M. Brown. "This Print of the CELEBRATED VICTORY obtained by the British Fleet under the Command of Earl Howe, over The French Fleet ON THE GLORIOUS FIRST OF JUNE, 1794." London: Daniel Orme, Oct. 1, 1795. Engraving by D. Orme. 17 x 22 1/2. Some marginal repaired tears and wear, a few light creases in image, but overall condition and impression very good.
A striking and quite scarce engraving showing the British naval victory over the French on the "Glorious First of June, 1794." In early 1793 shortly after the execution of Louis XVI, Revolutionary France declared war on the alliance of the German Empire, Spain, Holland and Great Britain. The first naval battle of the war was fought on June 1, 1794 west of Ushant, off the Brittany Peninsula. A French fleet of 26 warships, under Admiral Louis Villaret de Joyeuse, was escorting a convoy of grain ships across the Atlantic when he was intercepted by a similar British fleet under Admiral, Lord Richard Howe. In this decisive action, six French ships were captured and one was sunk, giving the British a "glorious" victory, despite the fact that the supply ships were able to slip away into the harbor at Brest as the British fleet was too battered to pursue them. The British were quite frightened at the time of the entire Revolutionary movement in France, so the British public was exhilarated by this victory, to the extent that thereafter it was always known as the "Glorious First of June." This excellent engraving is after a painting by M. Brown, "Historical Painter to their R.H. the Duke & Duchess of York," and was engraved and published by Daniel Orme, "Historical Engraver to his Majesty & his R.H. the Prince of Wales." It was issued very shortly after the event and it was a celebration of the victory to be hung in prominent homes in England. $1,200
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After M. Alkin. "Prison Ship Saratoga off Darthmouth." From The United States Military Magazine. Philadelphia: Huddy & Duval, 1840. 7 x 10 (image). Lithograph by A. Hoffy. Print has been professionally conserved. Very good condition. Rare.
The rare and fascinating magazine entitled, The United States Military Magazine and Record of all the Volunteers, together with the Army and Navy, was published in Philadelphia by Huddy & Duval from 1839 to 1841. Volume I dealt with volunteer companies, volume II with the exploits of the United States Army & Navy, and volume III with more volunteers. Issues were sold either colored for $1.00 or plain for 50 cents. One way pictures were obtained and issues sold was, "Any company sending correct sketch of their corps, endorsed by commanding officer, can be inserted in the magazine by taking fifty colored plates at the established price, or one hundred plain. The same privilege is extended to Officers of the Army and Navy, where likenesses are taken. Colored plates 50 cents; plain 25 cents." (From cover of Jan. 1841 issue, quoted in Drepperd, p. 180) $450
"A Sail! A Sail!" Ca. 1840-50. Lithograph. Original hand color. Small folio. Vignette, ca. 12 x 9. Wide margins. Shows a sailor lost at sea and clinging to a broken mast, who spots a ship. Four lines of verse, ending "But nothing can conquer a firm Yankee heart!" $475
"The Whale Fishery 'Laying On.'" New York: N. Currier, 1852. Small folio; 8 1/2 x 12 3/4. Lithograph. Original hand color. Very good condition. C:6626. Original Best 50: #17; New Best 50: #28.
A terrific small folio print by Nathaniel Currier, one of the few prints selected for both the original and new "Best 50: small folio prints by Currier and Currier & Ives. $2,200
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George Woodward. "Making a Sailor an Odd Fellow!!" London: T. Tegg, December 1st 1812. Etching by George Cruikshank. 9 1/4 x 13 1/4. Hand color. "109" in upper right corner. Trimmed to just beyond neatline, touching neatline bottom right corner. Else, very good condition.
A cartoon that seems to involve a British sailor skeptical about joining the Odd Fellows. A man in the center petitions the "Chairman" behind the table to admit "Mr. Benjamin Block of Wapping Old Stairs" to "the Ancient and honourable Society." Block himself, in sailor clothes, says, "Avast my Hearties, - before I've proceeded any further on the voyage let me know what course you are steering - if you mean to frighten a British sailor with your goggle eyes, and queer faces, you are d----dly mistaken - besides it appears to me that you have got masks on which is like fighting under false colours, and that wont do for an English Jack Tar!" $ 350
S. Daniell. "View of the Cape of Good Hope & a South Whaler." From The Naval Chronicle. London: J. Gold, 1804. Aquatint by Thomas Medland. Ca. 4 1/2 x 3 1/2. Very good condition.
Between 1799 and 1818, The Naval Chronicle, was the preeminent maritime journal reporting news about the British navy. Issued twice a year, it was published during a period in which the British navy fought the Napoleonic Wars and the War of 1812, and came to "rule the waves." This wonderful journal included action reports, intelligence on various matters related to the British and other navies, and biographies of naval officers. Many of the reports were accounts by officers directly involved, such as Lord Horatio Nelson. Included with the articles were portraits, images of naval action, and views of the many ports in which the navy called. These are important, first-hand images of this turbulent period. This image shows a whaling ship in the waters to the south of the Cape of Good Hope, $150
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Geo. T. Lozier. "U.S. Ship Ohio, Bearing the broad Pendant of Commodore ap. Catesby Jones.-Was built in New York in 1820. Tonnage 2542. Rate 74 Guns." New York: Wm. Endicott & Co., ca. 1849. Tone tone lithograph, drawn on stone by R.J. Rayner. 22 x 28 5/8. Trimmed to image at top and to neat line at right. Minor stains. Otherwise, very good condition. In period frame.
A beautifully rendered portrait of the U.S.S. Ohio. This ship-of-the-line was launched in 1820 and spent 55 years in service. She served as the flag ship for Commodore Isaac Hull in the Mediterranean in 1838, then in the Gulf of Mexico during the Mexican War and later in the Pacific Squadron along the coast of South American and California during the gold rush. It was during this last period that she was commanded by Commodore Thomas ap Catesby Jones (1789-1858), as is shown here. Jones began his naval career during the War of 1812, and served during the Mexican-American War. In 1842, believing the war between the U.S. and Mexico had begun, he seized Monterey, California for a day, an event that would later lead to a court martial in 1850. The Ohio is shown in this lovely print along a mountainous coast, perhaps intended to be that of California. $2,850
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James W. Rutter. "Iron Light House on Minots Ledge Massachusetts Bay." Lithographed by Swett & Powers. Boston, 1851. 18 x 14 1/2 (plus full margins). Contemporary frame. Browned. Framed with archival materials.
When this lighthouse was constructed on iron pilings so that the surf could flow through it as well as around it, the maritime world assumed that it was a new golden age of solidity and thus safety on the New England coast as well as the rest of the United States. It began operations in 1850. On 16 April 1851 a raging storm demolished this lighthouse and killed two assistant keepers. This storm and a combination of damaged lighthouses were the reason that the U.S. Government took over operations of lighthouses by replacing private owners and local municipalities.
Here is a scarce lithograph by a firm with an uncertain identity. Swett & Powers worked from 24 Franklin Street in Boston. Two men named Swett were Francis C. Swett, a plate printer, and Cyrus A. Swett, an engraver. James T. Powers was a lithographer. Ref.: Pierce and Slautterback, Boston Lithography, p. 155. $900
Josiah Taylor. "Fifth Annual Sailing Barge Match." London: J. Taylor, 1868. 16 1/4 x 28 1/4. Lithograph by J. Taylor. Original hand color. Good margins, with some chipping and repaired tears; one tear extending into sky at top. Minor surface blemishes. Overall, very good condition and appearance.
A beautifully drawn and lithographed print of a Thames sailing barge race. The Thames sailing barges were a commercial boat used on the Thames River during the nineteenth century. They were flat-bottomed and so could float in very shallow water; it was said that they could sail wherever a duck could swim. Their maneuverability and shallow draft made them perfect to work the Thomas and its estuary, though they were used elsewhere around England. Beginning in 1863, a barge owner, Henry Dodd, began an annual race for the barges, for fun, pride, to hone the sailing skills of the sailors, and to encourage improvements in design. Dodd was a plough boy who made a fortune disposing London's waste using the barges; upon his death in 1881 he left £5000 for future match prizes, ensuring the continuation of the races. The matches have been run intermittently since, and they are now considered the world's second oldest sailing race, after the America's Cup. This lovely print shows the fifth annual race, in July 1867. It was drawn, lithographed and published by Josiah Taylor, a well-known marine artist of the period. $1,400
"Clipper Ship 'Dreadnought'. Off Sandy Hook February 23d. 1854. Nineteen Days From Liverpool." Drawn by C. Parsons. N. Currier, 1854. Large folio. 16 1/2 x 24 1/4. Good margins. C:1143. $4,200
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"Awful Conflagration of the Steam Boat Lexington in Long Island Sound." 1840. Lithograph. 6 1/2 x 11 1/2. Close margins, but complete. Very good condition.
The "Awful Conflagration" of the Lexington in Long Island Sound on January 13th, 1840, with its large loss of life, was an event that attracted much attention in New York City and area. This spurred the production of broadsides and lithographed images of the disaster, most famously one by Nathaniel Currier that is supposed to have been one of the foundations of his successful career [click here to see the Currier print]. This was not the only "rush print" made of the burning of the Lexington and here is an unusual and unattributed lithograph of the same scene. The title is similar to the Currier print, but the image is quite different. It was undoubtedly issued within a short time of the event and was aimed at the market created by the public fascination with this famous disaster. $575
"Es lebe die Schifffahrt!" [Navigation Lives!] Berlin: A. Felgner, 1877. 10 x 14 3/4. Lithograph. Original hand color. Very good condition.
A delightful German print extolling ships and navigation. The print shows three types of vessels on a river. In the foreground is a small skiff propelled with an oar. Sailing by is a sailing barge that looks to be a house boat, complete with family of father, mother, child and dog. Beyond that is a steam passenger ferry heading in the opposite direction. The legend "Vorwarts [Onward], 1877" appears on the side of the barge. German verse is given below the image of this charming print. $275
Henry Shields. Plate XXII. "Nora" & "Cocker." From Famous Clyde Yachts, 1880-87. Glasgow & London: Oatts & Runciman, 1888. Approx. 8 x 11. Chromolithograph. Very good condition unless noted.
The end of the nineteenth century was a period when the growing moneyed classes were becoming very interested in sporting activities, such as fishing, shooting, riding, and yachting. This was also a period when chromolithography was being used to produce prints that captured the feel, texture and nuances of watercolors. These two developments led to the production of a number of superior portfolios of chromolithographic prints after watercolor drawings of sporting events. This is a rare and impressive series of such prints based on watercolors by Henry Shields, showing yachts on the Clyde. The quality of the printmaking is excellent, and the images well convey the drama and excitement of yachting. $575
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Frederic S. Cozzens. Plate 10. "Robbins Reef -- Sunset. Albertina, Lady Emma & Valiant." [Staten Island] From American Yachts, Their Clubs and Races. New York: Scribner & Sons, 1884. First edition, artist proof. 14 1/4 x 20 1/2. Chromolithograph by Armstrong & Co. Denver.
Frederic S. Cozzens is considered to be one of the best American nineteenth-century marine illustrators. He got his start by contributing illustrations to many of the illustrated journals of the period, but in 1880 he was commissioned by the New York Yacht Club for a set of six yachting watercolors. Cozzens was soon established as the preeminent artist for this type of image and issued 27 of his watercolors in a portfolio entitled American Yachts. Cozzens chose chromolithography, using the lighter French style, to capture the texture and feeling of his original watercolors, and these prints show how well the medium was adapted to this purpose. This is a superb example of his work. $1,800
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Anonymous. "'Thistle.' Cutter Yacht, Designed by G. L. Watson : Built by D. W. Henderson & Co. Glasgow. Owned by Mr. Bell, Glasgow Scotland." New York: Currier and Ives, 1887. 20 x 27 7/8 (image). Large folio. Chromolithograph. Two expertly repaired tears in bottom margin below text. Two small irregular shaped areas in aft sail expertly filled and in-painted. Minor scuffing in margins not affecting image. Nice impression with large margins. Conningham: 6021. Denver.
From 1834 to 1907 the firm of Currier and Ives provided for the American people a pictorial history of their country's growth from an agricultural society to an industrialized one. For nearly three quarters of a century the firm provided "Colored Engravings for the People" and in the process, because of the democratic philosophy of the business, became the visual raconteurs of nineteenth-century America. Nathaniel Currier established the firm in 1834, producing hand colored pictures using a then relatively new process called lithography. Some of the finest artists of the day, Louis Maurer, Thomas Worth, Arthur Fitzwilliam Tait, Frances Flora Bond Palmer, George H. Durrie, Napoleon Sarony, Charles Parsons, and J. E. Butterworth were engaged by the firm to produce a variety of images.
The firm of Currier and Ives gained its reputation for producing two types of prints–"rush" prints that provided immediate visual reporting of major newsworthy events, and "stock" prints depicting every subject relating to American life: sports, games, home life, religion, entertainment, views of cities, and so forth. The latter prints, such as this superb ship scene, were amongst the most endearing and enduring of the firm's work. Striking and colorful, this is a wonderful example of the work of "America's printmakers." $2,600
Frederic S. Cozzens. "The Atlanta, Chicago, Yorktown and Boston." From Our Navy. Its Growth and Achievements. Hartford: American Publishing Company, -1897. Ca. 7 3/4 x 12 1/4. Chromolithograph. Full margins with some light spotting. Very good condition. This is a print from another Cozzens' series, Our Navy, which illustrated the American Navy just before the turn of the century. The image shows the identified with a detailed accuracy which makes this print as historically fascinating as it is attractive. $275
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Earl Horter. "Sand Schooner." Ca. 1924. 11 5/8 x 8 1/2. Etching. Signed in pencil. Some abrasion to plate, primarily around plate mark; professionally conserved and lined with rice paper.
Illustrator and etcher, Earl Horter worked in Philadelphia, Pennsylvania. He was a member of the Society of Illustrators in 1910, exhibited at Panama-Pacific Exposition in San Francisco in 1915, the Art Institute of Chicago in 1932, and in 1932 and 1938 won prizes at exhibition of prints at the Philadelphia Print Club. In 1999 the Philadelphia Museum of Art mounted a major exhibition on Horter's life and works. The accompanying catalog, Mad for Modernism. Earl Horter and His Collection by Ennis Howe Shoemaker (Philadelphia, 1999) explains and illustrates his influence as artist, teacher, writer and companion for so many in his times. This is a fine ship print by this influential American artist. $600
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