Benjamin O. Tyler. "Eulogium Sacred to the Memory of the Illustrious George Washington, Columbia's Great and Successful Son: Honored be his Name." Also, around oval portrait of Washington, "Sacred To The Memory of the Brave." New York: B.O. Tyler, 1817. Engraved by P[eter] Maverick, Newark, N. Jersey. 19 x 23 (full sheet). Condition: Printed on a fragile, thin sheet; with some subsequent tears and missing chip at right margin just into engraved surface. Print professionally conserved and backed. The image is totally intact and strong. Some skinning from the back is evident but in the unusually full margins. References: Baker, 404. Hart, 796b. Stauffer, 2232, iii.
The complexity of this dedicatory print to George Washington almost defies description. It is a most impressive exercise in penmanship and engraving by Benjamin O. Tyler, "Professor of Penmanship." A strong, stipple engraving of Washington after the Stuart portrait is in an oval which surmounts two statements which mourn his death: "Gen. George Washington departed this life Decr. 14th 1799 AE67. And the tears of a NATION watered his grave" and at the base "Washington's no more by silence grief's express'd / Lo! here he lies, his Works proclaim the rest." The portrait is flanked by Masonic symbols: a book held open by a compass and angle on the left and a shining sun on the right. The emphasis of the text appearance is calligraphy using many letters and ingenious figures of angels to express encomiums and prayers.
The story behind it tells volumes about the reputation of Washington among the American people in the first half of the nineteenth century. In his landmark article "American History in Image and Text," in Proceedings of the American Antiquarian Society, Vol. 98, pt. 2(1988) see especially pp. 247-53, John Bidwell has shown that Benjamin Tyler's memorial was first issued at the same time as John Trumbull's famous print of the Declaration of Independence, and, indeed, it competed with it because Trumbull complained of the situation. In this third state of the memorial, Tyler added a facsimile of Washington's signature to the bottom right corner, thus appealing to the new fashion of collecting authentic signatures at that time. In this way, Tyler also aligned his print to compete with John Binns' famous print of the "Declaration of Independence" which contained facsimile signatures of all the signers. This beautiful, complex, and fascinating print expresses much about the patriotic fervor of Americans at this time. $1,600
Samuel Moore. [Apotheosis of Washington.] London(?), ca. 1830(?). "Litograph" [sic] by H. Weishaupt. "Stamped" by J.M. Hermann. 23 x 17 3/4. Good margins, with text at bottom. Repaired tears at left and right. Marginal stains. Else, very good condition.
When George Washington died, on December 14, 1799, the nation as a whole mourned his death as that of a father, as indeed Washington was for the then still young United States. The celebration of mourning throughout the country brought the people together as few events since the Revolution had. Poets, politicians, preachers, and newspapers declaimed his death in moving phrases and artists created images which tried to express the feelings which welled up in the breasts of his countrymen. One of the most potent artistic symbols was that of the 'apotheosis' of Washington, scenes of Washington ascending to heaven in all his glory. One of the most unusual and interesting of the apotheosis scenes is this early lithograph based on a painting by Samuel Moore.
The image is explicated by text at the bottom, but the image is readily understood even today. At the top, Washington is being born to heaven by the seven virtues, "the inmates of his Soul in his terrestial Pilgrimmage." Beneath, just below the American crest with its eagle, stands Columbia, "who looks up to him [Washington] as the rock of her consolation." In the foreground are shown the sixteen "Orphan States, dissolving in sorrow at his Tomb, and lamenting the departure of their adored Friend, Benefactor, and Protector." This reflects the sixteen states which were part of the United States at the time of Washington's death. This print is very rare and it is hard to date, but this image is certainly one of the most interesting and unusual Washington prints. $1,800
John I. Donlevy. "Sacred to the Memory of the Illustrious Champion of Liberty General George Washington First President of the United States of America." New York: John Donlevy, circa 1832. Engraving. 16 1/2 x 14. Wear in lower left and some minor surface blemishes. Expertly conserved and overall very good appearance. Hart: 862a; Wick, pp. 58-62.
Calligraphic illustrations were popular means for engravers to demonstrate their skill (cf. Tyler print above), and that is well evidenced by this tour-de-force by John I. Donlevy. Donlevy, who lists himself as an "Intaglio-chromographic and Electrographic Engraver," used his engraving and calligraphic skill to make this memorial image of Washington based on Stuart's "Athenaeum" painting. The face of the portrait is a straight engraving, but the rest of the bust is done with effusive swirls, and the writing giving the title, as well as Washington's dates, is done in various elaborate calligraphy styles. A nice example of a memorial for Washington and a particularly fine example of American engraving. $1,250
Alfred Newsam. "George Washington. 1st. President of the United States." Philadelphia: C.W. Williams, 1846. Ca. 10 1/2 x 9. Lithograph by P.S. Duval. Original hand color. Very good condition.
A handsome portrait from a rare series of "Portraits of the Presidents." The publisher of this series was C.W. Williams, who used two of the most important figures in early American lithography, Alfred Newsam and P.S. Duval. Alfred Newsam, a deaf mute, began work as a lithographic artist almost two decades before working for Cephas G. Childs, a Philadelphia engraver and print publisher. Newsam was particularly noted for his portraits, including all the earliest images for the McKenney & Hall series of Indian portraits. In 1831, Childs formed a partnership with Henry Inman, at which time he went to Europe to learn more about lithography, which was still in its early stages. Childs came back with P.S. Duval, to help run the Childs & Inman presses. This was perhaps Childs' most significant contribution to American lithography, for Duval was to become one of the foremost lithographers in the country and the world. The quality of the work of both Newsam and Duval is evident in this fine portrait, which is finely drawn, lithographed, and colored. The image is surrounded by an elaborate border, indicating that Williams wanted his series to stand out from the plainer prints issued by his competitors. His strategy does not appear to have been very successful, as the scarcity of these images indicates not that many were sold. $575
Edward Savage. [The Washington Family]. "George Washington Parke Custis, Gen: Geo. Washington, Eleanor Parke Custis, Martha Washington, and William Lee." Philadelphia, circa. 1850. Mezzotint by John Sartain. 16 1/2 x 23 1/2 (image) with approx. 1 1/2" margin all around; 3 inch repaired tear at lower right corner, minor chips in margins. Lacking title. Strong image. Hand colored.
The Edward Savage (1761-1817) painting of George Washington and his family was a classic as soon as it was created, and the artist commissioned an engraving which appeared as early as 1798. This print by John Sartain was published in the mid 1850s when patriotic concern over the dissolution of the United States was a major concern for patriotic thinkers. This is the kind of exquisite mezzotint that would have graced parlors and boardrooms in America, and this one was probably trimmed at some time to save money on glass or molding. All the persona of Washington's family are here, including his favorite manservant William Lee. Of the many portraits of the Washington family subsequent to the deaths of both sitter and artist, this is the only separately issued engraving according to Baker's The Engraved Portraits of Washington (item 133). $550
After Gilbert Stuart. "G. Washington." Philadelphia: George W. Childs, 1852. 22 3/4 x 18 (Image) plus full margins 27 3/4 x 22 1/2. Engraving by Thomas B. Welch. Printed by A.E. Lent in Philadelphia. Fine printing that has survived in excellent condition.
A large engraving taken after Stuart's Boston Athenaeum painting. The engraving by Welch has a soft, heroic feel which makes this an interesting example of the popular prints of Washington that began appearing at an accelerated rate in the mid-nineteenth century. In the 1850s many images of George Washington were used as part of pleas to continue a united nation while partisan differences continued to aggravate government in the North and the South. $1,200
Junius Brutus Stearns. "Life of George Washington. [The Christian.]" New York: M. Knoedler, 1853. 18 1/4 x 24 1/2. Lithograph by Regnier. Printed in Paris. Narrow margins top and sides, and bottom margin with short repaired tear and with sub-title trimmed off. Otherwise, very good condition.
Another of the prints from Stearns' series, this shows the final hours of Washington's life. Washington's family and friends gather at his bedside, Washington preparing himself for death with an equanimity founded in his knowledge that he had lived his life well and honorably. $325
William E. Marshall after Gilbert Stuart. "G. Washington." New York: W.E. Marshall, 1862. 13 3/8 x 11 1/4. Steel engraving by W.E. Marshall. Very good condition.
An excellent engraving of George Washington by William E. Marshall, based on the famous oil portrait in the Boston Athenaeum by Gilbert Stuart. Marshall was well known for his superb portrait of Lincoln, issued in 1866, and for his equally fine engraving of Grant issued a few years later. Those prints were perhaps inspired in part by this excellent portrait of Washington. It was issued as a subscriber's print for The Christian Union, a newspaper published by J.B. Ford & Co. One of the best mid-nineteenth century portraits of the first president by an artist who would later produce what is often considered the best contemporary portrait of the 16th president. $600
John Faed. "Washington Receiving a Salute on the Field of Trenton." "Go. Washington." [facsimile signature]. New York: National Art Association of New York, 1865. Steel engraving by William Holl. 23 1/2 x 17 1/2. Old acid burn from wood slats used in framing, resulting in repaired tear at right and small surface losses at left. Else, very good condition. Eisen, II, 554.
John Faed (1820-1902) was a prominent English painter who made several portraits of Washington in the course of which he modified the face using both Trumbull and Stuart. This strong image of Washington on a charger, reviewing the troops, is a wonderful portrait with exquisite landscape. Eisen says that the engraver is "Hall" and that he worked for the Kendall Bank Note Company in New York at 285 Broadway during the nineteenth century. We doubt that the engraver mispelled his own name, so this print is done by William Holl (1807-1871) who worked with portraiture in London. Below the title is an explanation that this print was designed to be a premium with a purchase of one of Benson Lossing's books. $1,500
Daniel F. Huntington. "Lady Washington's Reception." New York: Emil Seitz, ca. 1865. 21 1/2 x 35. Engraving by A.H. Ritchie. Strong impression. Hand color. Faint stain upper right margin corner not affecting image. Print has been professionally conserved. Else, very good condition. Very good condition. Ref: Karal Ann Marling, George Washington Slept Here, 1988.
A superb engraving of Daniel F. Huntington's painting, "The Republican Court in the Time of Washington, or Lady Washington's Reception Day." This painting by the president of the National Academy of Design was designed to show not one particular reception, but rather to be a representative tableau of the Friday evening "teas" held by Martha throughout her husband's term. The scene is filled with symbolism representing the august status conferred on Martha and George in the mid-nineteenth century. The elegance of the surroundings, the richness of the dress of those at the reception, and the formality of the situation and poses all recall a scene from any of the royal courts of Europe in the late eighteenth century. Indeed, it was likely the depicted refinement of the costumes and the obvious high status accorded to these American socialites that most explains the popularity of Huntington's canvas and this elaborate print.
This engraving was a subscription print produced with the intent of generating a profit based on the popularity of the painting. In the nineteenth century, artists were often able to make more money from the sale of prints after their paintings than from the original canvases. Huntington clearly hoped he would benefit in this way, and the public exhibition of the painting in New York City during the fall of 1865 was precisely designed to achieve this end. Huntington hired a superior craftsman to render his image in steel. A.H. Ritchie, the engraver, was one of the best historical printmakers of the mid-nineteenth century. He is particularly known for the clarity and richness of his engravings, and this fine image is an excellent example of his work. The costumes, faces, and architecture are precisely and richly engraved. The merit of this print as an excellent example of historic printmaking from the last century is equaled by its value in depicting how George and Martha Washington were accorded an exalted status in the years following the Civil War. $1,200
Rembrandt Peale. "Patriae Pater." Philadelphia: Hugh A. McCann, ca. 1865? 19 x 15 1/8. Engraving by Adam B. Walter. Good margins. On India paper and mounted, as issued. With repaired tears. Ca. 1 x 2 inch semicircle replaced in facsimile from right side of image. Still, very good condition image and appearance.
An excellent engraving after one of Rembrandt Peale's paintings of George Washington. From an early age when he watched his father, Charles Wilson Peale, paint portraits of Washington, Rembrandt venerated the General. He painted several portraits himself and spent much of his later life lecturing on Washington and his portraits. This image of Washington shows his bust within an oval opening of stone, with a carved wreath. The keystone of the opening has an antique head, and below, also carved in the stone, is the title, "Patriae Pater." Below the image is a dedication to General U.S. Grant, likely dating this engraving to shortly after the Civil War. The likeness of Washington is excellent, not surprising given that Washington sat for Rembrandt on several occasions. With is superior engraving, strong imagery, and artistic quality, this is a fine print of Washington. $900
"Declaration of Independence in Congess July 4th: 1776." Subtitle: "The Unanimous Declaration of the Thirteen United States of America." Curving around the bottom, "The Great Centennial Memorial." Two portraits: full length of Washington in center and bust of Thomas Jefferson at base. At the base of the grapevine surround are a pair of quill pens with the credit reading, "The Original Designed and Executed by Gilman R. Russell Prof. of Penmanship." Between the portraits is the copyright notice of 1866 entered by Gilman Russell in the District Court of the East Dist. of Pennsylvania." Lithograph. 25 3/4 x 17 3/4 (full sheet). Deckle edge on all four sides of the sheet. Not in Bidwell.
Printed in the year after the end of the American Civil War, this profound copy among many of the Declaration of Independence is beautiful in design and thought. Featuring both Washington and Jefferson in portraiture, angels and flags along the top and celebratory grapevines around the bottom encircling credit to Gilman R. Russell, who was a professor of Penmanship. During the War Prof. Russell had created another folio sheet to celebrate the Emancipation Proclamation. $4,500
After Gilbert Stuart. "Washington." Philadelphia: William Smith, ca. 1865-76. Tinted lithograph. 26 1/2 x 22 (full sheet). Excellent condition.
A bust portrait of George Washington based on paintings by Gilbert Stuart. A fine image of Washington whose memory was used to keep the United States together during the crises of the 1850s, during the Civil War, and through the Reconstruction Period. George Washington was a plantation owner, had slaves, and was a Southerner, but he was also a Federalist who wanted a strong central government and a balance of power among the branches of government. A portrait such as this would have hung in homes and offices and especially in schools. $350
Henry Brueckner. "The Prayer At Valley Forge." New York: John C. McRae, 1866. Engraving by John McRae. 15 3/8 x 25 5/8. Hand color. With expertly repaired tears. Else, very good condition and impression.
A dramatic image of Washington praying at Valley Forge drawn by Henry Brueckner. The General is shown in the wintry woods appealing to heaven to help his troops and his cause. Some of his men are shown in the near distance trying to keep warm around a smoking fire, and a mill can be seen in the farther distance. Interestingly, a civilian figure is shown watching Washington from behind a tree, perhaps representing the fact that Washington's cause was for all citizens of the American colonies. This print was engraved and published by John C. McRae, known for his many historical images issued from the middle of the century through the Civil War. The date of this image indicates that the message was not just about the Revolution, but also reflected on the cause of the United States during the Civil War. $725
The Currier & Ives print is a loose rendering of the Edward Savage painting, "The Washington Family." The family, consisting of the Custis grandchildren, George and Martha, sits in an apparent geography lesson with both a map and globe in view. The servant William Lee looks on from behind Mrs. Washington. $750
Edward Savage. [The Washington Family]. "George Washington Parke Custis, Gen: Geo. Washington, Eleanor Parke Custis, Martha Washington, and William Lee." Philadelphia: William Smith, circa. 1870. Mezzotint by John Sartain. 16 1/2 x 24. Some minor stains in margins. Else, very good condition.
The Edward Savage (1761-1817) painting of George Washington and his family was a classic as soon as it was created, and the artist commissioned an engraving which appeared as early as 1798. This mezzotint print by John Sartain was first published in the mid 1850s when patriotic concern over the dissolution of the United States was a major concern for patriotic thinkers. This is the kind of exquisite mezzotint that would have graced parlors and boardrooms in America. All the persona of Washington's family are here, including his favorite manservant William Lee. Of the many portraits of the Washington family subsequent to the deaths of both sitter and artist, this is the only separately issued engraving according to Baker's The Engraved Portraits of Washington (item 133). Soon after the Civil War, William Smith purchased the plate for this piece and he probably printed copies around the time of the Centennial. $525
G. [sic] Schussele. "Washington And His Family." Philadelphia: Bradley & Co., 1884. 17 3/4 x 24 3/4. Mezzotint by William Sartain. Hand color. Large margins. Excellent condition.
A large steel mezzotint engraving by William Sartain of George Washington and his family. The 'Father of the Country' sits in uniform surrounded by his family and symbols of American life. On a table, center, lies a copy of the official plan of the City of Washington. To the right the General has laid aside his sword, and to the left is an olive plant representing peace. Martha sits across the table from Washington and her two grandchildren flank their step-grandfather. Coming in the door is Washington's servant, "Old Christopher." William Sartain, member of the Sartain family of engravers, was one of the best American mezzotinters of the nineteenth century and this print superbly demonstrates his skill. The handsome figures with calm demeanors, rich clothing and furniture, and many symbols graphically illustrate the ideals of American life in the nineteenth century. This image was based on a painting by noted Philadelphia artist Christian Schussele, who was a friend of Sartain. Interestingly, for authenticity, Schussele said he copied Washington's face from the portrait by Gilbert Stuart and Washington's body from a portrait by Trumbull, each of which he considered to be the best of its subject. $700
Gilbert Stuart. [George Washington]. Philadelphia: M. Rosenthal, 1904. 17 x 13. Mezzotint printed in colors by Max Rosenthal. Signed in plate by the engraver. Edition: 15. 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 painting by Gilbert Stuart. $425
Etchings from the portfolio "The Bicentennial Pageant of George Washington." George Washington Memorial Association, 1932. Plates printed by Henry E. Carling, London, England. Edition 1000. Plates cancelled. Paper watermarked "GW" in circle at lower right, with Washington's coat of arms (shield, crown, and eagle) at upper left. Very good condition.
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