Views of Philadelphia have appeared in print ever since the eighteenth century,
and they present a fascinating graphic account of the history of the city.
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George Heap. "A View of the State-House in Philadelphia." From Gentleman's Magazine. London, September, 1752. 4 1/4 x 7 1/2. Copper plate engraving. Small mark at left. Otherwise, very good condition. With complete September 1752 issue.
The London journal, Gentleman's Magazine, was the source of some of the most important and elegant maps and views of colonial America. During the years just before the American Revolution, the English gentleman was kept well informed through fine visual images, as well as articles, about the latest news in the developing colonies. The most up-to-date, authoritative sources were used, making for the dissemination of, and subsequent preservation of, some of the finest early historical documents about America. This print is a well engraved, handsome version of the famed George Heap elevation of the State-House, which originally appeared on the top of the Scull & Heap 1752 map of Philadelphia. When Gentleman's Magazine, in the same year, chose to publish an edition of this important document, they decided to include the Scull map and the Heap elevation in two separate issues. The result is fine detail and clarity for both, even though the scale is slightly smaller than that of the first published map. A delightful way in which to have this venerable and familiar image of very early Philadelphia. $475
Go to listing for Scull & Heap map, issued within a year of this view.
George Heap. "The East Prospect of the City of Philadelphia, in the Province of Pennsylvania." From London Magazine, 1761. 6 3/8 x 19 1/8. Engraving. Insets: "the State House," and "the Battery." With folds as issued. Later hand color. Very good condition. Prints of Philadelphia: 3; Snyder: 25.
In 1752, in response to an expressed desire by Thomas Penn to have a perspective view of Philadelphia from the east, George Heap, the author of the view of the State House contained in the Scull and Heap map, made a drawing of the Philadelphia waterfront from the New Jersey shore. This drawing was acquired by Penn, who subsequently had two engravings made from it, a large one in 1754 and a smaller version in 1756, the latter with the addition of views of the State House and the Battery and a city plan. Five years later, a copy of the smaller version was published in the London Magazine, with the two views inserted in the upper corners. Heap's was the first view published of Philadelphia, and it shows the city as a bustling river port of some importance and sophistication. A mile of the Philadelphia waterfront, from present-day South Street to Vine Street, is depicted in considerable detail. It shows the major buildings, a number with stately steeples, standing along streets already giving evidence of Philadelphia's impressively organized grid plan. In the foreground lies the Jersey shore and Windmill Island, and the river is congested with vessels of all types. In the upper corners are insets, one with a view of the Battery and the other with a view of the State House taken from Heap's drawing from the Scull & Heap map. This is an excellent example of Heap's wonderful prospect of nascent Philadelphia. $2,800
Joseph Vernet. "Vue du Port Philadelphie dans l"Amerique" Ca. 1780. Engraving. 7 x 8 3/4 (platemarks) plus margins. Laid paper. Strong impression. Excellent condition. Snyder, City of Independence, p. 260, fig. 176. Cresswell, American Revolution, 583; Cresswell in Elton Hall's American Maritime Prints, p. 51.
In the 1750s Claude Joseph Vernet (1714-1789) painted a series of huge oils on canvas entitled Les Ports de France. The views were engraved by J. P. LeBas. Due to a growing interest in the North American cities participating in a revolution against England and an alliance with France in 1777, an unknown engraver took the original images, reversed them, and described them as images of American cities. This one states that it is Philadelphia, but in reality it is a view of a recognizable tower and windmill at the entrance of Marseille. Having never seen America, the artist was probably assuming that Philadelphia would resemble a European city. A strange but fascinating fictitious view. $675
William Russell Birch. "High Street Market." From The City of Philadelphia, in the State of Pennsylvania North America. First edition. Philadelphia, 1798-1800. Ca. 11 x 13 3/8 Engraving. Full original hand color. Very good condition.
When issued in 1800, William Birch's prints of Philadelphia collectively formed the first series of views of any American city, and as such they are of great historical importance. The superior quality of the work is evidenced in the scope of its conception, the artistic excellence of the prints and their fine execution. The prints provide a unique visual record of Philadelphia at a time when it was the most important and cosmopolitan city in the Western Hemisphere, and for a time was the capital of the newly formed United States. Each print illustrates a scene, focusing on the sophistication of the inhabitants and the stateliness of the homes and public buildings. $2,600
Go to page with complete listing of Birch's views of Philadelphia
William Strickland. "South Front of the Pennsylvania Hospital." Philadelphia, [1811]. 10 x 17. Old hand color. Engraving by Samuel Seymour. Expertly repaired tear into side at right, just into image. Minor eight inch diagonal crease in bottom of image. Otherwise, very good condition. Snyder: 608.
William Strickland (1787-1854), was a native of Philadelphia, and as a young man he studied architecture under Benjamin Latrobe. In 1809 Strickland turned to drawing, painting and engraving portraits and scenes. A decade later he returned to architecture, where he made a huge impact on the appearance of his native city, as well as designing buildings in many other parts of the country. Later Strickland took up a new profession, as an engineer, and he achieved there the same high level of accomplishment he had attained in his previous work. This is one of Strickland's fine architectural views of a renowned Philadelphia building. The subject is the south facade of Pennsylvania Hospital, which when founded in 1751 was the nation's first hospital. The east wing was built around 1755 from designs of Samuel Rhoads, and the west wing in about 1796. The central section, by David Evans, Jr. was constructed over the period, 1794-1805. As is so typical of Strickland, the drawing of the hospital is precise and finely articulated. This vision is in turn skillfully translated into an engraving by Samuel Seymour, himself an accomplished artist who served as draftsman with S. H. Long's exploring expeditions to the Rocky Mountains and the upper reaches of the Mississippi. The result of all this expertise is a strong image emphasizing the breadth and solidity of one of Philadelphia's most important early buildings. $2,400
Joshua Shaw. "View Near the Falls of the Schuylkill." From Picturesque Views of American Scenery. Philadelphia: M. Carey & Son, 1819-21. Aquatint with line etching by John Hill. Original hand color. Very good condition. Deák: 315; Fowble: 275; Fielding: 659.
A rare print from a very interesting series of American views that combine the work of some of the most talented Americans of the early nineteenth century. Joshua Shaw (ca. 1777-1860) was born and trained in England, where he exhibited at the Royal Academy. With a recommendation of his work from Benjamin West, Shaw emigrated to Philadelphia in 1817. He was enthralled by his new country, and as a result conceived the grand scheme of producing a folio of prints based on "correct delineations of some of the most prominent beauties of notable scenery." He planned to travel throughout the United States to make his drawings, and to issue the prints by subscription in six sets of six views each. This was the first systematic attempt to depict the American landscape, and it is a foundation work in the history of American color-plates. Only nineteen of the intended thirty-six prints were produced, for either Shaw ran out of energy, or the public did not sufficiently support the venture.
The aquatinting of the prints was done by John Hill (1770-1850), another Englishman who had just settled in Philadelphia. This was Hill's first major American commission, and the next year he moved to New York City where he further enhanced his reputation as the premier aquatinter in the country. The publisher of the series, Mathew Carey & Son, was no less illustrious, as perhaps the dominant American publisher of the first two decades of the nineteenth century, and the successor firms of Carey & Son, and then Carey & Lea continued to play an important part in the history of American maps, books and prints.
The prints from this series are rare and lovely; beautifully rendered, exquisitely aquatinted and finely colored. Scenes are mostly of the eastern seaboard; showing America when the country was primarily rural, and tending to focus on the inland waterways, which were the major routes of travel and sources of energy at the time. These prints provide us with a precious snapshot of our land in its nascent age, when it would still have been recognizable to the colonists of the previous century. It is interesting to note, however, that while most of the locations that Shaw recorded have lost their rural character, this print captures a view that is much like that we can find today. $2,400
Go to page with more views from the Shaw-Hill series
John L. Krimmel. "Procession of Victuallers of Philadelphia, on the 15th of March, 1821. Conducted under the direction of Mr. William White..." Philadelphia: Joseph Yeager, 1821-22. First edition. 14 3/8 x 23 1/2. Aquatint by J. Yeager. Printed by Charles Woodward, Jr.. Original hand coloring. Numerous repaired tears, some extending into image, and wear mostly in margins. Expertly conserved and very good appearance.
This splendid view of early Philadelphia prosperity was the work of a celebrated and popular artist of the period. John L. Krimmel was a native of Germany, who came to the United States in 1810, settling in Philadelphia, where he painted portraits, miniatures, and good-natured street and domestic scenes. This elaborate visual chronicle was one of his most celebrated works. It was an important enough painting to be taken over as the subject of three different prints, the first edition being this large and separately issued aquatint published around 1821-22. As the long caption to the print explains, the event being commemorated is the conveying to market of an especially fine and abundant 'harvest' of livestock. We are told that 100 carts were required to transport 86,731 pounds of beef, pork, lamb, etc., all of which was sold within 24 hours. The successful cattle merchants are named individually along with an account of their contributions. The significance of the event and the picture as the fruition of the city's economic success and encouragement of good works is summed up in the seal and motto, "We feed the hungry," that appears in the title line.
The print captures the details and animation of the event with great intricacy and enthusiasm. The view was drawn from Mathew Carey & Son's book shop, located at the southeast corner of Fourth and Chestnut Streets. The fully regaled butchers move triumphantly in procession down the street, riding amidst a long line of floats. They are cheered on by a dense crowd of onlookers romping along beside and hanging out of upper story windows. Faces, movements, clothes, are rendered in loving detail, as are the facades of the buildings. The varied and jovial coloring keeps up with the subject matter and graphic handling. For the moment it records, as well as the execution, this is one of the finest early Philadelphia prints. $6,250
J. L. Krimmel. "White's Great Cattle Show, and Grand Procession of the Victuallers of Philadelphia." Philadelphia: A. Clement, 1860-61. Third edition. 14 3/8 x 23 1/4. Lithographed on stone by L. Haugg. Printed by F. Bourquin & Co. Original hand coloring. Expertly repaired tears, some extending into image and title area. Otherwise, very good condition.
A later printing of Krimmel's wonderful image of the Procession of the Victuallers. This edition was printed in color, providing a particularly attractive rendering of this lively scene. $2,300
George Lehman. "Girard College. Main Building. Now erecting near Philadelphia under the superintendence of T.U. Walter Esqr." Philadelphia: Lehman & Duval, 1835. 7 5/8 x 11. Lithograph by Lehman and Duval. Original hand color. Two repaired tears in bottom margin and bottom right hand corner of margin filled. All expertly repaired. Otherwise, Fine condition. Wainwright: 154.
George Lehman, a native of Lancaster, moved to Philadelphia where he became a noted artist, engraver, lithographer and publisher. After issuing a small group of engravings of Philadelphia, Lehman became one of the major artists working for the influential early lithographic firm of Childs & Inman. When that firm split up in 1833, Lehman became Childs' partner, and when Childs left the company a year later, Lehman formed a new partnership with Pierre Duval, the firm that issued this print.
The print shows Founder's Hall at Girard College, which has been called "the most impressive monument to the Greek Revival in America." (Tatum, p. 72). Girard College was the legacy of Stephen Girard, who left his estate, valued at over five million dollars, for the establishment of a school for the education of "poor white male orphans." The hall was designed by Thomas U. Walter, who won the competition for the design of the building and thus acquired his first major commission. In the competition, Walter defeated many more experienced architects, including William Strickland, under whom he studied. Walter later went on to become the architect for the United States Capitol. Founder's Hall was built between 1833 and 1847, and this separately issued print was published as a souvenir of this building as it was being erected. The imposing structure is shown in an attractive perspective, its impressive size highlighted in contrast to the tiny figures shown strolling at its base. $575
Alfred Hoffy. "The Artillery Corps of Philadelphia Greys, (Company D). Comd. By Capt. Geo. Cadwalader, First Regiment of Artillery, 1st Brigade, 1st division, P.M." Philadelphia: P.S. Duval, 1845. 12 3/4 x 16 1/2. Lithograph by A. Hoffy. Original hand color. Very good fine condition. Wainwright: 367.
A very rare image of the Philadelphia Greys drawn "on the spot" by Alfred Hoffy and printed by P.S. Duval, perhaps the finest American print publisher of the mid-nineteenth century. From about 1835 until his retirement in 1869, Duval dominated the city's energetic printmaking scene publishing numerous lithographic portraits, periodical illustrations, and historical works. Duval was a prominent local citizen and a spirited businessman, being the only lithographer to be admitted to the city's Board of Trade before the Civil War. He was also an innovator, the first to adapt steam power to the running of all his presses, and one of the early enthusiasts for the possibilities of printing in color. A final key ingredient to Duval's success was his ability to attract the very best lithographic artists to work for him, amongst whom was Alfred Hoffy, the author of this view. Hoffy became involved with Duval and William Huddy in lithographing most of the illustrations for their U.S. Military Magazine, which contained prints of military officers modeling their company's uniforms. This separately issued print was published by Duval after the demise of the magazine, though it was also drawn by Hoffy. The scene shows the Philadelphia Greys being drilled near Powelton in West Philadelphia. The company is commanded by Captain Cadwalader, one of the most impressive of Philadelphia's military figures. This print is one of the more unusual and interesting views of Philadelphia from the mid-nineteenth century. $2,200
S. Jones & J. L. Krimmel. "The Conflagration of the Masonic Hall Chestnut Street Philadelphia. Which Occurred on the Night of the 9th of March, 1819". Philadelphia: S. Kennedy & S.S. West, 1819. First state; on paper watermarked 1817. 24 x 19 1/2. Aquatint by J. Hill. With two small filled holes and repaired tears, including one ca. 6" into image. Old stain at bottom, just into platemark, but away from image. Impressions very good. Expertly conserved and appearance very good. Naeve, John Lewis Krimmel: 96; Fowble, Two Centuries of Prints In America: 317; Stauffer: 1345.
The dramatic event depicted is the burning of the Masonic Hall, a gothic brick and marble structure designed by William Strickland and built to much acclaim in 1809-10. This striking edifice, located on Chestnut Street above Seventh, burned in spectacular fashion in 1819, watched by a large crowd of spectators. The print was issued by Kennedy & West just a few months after the conflagration, a very short time to bring out a print of such an event. This rousing print well captures the drama of the scene, conveying the excitement of this Philadelphia disaster from over a century and a half ago, and testifying to the ability of the artists and engraver.
The view was a collaboration of two artists, John L. Krimmel and Samuel Jones. Little information is available on the life and works of Jones. He seems to have been commissioned by the original publishers to paint the background for the scene. For the figures in the foreground, John L. Krimmel was hired. Krimmel was a native of Germany, who came to the United States in 1810, settling in Philadelphia, where he painted portraits, miniatures, and good-natured street scenes. Krimmel is particularly known for his delightful treatment of the latter, and this print is a fine example of his style. Krimmel was able to graphically capture the frenzy of activity at the scene, the details and furor of the fire illustrated with great intricacy and emotion. The print was aquatinted by John Hill, the most skilled etcher in the United States. Hill (1770-1850) was an Englishman who had just settled in Philadelphia, and he was soon to go on to other projects which would bring him great fame. $2,400
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