enough with a three year term as assistant city solicitor, but he quickly rose to prominence. In 1869 he was appointed to the Board of Education, on which he served until 1921, several years as president. He served as a trustee of Jefferson Medical College and on the council of the Historical Society of Pennsylvania. Gratz served on the Board of Trustees of the Free Library of Philadelphia from its inception in 1894, becoming its president in 1923.
This "tax protest" is an amusing and interesting take on Philadelphia politics and government early in the last century. $650
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