Joseph Delaplaine wanted to publish portraits and biographies of great Americans to counter the current arguments that people and institutions in America were inferior to those in Europe. He included his contemporaries as well as early voyagers to reflect on the strong and adventurous spirits that were involved in the founding of the New World and the American Republic.
Henry Inman. "William Penn." Philadelphia: 1834-35. Engraved and printed by John Sartain. 20 3/4 x 15 3/4. Very good condition.
A classic full length portrait of the founder of Pennsylvania holding his charter from the English king in his right hand and a glove symbolizing elegance and status in his left. The landscape background shows the native Indians as the noble savage, while a peaceful landscape shows a great tree, which could be the treaty oak in Philadelphia, and if so, then the river is the Delaware with an Indian canoe in the far distance. The print was produced by the mezzotint process by John Sartain (1808-1897). Sartain, known as the "father of mezzotint engraving" in the U.S. popularized this elaborate printmaking process when he emigrated to this country from England in 1830. His prints always have a strong and rich texture that enhances their aesthetic qualities considerably, This image is based on a painting by Henry Inman, an artist known particularly for his portraits. Ref.: Ann Katharine Martinez. The Life and Career of John Sartain (1808-1897) , unpublished dissertation at George Washington University (Washington, D.C., 4 May 1986), fig. 13. $950
James Wise. "Henry Clay." Philadelphia: James Wise, 1844. Mezzotint by John Sartain. 17 x 11 1/2. Some wear at edges of margins. Otherwise, excellent condition.
This full length portrait was issued during the 1844 presidential campaign, which was Henry Clay's (1777-1852) third and last time to be nominated by the Whigs. Fractious debates over the annexation of Texas and Oregon, as well as the policies on slavery had torn the Whig party to pieces, and the election was lost to James K. Polk (1795-1849). Little is known about James Wise (fl. 1843-1860) who worked as a portrait and miniature painter in New Orleans in 1843 and Charleston, S.C. in 1844-5. He also worked in Virginia and St. Joseph, Missouri, according to Croce and Wallace. John Sartain (1808-1897) also engraved a portrait of John C. Calhoun after this artist. Here is classic portraiture conveyed through the elegance that was so well expressed through mezzotint engraving. In a handsome suit, backed by solid pillars and surrounded by books, writing materials, and a terrestrial globe, "The Great Pacificator" stands in the pose of an ancient orator. $650
"Henry Clay." Hartford: E.B. & E.C. Kellogg; New York: Kelloggs & Thayer; Buffalo: D. Needham, ca. 1844. 11 x 8 3/4. Lithograph with original hand color. Wide margins. Stain at top margin edge, not affecting image. Overall, very good condition. $250
"Canvass Back." From Henry L. Stephens. The Comic Natural History of the Human Race. Philadelphia: Samuel Robinson, 1851. Printed in colors by Rosenthal. Ca. 7 x 6. Title trimmed, else very good condition.
An amusing portrait of the painter, Abraham Woodside. From a very interesting series showing well-known individuals and types of mid-nineteenth century Philadelphians. These people are depicted in various animal forms, but with human heads, illustrating the individual's occupation, personality, etc. The people lampooned in these illustrations came from many walks of life, and include politicians, artists, musicians, and businessmen. These prints are wonderful examples of early chromolithography, with great whimsical appeal. $85
Go to page with listing of more of the Stephens portraits
Christian Schussele. "Washington Irving And His Literary Friends At Sunnyside." New York: Irving Publishing Co. and London: Moore, McQueen & Co., 1864. 20 1/4 x 31. Mezzotint by Thomas Oldham Barlow. Full hand coloring. Numerous tears in margins. Professionally conserved and backed with rice paper. Otherwise, very good condition.
An attractive group portrait of Irving with his literary contemporaries arrayed around him in his study at Sunnyside. From left to right, the figures are: Henry T. Tuckerman, William Gilmore Simms, Oliver Wendell Holmes, Fitz Greene Halleck, Nathaniel Hawthorne, Henry Wadsworth Longfellow, Nathaniel Parker Willis, William H. Prescott, Irving, James K. Paulding, Ralph Waldo Emerson, William Cullen Bryant, John P. Kennedy, J. Fennimore Cooper and George Bancroft. From a shelf on the wall in the upper right of the image, a bust of William Shakespeare looks down on this impressive gathering.
Interestingly, the Hudson River is visible through the window facing East; this is a convenient fabrication on Schussele's part, because the Hudson passes by the west-facing side of the estate. The curtained alcove at the rear of the image has drapes partly drawn to reveal shelves filled with books. In this alcove was a couch accessible to a weary Irving when he tired from his work. Elsewhere in the scene, books and papers are additional reminders of the pursuits of this distinguished company. JT OUT ON APPROVAL
"The Rescue of John Wesley from Fire February 9th. 1709." Signed in the plate "D. Wiest." Lithograph. 19 1/2 x 25 1/2 (image) plus full and generous margins. Philadelphia: William Smith, 1865-70. A few small spots and browning at extremities, all in all very fine. Ref.: Richard S. Field. "Further Notes on The Rescue of John Wesley, Philadelphia Style." In Yale University Art Gallery Bulletin, Spring 1989.
John Wesley (1703-1791) was ordained a priest in 1728, and in 1729 took over his brother Charles's leadership in the Methodist Society at Oxford. On the night of 9 February 1709 the six year old boy John was saved from a vicious fire at his home, and since then many considered him a special person. As leader of the Methodists he went to the British colony of Georgia as a missionary to the people in the back country and the Indians from 1735 to 1737. From 1738 to 1751 he made many trips throughout the British Isles visiting Ireland and Scotland as well as England and Wales preaching to large crowds. His works and those of George Whitefield had a profound impact on the American Revolution as part of the dissenter influence on America, and that work continues to this day.
This print celebrates a major event in the generation of the Methodist Church and was sold to Americans from the end of the Civil War up to the time of the Centennial Celebration that took place in Philadelphia in 1876. William Smith was a prolific publisher of prints in the second half of the nineteenth century and used work by D. Wiest of whom very little is known. Besides depicting a famous event, this print also shows the old methods of fire fighting as a bucket brigade is seen in the left corner while neighboring men form a human ladder to save the young family member who dives out of his window in a nightshirt. Animals are also saved while women and children stand back on the right side behind a prominent elder fervently praying. An exciting American print. $450
After photograph by Rockwood. "John Hall." New York: A.H. Ritchie. 10 1/2 x 8 7/8 (image). Engraved by A.H. Ritchie. Chine appliqué. Light water stain across bottom of image. Else very good condition.
One of the best historical print makers of the mid-nineteenth century, Alexander Hay Ritchie is particularly known for the clarity and richness of his engravings. John Hall, born in Ireland in 1829, was pastor of the Fifth Avenue Presbyterian Church in New York City and in 1882 became the first Chancellor of New York University. $125
Paul Auguste Rajon. [Alfred, Lord Tennyson]. 15 3/8 x 11 1/2 (image). Engraved and signed in pencil by Gustave Mercier. Chine appliqué. Paul Adolphe Rajon (1843-1888) was a French painter and printmaker, who began his career as a photographer while studying in Paris. Devoting himself to etching, his works were mainly reproductions of paintings by contemporary artists or by Old Masters, although he also produced original portrait etchings of contemporary writers including Tennyson. He enjoyed financial and critical success in France and England, and, through his acquaintance with the American print dealer Frederick Keppel (1845-1912) in New York, his fame also spread to the United States. Gustave Mercier (1858-1898) was a French-born engraver who also worked in New York, where he died.
Alfred, Lord Tennyson (1809-1892) is often described as the English poet most representative of the Victorian age. He succeeded William Wordsworth as Poet Laureate of England in 1850. Tennyson is buried in the Poets' Corner in Westminster Abbey. $175
After the original daguerreotype by Josiah Hawes, Boston. "Daniel Webster." Philadelphia: William Campbell, 1897. 19 x 15 1/2. Mezzotint by Max Rosenthal. Signed in plate by the engraver. Edition: 50. Very good condition.
A handsome mezzotint portrait by Philadelphia artist/etcher Max Rosenthal. Rosenthal (1833-1918), born in Russian Poland, studied lithography in Paris at 13, and emigrated to Philadelphia in 1849 or 1850. An active lithographer working with his brothers Louis, Morris and Simon, he also taught mezzotint engraving and oil painting in his later years. Rosenthal also issued a number of large attractive portraits in the early twentieth century such as this mezzotint which is after a 19th century daguerreotype. $450
"John Hay." [Title in facsimile Signature]. Steel engraving. 18 x 15 (image) plus platemarks and margins. Credit to Max Rosenthal, Philadelphia, 1906. Excellent condition. Strong impression.
John M. Hay (1838-1905) was well known as a writer of literary works of poetry and fiction; however, he was a very serious writer in his historical and analytical works. During the Civil War he was a secretary to Abraham Lincoln along with John Nicolay, and the two wrote a ten volume biography of Lincoln in 1890. Later as Secretary of State he negotiated treaties with China, the first complete Canadian boundary treaty, and treaties leading to completion of the Panama Canal. He enjoyed a close relationship with Henry Adams the American historian and political theorist. This strong portrait conveys his reputation one year after his death. $400
"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
Erwin F. Faber. "William G. Spiller." N.p., n.d. (c. 1920s). Engraving, 12 1/4 x 9 3/4 (plate marks). Full margins. Signed in pencil by both artist and subject. Very good condition.
William Gibson Spiller (1863-1940) was a distinguished clinical neurologist who graduated from the University of Pennsylvania Medical School in 1892, studied abroad for four years, returned to Penn's Pepper Library to do neuropathological research, headed the neurological department of the Philadelphia Polyclinic Hospital, maintained a private practice, served as clinical professor at Women's Medical College, published over 250 articles, and in 1915 succeeded Charles Karsner Mills as professor of neurology at the University of Pennsylvania, serving until 1932 when he retired as professor emeritus. Of serious demeanor, a little stooped, rather quiet and contained, wholly lacking in sartorial splendor, renowned as a superb diagnostician, Spiller's classes were crowded because his rather soft-spoken and otherwise somewhat dull lectures were spiced with Shakespearean quotations. His son, Robert Ernest Spiller (1896-1988), followed him to Penn as student and teacher, where he was a very well-known professor of English and promoter of American literature.
Erwin F. Faber (1866-1939) was the son of Hermann Faber (1832-1913), a Philadelphia anatomical artist of German birth who moved to Washington, D.C., during the Civil War to work for the Surgeon General illustrating battlefield wounds. At the behest of Surgeon General Joseph K. Barnes, he entered the room where Lincoln had just died and made a pencil sketch of Lincoln's deathbed scene which Barnes proclaimed accurate and which is at the Philadelphia Museum of Art. Hermann also retained a piece of Lincoln's bloody pillowcase, which is at the Grand Army of the Republic Museum in Philadelphia. Returning to Philadelphia after the War, Hermann taught his sons Ludwig E. (1855-1913) and Erwin F. the art of medical illustration. They often worked together. For example, in the 1910 book Applied Anatomy . . . . by University of Pennsylvania Orthopedics professor Gwilym G. Davis, Erwin and Hermann are credited with over 600 illustrations, including "tracing from photographs by Muybridge" showing a child walking. Erwin had created the drawings for Muybridge's 1892-94 colored Zoopraxiscope glass discs. At the U of P, Ludwig painted a 1908 portrait from a photograph of Chemistry Professor Robert Empie Rogers (d. 1884), while Erwin did portraits of Dental Pathologist James Truman (from life 1896) and, posthumously, Chemistry Professor Joseph B. Rogers (d. 1852).
Erwin F. Faber was a colleague of William G. Spiller at the University of Pennsylvania Medical School, holding titles such as Instructor of Pathological Drawing. $175
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