HIDDEN GEMS

The prints and maps listed below are among our favorite and most unusual, but they are items which are not generally known and are not widely popular. These are prints and maps that fall outside the usual areas of collecting or that have an unusual nature, but they are all of considerable interest and value.

We love to acquire such items for our inventory, for they are fun to handle and research and they are excellent examples of what makes antique prints and maps so interesting. These items often stay in our inventory for a long time, as they wait for the right person to find them. We hope you might find your "hidden gem," or at least that you will find it interesting to learn about these wonderful items.

"The White Plume." Philadelphia: C.G. Childs, 1830. Credit reads, "on Stone C.G. Childs Lithr." Small folio lithograph on tissue measuring 11 3/4 x 9 on heavier sheet 13 1/4 x 9 1/2. Some spotting along top of sheets. Very good condition and appearance.

Cephas G. Childs (fl. 1823-1858) was important among early lithographers in America. Beginning as a print engraver and publisher, he was one of the first in Philadelphia to turn to lithography. In 1829 he formed the lithographic firm of Pendleton, Kearny & Childs. A year later, he went into business for himself, which did not prove successful, and in the same year acquired a partner, the New York artist Henry Inman. In 1831, Childs went to Paris to learn more about lithography, and returned with the lithographer P.S. Duval. Childs & Inman often used George Lehman as artists, and he went into partnership with Childs after Inman left in 1833. Despite his energy, skill and popularity, Childs never made much money in lithography, and so in 1834 he abandoned the business to become a newspaper publisher. That year, Child's place was taken by Duval and the firm became known as Lehman & Duval. Lehman would eventually leave, and the firm under the leadership of P.S. Duval, would become one of the most respected and prosperous lithographic shops in the United States.

For this print, Childs based the image on the 1829 French lithograph "La Reverie" by Henri de Caisne. The editors of the United States Gazette, in April, 1830, commented enthusiastically on this print: "We had the pleasure yesterday of examining several beautiful lithographic prints from the establishment of Col. Childs in Walnut Street, and while we admire the positive beauties of all, we were especially struck with the evidences of rapid improvement within a few months. Most of our citizens have probably seen and admired the Mad'lle Sontag from Mr. Child's establishment, now being exhibited at the windows of the fancy stores. We compared it with a new piece nearly finished entitled "The White Plume," and could hardly have believed that so much could be attained in a few months. The latter we think may with advantage be compared with almost any print that has issued from the lithographic press at Paris. Another publication the National Gazette drew the following praise of the two Child's lithographs. "They exemplify the great progress which this truly useful art is making in this country." $350

[Victorian mother with children and miniature cart drawn by a white goat, Central Park, New York] Ca. 1870. 17 3/4 x 24 1/4". Lithograph with original hand color. Black printed margins. Very good condition.

A charming and sentimental scene of motherly attendance and affection, set in beautiful Central Park, with the Bow Bridge and Rowboat Lake, complete with swans, in the background. This beautifully hand-colored lithograph is not attributed, though there were hundreds of lithographic firms publishing in the United States at this period, the most famous of which was the firm of Currier and Ives. $525

Jacques Coelemans after Jean Benoist Castiglione (surnomme Le Benedette). "OMNIA VANITAS." Paris: Mariette, 1744. 17 x 21 3/4 (platemarks). Line engraving. Full margins. Fold at center as expected. Time toning. Strong impression.

The print was made for a portfolio by Coelemans (b. Anvers 1654-d. Aix-en-Provence 1735) in celebration of the paintings and drawings in the collection of Jean-Baptiste Boyer d'Aguilles (1645-1709). Besides being a painter and engraver in his own right, Boyer was the head of a powerful family, and after his death, his wonderful collection of Renaissance art remained in the family. Jacques Coelemans being from the same provence wished to commemorate his colleague's collection and flatter the family by including engravings of his pictures in the portfolio entitled Recueil d'estampes d'apres les tableaux des peintres des plus celebres d'Italie, des Pays-bas et de France (Paris: Pierre-Jean Mariette, 1744). The entire work is a beautiful and impressive compendium of fine art that also would have elevated French national pride in the age of Louis XV. The copy of this rare portfolio which we examined in The Free Library of Philadelphia was once owned by Joshua Reynolds, so it could have inspired similar works such as John Boydell's Houghton Gallery with its rich variety of prints after paintings in another great estate.

"Omnia Vanitas" quotes from Ecclesiastes and with rich meaning for cultured men of Europe. Enjoyment of material things is vanity, but exercised in a proper fashion, the worldly pleasures are good. The scene contrasts two groups. In the foreground is a lovely, healthy dancer surrounded by symbols of art and learning such as musical instruments, literature, a painter's palette, flowers, a game bird, armour, mathematical instruments and a geographer's globe. The dancer is accompanied by handsome men playing wind and string instruments. In the background, by contrast, is a bacchanal in a stark setting with only tambourines for music. An important message for subjects of the Sun King. $850

Jacques Coelemans after Francisque Milet. "BACCHANALE." Paris: Mariette, 1744. 13 1/2 x 16 (platemarks). Line engraving. Margins. Time toning. A few abrasions on surface.

In "Bacchanale" the old god Bacchus lies intoxicated in a garden designed around a statue of Priapus. This picture by Francisque Milet (Anvers 1644- Paris 1680) is an ebullient emblem of the stupor induced by the pagan fertility cult. Ariadne (fruitful mother of barley) helps Bacchus hold his wine goblet while to the right a satyre rides away on an ass (symbol of lust), and to the left cherubs mount a ram (symbol of aggressiveness). The entire scene is ensconced with fruitful symbols of fertility such as grapes, wheat, nuts and an oak cluster on Bacchus' head. $600

[Othello meets Desdemona and her father, Brabantio.] Early 20th century. 27 1/2 x 31 1/4". Collotype with extensive hand finishing. Trimmed to image. One expertly repaired tear in image.

A handsome and dramatic scene from early on in the tragic story of love and betrayal. This vibrantly colored print exhibits the deep gemstone hues of the characters' courtly costumes, with a bit of Venetian architecture in the background. Oriental influences in the carpets and other fine decorative elements emphasize Othello's exoticism and physicality. $275

Plate VIII from series of cavalry prints. 18th century engraving, ca. 23 x 35. Very good condition.

This comes from an eighteenth century series of very large engravings showing scenes related to French cavalry troops. These double page (with folds) images were drawn by Van Blarenberghe and engraved by skilled craftsmen. The prints show scenes of training the horses, troops in formation, plans of attack, and so forth. They are dramatic, finely engraved, and fascinating. $500
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