This cartoon predicts the flourishing of British commerce with the repeal of the Stamp Act. The print provides the following explanation of the complicated allegory. Over the Vault are placed two Skeleton Heads, Their elevation on poles with the dates of the two Rebellion Years [1715 and 1745] sufficiently shew what party they espoused, and in what cause they suffered an ignominious Exit. The reverend Mr. Anti-Sejanus [Rev. Dr. W. Scott] (who under that signature hackney'd his pen in support of the Stamps) leads the procession as officiating Priest, with the burial service and funeral sermon in his hands. Next follow two eminent Pillars of the Law, Alexander Wedderburn and Fletcher Norton supporting two black flags, on which are delineated the Stamps with the White Rose and thistle interwoved. The significative motto Semper Eadem is preserved, but the Price of the Stamp is changed to three farthings, an important sum taken from the Budget. The numbers 122 and 71 declare the minority which fought under these Banners. Next appears the honourable Mr. George Stamp, [George Grenville] full of Grief and dispair, carrying his favourite Childs Coffin Miss Americ Stamp, who was born in 1765 and died hard in 1766. Immediately after, follows the chief Mourner Sejanus [Lord Bute]. Then his Grace of Spital Fields [Duke of Bedford] and Lord Gawkee [Earl Temple]. After these Jemmy Twitcher, [Earl of Sandwich] with a Catch, by way of funeral anthem, and by his side his friend and partner Mr. Falconer Donaldson of Halifax [Lord Halifax]. The rear is brought up by two right reverend Fathers of the Church [Warburton holding a book]. These few mourners are separated from the joyful scene which appears on the River Thames where three first rate ships are riding. Thay are: The Conway, Rockingham, and Grafton [ministers who supported the repeal]. Along the opposite shore, stand open Warehouses for the several goods of different manufacturing towns from which Cargoes are now shipping for America. Among which is a large case containing the Statue of Mr. Pitt, which is heaving on board a Boat No. 250, there is another boat taking in goods nearer the first rates, which is number 105. These Numbers will ever be held in esteem by the true Sons of Liberty. OUT ON APPROVAL JC
"Un Apoticaire; Ein Apotecker." and "Femme d'Apoticaire; Eine Apoteckerin." Augsburg: Mart. Engelbrecht, 18th c. Each ca. 10 3/8 x 7 3/4. Engravings with original hand color. Light spot top left (man); short tear in upper left margin. Else, very good condition.
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. Each: $400
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
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