Category Archives: Engraving

“Ink & Grain” to open in September

Autumn Road Santa Fe. By Norma Basset Hall. Color woodblock, 1928. Signed in pencil by the artist.

Autumn Road Santa Fe. By Norma Basset Hall. Color woodblock, 1928. Signed in pencil by the artist.

The Old Print Gallery is proud to announce its new fall print show, Ink & Grain, which will open on Friday, September 19, 2014 with a free opening night reception from 5-8pm at the gallery. Ink & Grain is a group show, highlighting 20th century printmakers who excelled in woodcuts and wood engravings. The exhibit will remain on view at the Old Print Gallery until November 15th, 2014.

One of the most ancient forms of printmaking, the woodcut was in huge decline in the 19th century, as printmakers turned to other forms of reproductive mediums. Luckily, the 20th century saw a revived and energized artistic expression for woodcuts and wood engravings. These new woodcut artists experimented heavily with technique, in ways both innovative and nuanced. Printmakers, like Werner Drewes and Barbara Latham, incorporated the grain of the woodblock directly into the composition of their prints- surrendering to its complexities while highlighting its unique, undulating patterns. Others, including Gustave Baumann, Leo Frank, Norma Bassset Hall, and Luigi Rist, experimented with new methods of ink and color application, resulting in stylized prints in a bold, modern palate, as well as softer, luminous color prints inked onto thin Japanese paper.

Sea Shell and Carlic. Luigi Rist. Color woodcut, 1947. Signed in ink on the block. Titled and inscribed "150 Edition" in pencil.

Sea Shell and Garlic. Luigi Rist. Color woodcut, 1947. Signed in ink on the block. Titled and inscribed “150 Edition” in pencil.

Wood engravings also saw a resurgence during the 20th century, especially in the form of artist’s hand-made books and commercial book illustrations. The show includes works by skilled wood engravers Clare Leighton, Lawrence N. Wilbur, and John Murphy, all who made a name for themselves as dynamic illustrators and artists.

Digging Potatoes. By Clare Leighton. Wood engraving, 1935. Signed and titled in pencil. Edition 30.

Digging Potatoes. By Clare Leighton. Wood engraving, 1935. Signed and titled in pencil. Edition 30.

Selected Artists: Gustave Baumann, Asa Cheffetz, Werner Drewes, Leo Frank, Antonio Frasconi, Eliza Draper Gardiner, Norma Bassett Hall, Barbara Latham, Clare Leighton, Alessandro Mastro-Valerio, John J. A. Murphy, Luigi Rist, Mabel Royds, Charles Svendsen, Paul Wenck, Lawrence N. Wilbur, and Adja Yunkers.

 

Ballooning Prints

Ascensions Aerostatiques Les Plus Remarquables. : Resume Historique de L'Aerostation. Published a Paris chez Barthelemier Freres, Rue Hautefeuille, 22 et 30. Engraving handcolored, 1851.  Print lists 81 balloon flights starting with 1638 although the official first ascension was in 1783.  A great history of balloon flight, with successful and tragic flights. Image size 18 11/16 x 26 7/16" (47.4 x 67.1 cm). LINK.

Ascensions Aerostatiques Les Plus Remarquables. : Resume Historique de L’Aerostation. Published a Paris chez Barthelemier Freres, Rue Hautefeuille, 22 et 30. Engraving handcolored, 1851. Print lists 81 balloon flights starting with 1638 although the official first ascension was in 1783. A great history of balloon flight, with successful and tragic flights. Image size 18 11/16 x 26 7/16″ (47.4 x 67.1 cm).

Of all the experimental and intellectual developments in the 18th century, none captivated both scientists and the general public more than balloon travel. Ballooning played an important part in early aeronautical development,  the limitless expanse of sky beckoning scientists with hopes of exploration, excitement, and inexhaustible possibility. The first trepidatious voyages were described in eager and precise detail, and often included maps and diagrams of scientific observations. Early etchings and engravings were also made to capture the discoveries and milestones made by the scientists, explorers, and daredevils who braved the air. Below are several of our ballooning prints, selected from both our Georgetown and New York galleries. Be sure to click on the links to see more for our inventory.

Details Geometriques de la Machine Aerostatique... Monsieur Jos. Montgolfier, le 19 June 1784. A Lyon chez Joubert fils, Graveur et Md. D'Estampes, G de rue Merciere. Etching, 1784. LINK.

Details Geometriques de la Machine Aerostatique… Monsieur Jos. Montgolfier, le 19 June 1784. A Lyon chez Joubert fils, Graveur et Md. D’Estampes, G de rue Merciere. Etching, 1784.

The first clearly recorded instance of a balloon carrying (human) passengers was built by the brothers Joseph-Michel and Jacques-Etienne Montgolfier in Annonay, France. These brothers came from a family of paper manufacturers and had noticed ash rising in paper fires, which led to their experiments with balloon travel. The Montgolfier brothers gave their first public demonstration of their invention on June 4, 1783. They stood on a circular platform attached to the bottom of the balloon and  hand-fed the fire through openings on either side of the balloon’s skirt. The balloon reached an altitude of at least 500 feet and traveled about 5½ miles before landing safely 25 minutes later.  Later that year, scientists Jacques Alexander Charles and Nicholas Louis Robert created the first gas-balloon, utilizing hydrogen to keep the balloon and basket afloat for a significantly longer period of time.  Within the next ten years, numerous daredevils risked the skies with the help of silk balloons, wicker baskets, and new concoctions of gas and flame.

By 1785, the first successful crossing of the English Channel was accomplished by French balloonist Jean-Pierre Blanchard and American John Jeffries, using a gas balloon. They started in Dover, but once they were positioned over the water, the balloon lost altitude. The pair feverishly tossed all items from the basket, including their clothes. They landed safely in France two hours later, in nothing but their underwear.

Mr. Vincent Lunardi Esquire. Stipple engraving, 1784. Oval size 4 3/4 x 4 " ( 122 x 102 mm). LINK.

Mr. Vincent Lunardi Esquire. Stipple engraving, 1784. Oval size 4 3/4 x 4 ” ( 122 x 102 mm).

Most of early balloon flight and exploration occurred in France, with backing provided by the Académie Royale des Sciences. England was slow to catch on to the ballooning phenomenon. The first manned balloon flight in England was by Signor Vincent Lunardi, an Italian, who ascended from Moorfields on September 15, 1784. His gas balloon was outfitted with wooden oars, with the intended purpose of directional control. Fueled by the fervor surrounding Lunardi’s first flight in London, ballooning finally became a veritable craze in England. Aeronauts became the some of the most talked about celebrities of the day, and tales of their exploits and adventures swept across Britain creating a national mania for the sport. Whereas ballooning had been popular on the Continent since Pilatre and Rozier’s first flight in a “Montgolfiere”, it was not until Lunardi’s daring flight that it gained popularity in England.

Exact Representation of the Grand Aerostatick Machine with which Mr. Lunardi ascended from the Artillery Ground Sep. 15 1784. Published by W. Wells, Sep. 28 1784, at No. 132, Fleet Street. Etching, handcolored,1784. Image size 12 x 8 3/4" (305 x 224 mm). LINK.

Exact Representation of the Grand Aerostatick Machine with which Mr. Lunardi ascended from the Artillery Ground Sep. 15 1784. Published by W. Wells, Sep. 28 1784, at No. 132, Fleet Street. Etching, handcolored,1784. Image size 12 x 8 3/4″ (305 x 224 mm).

James Sadler Esq. First English Aeronaut. By Benjamin Taylor. Published by B. Taylor, No. 7 Brewer St. Golden Sq., London. Stipple engraving, 1812. 5 1/2 x 6 1/4" (140 x 160 mm) plus title and margins. LINK.

James Sadler Esq. First English Aeronaut. By Benjamin Taylor. Published by B. Taylor, No. 7 Brewer St. Golden Sq., London. Stipple engraving, 1812. 5 1/2 x 6 1/4″ (140 x 160 mm) plus title and margins.

Nicknamed the “King of the Balloon”, James Sadler was considered the first English aeronaut. He made his first balloon ascent in 1784, the same years as Lunardi’s famous flight, flying from Oxford to the village of Woodeaton, six miles away. On October 7, 1811, he set a balloon speed record when he flew from Birmingham to Boston, Lincolnshire, in less than four hours. In 1812, he attempted to cross the Irish Sea, but failed, landing in the ocean near Anglesey where he was rescued by a passing fishing boat. Sadler is remembered as one of the pioneers of aeronautical exploration in Britain and his daring flights helped make ballooning a national pastime.

A view of the Balloon of Mr. Sadler's. : This Balloon Ascended with Mr. Sadler and Captain Paget of the Royal Navy : from the Mermaid Gardens at Hackney in Middlesex at three O'clock on Monday afternoon August the 12th 1811 and descended in a field. Engraving, c.1811. Image size 16 15/16 x 13 7/8" (415 x 354 mm). LINK.

A view of the Balloon of Mr. Sadler’s. : This Balloon Ascended with Mr. Sadler and Captain Paget of the Royal Navy : from the Mermaid Gardens at Hackney in Middlesex at three O’clock on Monday afternoon August the 12th 1811 and descended in a field. Engraving, c.1811. Image size 16 15/16 x 13 7/8″ (415 x 354 mm).

Part of the Balloon with which Mr. Sadler ascended from Dublin, Octr. 1, 1812. : passed over upwards 237 Miles by Water, and 40 by Land, and descended at Sea. Robert Havell, Jr. Aquatint and engraving handcolored, undated, c.1812. Image size 13 1/4 x 9 1/8" (337 x 230 mm).LINK.

Part of the Balloon with which Mr. Sadler ascended from Dublin, Octr. 1, 1812. : passed over upwards 237 Miles by Water, and 40 by Land, and descended at Sea. By Robert Havell, Jr. Aquatint and engraving handcolored, undated, c.1812. Image size 13 1/4 x 9 1/8″ (337 x 230 mm).

Charles Green was another celebrated English aeronaut, He was the first person to undertake an ascent in a balloon filled with carbureted hydrogen gas. Green made 526 ascents during the course of his daring career, many of which tested the boundaries of aeronautical aviation. An eccentric at heart, Green made an ascent off the back of his pony, a feat which won him a reputation as daredevil. He constructed the great Nassau balloon, in which he made his famous ascent from Vauxhall Gardens. In 1821, Green was the first aeronaut to demonstrate that coal-gas could be used to inflate balloons. Prior to this discovery, volatile hydrogen gas had been used which was extremely expensive and took up to two days to inflate a large balloon. Green also invented the guide-rope, which was used to regulate the ascent and descent of the balloon.

Mr. Charles Green, The Aeronaut. By John Hollins. Published by Hodgson & Graves, London. Mezzotint, 1838. Engraved by  G. T. Payne. 15 9/16 x 12 1/2" (395 x 317 mm) plus title and wide margins. LINK.

Mr. Charles Green, The Aeronaut. By John Hollins. Published by Hodgson & Graves, London. Mezzotint, 1838. Engraved by G. T. Payne. 15 9/16 x 12 1/2″ (395 x 317 mm) plus title and wide margins.

Ballooning became a significant part of popular culture. Spectators would gather to watch the balloons take off and land. Fashion houses drew inspiration from the lauded air explorers. The wealthy that could afford such luxuries would take trips in balloons. Once made maneuverable, balloons were even used by militaries. The first military use of a balloon occurred during the Battle of Fleures in 1784. The balloon L’Entrprenant was used by French Aerostatic Corps to watch the movements of the Coalition Army.

Ascensions Aerostatiques Les Plus Remarquables. : Resume Historique de L'Aerostation. Published a Paris chez Barthelemier Freres, Rue Hautefeuille, 22 et 30. Engraving handcolored, 1851.  Print lists 81 balloon flights starting with 1638 although the official first ascension was in 1783.  A great history of balloon flight, with successful and tragic flights. Image size 18 11/16 x 26 7/16" (47.4 x 67.1 cm). LINK.

Ascensions Aerostatiques Les Plus Remarquables. : Resume Historique de L’Aerostation. Published a Paris chez Barthelemier Freres, Rue Hautefeuille, 22 et 30. Engraving handcolored, 1851. Print lists 81 balloon flights starting with 1638 although the official first ascension was in 1783. A great history of balloon flight, with successful and tragic flights. Image size 18 11/16 x 26 7/16″ (47.4 x 67.1 cm).

The Ascension of Mr, and Mrs, Graham, in the Great Magnificent Balloon. Engraving, 1824. Printed below the image states "Mr. Graham, having announced that he would ascend yesterday from White Conduit House, Pentonville, in part for the benefit of the widow of the late unfortunate Mr. Harris, immense crowds occupied all the grounds in the vicinity at an early hour, and the Garden itself was filled with large numbers of paying visitors." Image size 13 1/4 x 8 1/2" (337 x 217 mm). LINK.

The Ascension of Mr, and Mrs, Graham, in the Great Magnificent Balloon. Engraving, 1824. Printed below the image states “Mr. Graham, having announced that he would ascend yesterday from White Conduit House, Pentonville, in part for the benefit of the widow of the late unfortunate Mr. Harris, immense crowds occupied all the grounds in the vicinity at an early hour, and the Garden itself was filled with large numbers of paying visitors.” Image size 13 1/4 x 8 1/2″ (337 x 217 mm).

 

 

 

 

 

 

 

 

 

 

 

 

 

Bataille de Fleurus (26 Juin 1794). Engraving, hand-colored. c.1830. Pellerin & Co., imp-edit. Imagerie D'Epinal No.178.   Image depicts the French military with a balloon tethered in the backgrounds. Image size 7 7/8 x 12 15/16" (200 x 328 mm). LINK.

Bataille de Fleurus (26 Juin 1794). Engraving, hand-colored. c.1830. Pellerin & Co., imp-edit. Imagerie D’Epinal No.178. Image depicts the French military with a balloon tethered in the backgrounds. Image size 7 7/8 x 12 15/16″ (200 x 328 mm).

Barbara Latham: Prints of the Southwest

Saturday Morning - Taos. By Barbara Latham. Linocut, c.1950. Edition unknown. Image size 7 15/16 x 9 15/16" (202 x 257 mm). Very good condition. Signed and titled in pencil. LINK.

Saturday Morning – Taos. By Barbara Latham. Linocut, c.1950. Edition unknown. Image size 7 15/16 x 9 15/16″ (202 x 257 mm). Very good condition. Signed and titled in pencil. LINK.

Born in Walpole, Massachusetts in 1896, artist and illustrator Barbara Latham grew up immersed in the world of science and art. She attended the Norwich Connecticut Art School, where her painting and illustration talent was nurtured and honed. In 1915, she continued her studies at the Pratt Institute in Brooklyn, graduating in 1919. As a young adult, Latham lived and worked in New York City, creating illustrations primarily for Norcross Publishing Company on Madison Avenue, but also had her work featured in Forum Magazine and the New York Times Sunday magazine. She spent one summer at the Art Students League summer program in Woodstock, New York, working with noted modernist painter Andrew Dasburg.

In 1925, Latham traveled to Taos, New Mexico, to gather material for illustrations and greeting cards. Immediately taken with the landscape, Latham created striking paintings and prints of New Mexico’s rose-colored deserts, open sky, jagged mesas, and rugged lands. She also explored and depicted the everyday life of the Taos Pueblo Indians, creating impressive genre scenes of the homes, markets, and bustling hubs of Taos.

It was also in Taos where she was introduced by friend Victor Higgins to a fellow New England painter and printmaker, Howard Cook. Latham and Cook married in 1927. The couple had a beautiful and nurturing relationship, and benefited from each other’s artistic exploration and success. Shortly after marrying, the newlywed couple began extensive traveling- visiting Mexico, Europe, the American South, and parts of the Northeast.

Taos Pueble. By Barbara Latham. Linocut, undated. Edition unknown. Image size 10 1/8 x 7 15/16"(258 x 201 mm). Very good condition. Signed in pencil. LINK.

Taos Pueble. By Barbara Latham. Linocut, undated. Edition unknown. Image size 10 1/8 x 7 15/16″(258 x 201 mm). Very good condition. Signed in pencil. LINK.

Taos Village with Pueblo Indians. By Barbara Latham. Woodcut, 1932. Edition unknown. Image size 4 5/16 x 6 3/4" (111 x 171 mm). Very good condition. Signed in pencil. LINK.

Taos Village with Pueblo Indians. By Barbara Latham. Woodcut, 1932. Edition unknown. Image size 4 5/16 x 6 3/4″ (111 x 171 mm). Very good condition. Signed in pencil. LINK.

The Old Sink. By Barabara Latham. Wood engraving, c.1927. Edition unknown. Image size 9 x 7 3/16" (153 x 183 mm). Very good condition. Signed and titled in pencil. Inscribed "S Bush imp." LINK.

The Old Sink. By Barbara Latham. Wood engraving, c.1927. Edition unknown. Image size 9 x 7 3/16″ (153 x 183 mm). Very good condition. Signed and titled in pencil. Inscribed “S Bush imp.” LINK.

In 1933, on Cook’s first Guggenheim fellowship, the couple relocated to the silver mining town on Taxco, Mexico. It was here that Latham collected imagery which later turned into scenes for her first children book, Pedro, Nina & Perrito (published by Harper & Brother, in 1939). Latham explored the beautiful landscape and spent time with the people of Taxco, documenting all of her impressions in journals and illustrations.

Nina, Pedro and Perrito. By Barbara Latham. Lithograph, c. 1935. Edition unknown. Image size 14 3/4 x 11 7/8" (248 x 307 mm). Very good condition. This image was illustrated in a children's book published in 1939 by Harper & Brother. LINK.

Nina, Pedro and Perrito. By Barbara Latham. Lithograph, c. 1935. Edition unknown. Image size 14 3/4 x 11 7/8″ (248 x 307 mm). Very good condition. This image was illustrated in a children’s book published in 1939 by Harper & Brother. LINK.

Our Mexican Kitchen. By Barbara Latham. Wood engraving on pink paper, 1932-33. Image Size: 5 5/8 x 7 5/8" (143 x 194mm). Good condition, save for minor light discoloration. Signed and titled in pencil. LINK.

Our Mexican Kitchen. By Barbara Latham. Wood engraving on pink paper, 1932-33. Image Size: 5 5/8 x 7 5/8″ (143 x 194 mm). Good condition, save for minor light discoloration. Signed and titled in pencil. LINK.

Latham drew recognition for her printmaking and illustrations, working in the mediums of lithographs, etchings, and starkly contrasted black-and-white woodcuts and wood engravings. In 1934, Latham had a one-person show at the Weyhe Gallery in New York, a gallery known for its active support of printmakers.

In the Park.  By Barbara Latham. Wood engraving,c.1937. Edition unknown. Image size 7 15/16 x 9 15/16" (203 x 253 mm). Very good condition. Signed in pencil. Inscribed "To Ann" and "Imp." LINK.

In the Park. By Barbara Latham. Wood engraving,c.1937. Edition unknown. Image size 7 15/16 x 9 15/16″ (203 x 253 mm). Very good condition. Signed in pencil. Inscribed “To Ann” and “Imp.” LINK.

After more traveling, Latham and Cook moved again in 1938 to Talpa Ridge, New Mexico, which became their permanent home for the next 35 years. Here Latham experimented with semi-abstract egg tempera paintings, and oil and watercolor paintings of natural history subjects. She also ventured into textile and clothing design, creating intricate patterns and focusing on hand-dying all her own fabrics.

Latham is celebrated today for her depictions of the American southwest, both in paintings and print form. Her illustrations are in over 17 children’s books and many of her early greeting cards are collected to this day.

We invite our OPG Blog readers and collectors to visit both our New York store and our Georgetown store to see these prints in person.

Prints at The Old Print Gallery, Georgetown: Geraniums, The Old Sink

Prints at The Old Print Shop, New York CityIn The Park, Nina Pedro and Perrito, Our Mexican Kitchen, Saturday Morning- Taos, Taos Pueble, Taos Village with Pueblo Indians

Geraniums. By Barbara Latham. Woodcut, date unknown. Edition unknown. Image size 6 x 7 3/16" (152 x 183 mm). Very good condition. Signed and titled in pencil. LINK.

Geraniums. By Barbara Latham. Woodcut, date unknown. Edition unknown. Image size 6 x 7 3/16″ (152 x 183 mm). Very good condition. Signed and titled in pencil. LINK.

New Additions: Maps of the South

NEW ADDITIONS bannerNEW ADDITIONSToday we are sharing maps of the Southeastern United States, recently added to our OPG inventory. Dating from 1790s to 1850s, these maps offer a significant look into the burgeoning growth of our fledgling nation, as conflict, population shifts, and advances in transportation modes created a constant demand for the most up-to-date cartographic information. These maps also are all beautiful examples of American map and atlas publishing, which had its advent with Carey’s “American Atlas” and continued strong into the 19th and 20th century- with vibrant publishing hubs located in New York City, Philadelphia, and Boston. We hope you enjoy these maps!

Map of Florida. By S. Augustus Mitchell. Published by Thomas, Cowperthwait & Co., Philadephia. Engraving, hand colored, 1853. Image size 14 3/8 x 11 1/2, plus margins. Good condition, save for some faint damp staining in the lower right. Original hand coloring. LINK.

Map of Florida. By S. Augustus Mitchell. Published by Thomas, Cowperthwait & Co., Philadephia. Engraving, hand colored, 1853. Image size 14 3/8 x 11 1/2, plus margins. Good condition, save for some faint damp staining in the lower right. Original hand coloring. LINK.

A fine map of Florida from Mitchell’s “A New Universal Atlas containing maps of the various Empires, Kingdoms, States and Republics of the World.” This map shows Florida is in its fifth year as a state of the Union. Inset maps in the lower  left include plans of Pensacola, Tallahassee, and the Harbor of St. Augustine. The map also includes a distance chart for water routes from place to place.

Plan of the Siege of Savannah. Published by Charles Smith, New York. Engraved by Charles B. J. F. Saint-Memin. Copper plate engraving, 1796-97. Images size 8 1/4 x 9 1/8 inches, plus margins. Good condition. Black & white. LINK.

Plan of the Siege of Savannah. Published by Charles Smith, New York. Engraved by Charles B. J. F. Saint-Memin. Copper plate engraving, 1796-97. Images size 8 1/4 x 9 1/8 inches, plus margins. Good condition. Black & white. LINK.

A rare and detailed battle plan of the city and surroundings of Savannah Georgia. This map appeared in “The Monthly Military Repository, Respectfully Inscribed to the Military of the United States of America.” The “Repository” is an interesting early work. It was published in parts over a span of two years. Smith included instruction on military strategy, conduct, and clothing, extracting from histories of European wars and descriptions of American Revolutionary battles. Most of the descriptions for the American battles were taken from the writings of Baron Steuben and Gen. Horatio Gates. Included were a series of revolutionary battle plans based on those published in London by William Faden. This particular map was engraved by Charles B. J. F. Saint-Memin. Almost all the recorded copies of “Repository” are incomplete, lacking one or more maps.

Georgia, from the latest Authorities. Published by Mathew Carey, Philadelphia. Copper plate engraving, 1795. Images size 8 7/8 x 15 5/8 inches, plus margins. Good condition save for small area of paper fill in upper left margin, not affecting the image. Black & white. LINK/

Georgia, from the latest Authorities. Published by Mathew Carey, Philadelphia. Copper plate engraving, 1795. Images size 8 7/8 x 15 5/8 inches, plus margins. Good condition save for small area of paper fill in upper left margin, not affecting the image. Black & white. LINK.

Engraved by W. Barker for Carey’s “American Atlas…”, the earliest atlas of America produced in America. This is the first edition of one of the earliest obtainable maps of the state of Georgia. The state is shown extending to the Mississippi River and shows portions of East and West Florida and “Tennassee Government.” Noted prominently are native Indian tribes, Chicasaws, Chacataws, Cherokees, Natches, Seminoles and Creeks.

The State of South Carolina from the best Authorities, by Samuel Lewis. 1795. By Samuel Lewis. Published by Mathew Carey, Philadelphia. Copper plate engraving, 1795. Image size 15 3/4 x 17 1/4" plus margins. Fair to good condition. The map was at one time folded and has splits and tiny areas of paper loss along fold lines. Professionally repaired. Black & white. LINK.

The State of South Carolina from the best Authorities, by Samuel Lewis. 1795. By Samuel Lewis. Published by Mathew Carey, Philadelphia. Copper plate engraving, 1795. Image size 15 3/4 x 17 1/4″ plus margins. Fair to good condition. The map was at one time folded and has splits and tiny areas of paper loss along fold lines. Professionally repaired. Black & white. LINK.

This is another fine 18th century map from Carey’s “American Atlas….”, the first atlas published in America. It was engraved by W. Barker. The map shows remarkable topographic detail, and a fairly solid and accurate representation of South Carolina’s river systems. This is a “must-buy” for any South Carolina collector, especially one interested in the state’s significant Federalist period.

 

John Reid’s Map of America

General Map of North America Drawn from the Best Surveys. 1795. By John Reid. Published by Smith, Reid, & Wayland. Copper plate engraving, 1796. Image size 14 5/16 x 18 1/4" 9364 x 463 mm). Good condition. Black & white. LINK.

General Map of North America Drawn from the Best Surveys. 1795. By John Reid. Published by Smith, Reid, & Wayland. Copper plate engraving, 1796. Image size 14 5/16 x 18 1/4″ 9364 x 463 mm). Good condition. Black & white. LINK.
(Double click image to zoom in.)

Today we are sharing a new addition to our OPG map inventory, John Reid’s General Map of North America Drawn from the Best Surveys. 1795.  This map is from John Reid’s 1796 American Atlas, which was only the second atlas to be published in the United States. At the time, Philadelphia was the hub of most US publishing endeavors, but Reid chose to both engrave and produce the map in New York City. He worked with the engraver John Scoles to create this 21 map atlas. Unlike many of the atlases of the early 19th century, which were produced and updated several times over, there is only one edition of Reid’s American Atlas, making the maps within it rare and collectible examples of early American cartography.

This map, and five others in Reid’s “American Atlas”, is a cartographic copy of the America map in William Winterbotham’s  “An Historical, Geographical, Commercial and Philosophical View of the American United States…”, a 1785 London published book containing maps by John Russell. The rest of the maps in Reid’s atlas were completely new, although somewhat inspired and influenced by Mathew Carey’s atlas published the year prior.

Cartographically, this map shows the new north-south boundary lines of the fledgling United States. The northeast border is set to the St. Croix River, as a result of the 1795 Jay Treaty between Great Britain and the United States.

Detail of United States northern border.

Detail of United States northern border.

In the south, the 1795 Pinckney’s Treaty between Spain and the United States re-negotiated the border between Georgia and Spanish-controlled East and West Florida. This agreement lowered the line back to the 31st parallel north and increased the United States’ access to the Mississippi River and the extremely important trading port of New Orleans.

Detail of United States southern border.

Detail of United States southern border.

There is substantial detail along the northwest coast of America, but only a meager amount of information beyond the coast. Reid fails to identify western settlements, peoples, or topographical features. The lone exceptions are the Rocky Mountains, which Reid labels the “Stony Mountains”, and a large, unnamed lake, which is now called Lake Timpanogos, located in present-day Utah.

"Stony Mountains" and unnamed Lake Timpanogos.

Western coastline of America, including the “Stony Mountains” and large, unnamed Lake Timpanogos.

With the Louisiana Purchase still 8 years in the future, Reid (not-surprisingly) focuses almost all cartographic detail on New Spain, British Canada, and the new United States. The map includes “References to the United States”- a key to the names of the States. Scale for the map is not given.

The fledgling United States, with "References to the United States" key to the right.

The fledgling United States, with “References to the United States” key to the right.

New Additions: Reptiles and Amphibians

NEW ADDITIONS bannerNEW ADDITIONSBelow is a sampling of our natural history inventory. Created between the 18th and 20th century, and published across Europe and in early publishing houses of the United States, these prints offer brilliant insight into the scientific dialogue of the past. Early scientists and naturalists would accompany explorers in their travels to newly discovered or conquered lands, recording plants and animals in detailed sketchbooks. Once home, these written descriptions and pencil sketches were put to the engraving plate and lithographic stone, and published in various compendiums of natural history, for wealthy patrons and a fledgling zoology community. Although printed initially for scientific purposes, as more artists became involved and printing technologies improved, natural history prints were collected and celebrated for their beauty and the finesse in which engravers merged science with art. With their alluring geometric patterns and arabesque forms, some of the most accurate and fascinating illustrations of the period were of frogs, snakes, and lizards. To see more reptile and amphibian prints from our inventory, click here. 

Bufo Vulgaris. Bufo Calamita.  Lithograph by Zanetti after Petrus Quattrocchi. From Iconographi della Fauna Italica by Carlo L. Principe Bonaparte. Published by Tipographia Salviucci, Rome, 1832-41. Highly detailed illustrations of three toads, one poisonous. LINK.

Bufo Vulgaris. Bufo Calamita. Lithograph by Zanetti after Petrus Quattrocchi. From Iconographi della Fauna Italica by Carlo L. Principe Bonaparte. Published by Tipographia Salviucci, Rome, 1832-41. Highly detailed illustrations of three toads, one poisonous. LINK.

Flying Dragon. Designed and engraved by William Daniell for his work "Interesting Selections from Animated Nature." Published by Cadell & Davies, London. Aquatint engraving, 1807. From the deluxe edition on large paper with the engravings executed on chine colle. LINK.

Flying Dragon. Designed and engraved by William Daniell for his work “Interesting Selections from Animated Nature.” Published by Cadell & Davies, London. Aquatint engraving, 1807. From the deluxe edition on large paper with the engravings executed on chine colle. LINK.

Untitled Snake, Tab. LVIII. By Albertus Seba. Hand-colored copper plate engraving, 1734-65. Published in Amsterdam. From "Locupletissimi Rerum Naturalium Thesauri Accurata Descripto Et Iconibus Artificiosissmis Expressio..." LINK.

Untitled Snake, Tab. LVIII. By Albertus Seba. Hand-colored copper plate engraving, 1734-65. Published in Amsterdam. From “Locupletissimi Rerum Naturalium Thesauri Accurata Descripto Et Iconibus Artificiosissmis Expressio…” LINK.

No. 412. By F. P. Nodder. Engraving with original hand-color, 1799. Two salamanders from George Shaw's "the Naturalist's Miscellany", published from 1790 to 1813. LINK.

No. 412. By F. P. Nodder. Engraving with original hand-color, 1799. Two salamanders from George Shaw’s “The Naturalist’s Miscellany”, published from 1790 to 1813. LINK.

Anguis niger, maculis rubris & luteis eleganter varius: The Bead Snake; Convolvulus Radice tuberoso esculento: The Virginian Potato. By Mark Catesby. Hand-colored engraving, 1800.  T. 60. From, ‘The Natural History of Carolina, Florida, and the Bahama Islands: Containing Figures of Birds, Beasts, Fishes, Serpents, Insects and Plants:…’ Engravings by Mark Catesby, published in London. LINK.

Anguis niger, maculis rubris & luteis eleganter varius: The Bead Snake; Convolvulus Radice tuberoso esculento: The Virginian Potato. By Mark Catesby. Hand-colored engraving, 1800. T. 60. From, ‘The Natural History of Carolina, Florida, and the Bahama Islands: Containing Figures of Birds, Beasts, Fishes, Serpents, Insects and Plants:…’ Engravings by Mark Catesby, published in London. LINK.

The Black Iguana. By P. J. Smit. Chromolithograph, 1904. Published in Saalfield, New York. From "Library of Natural History" by Richard Lydekker. LINK.

The Black Iguana. By P. J. Smit. Chromolithograph, 1904. Published in Saalfield, New York. From “Library of Natural History” by Richard Lydekker. LINK.

American Frogs and Toads. Lithographed by Julius Bien & Co. Lith.  N.Y.  Published by Todd, Mead & Co., New York. Chromolithograph, 1902. Several types of frogs and toads are pictured. LINK.

American Frogs and Toads. Lithographed by Julius Bien & Co. Lith. N.Y. Published by Todd, Mead & Co., New York. Chromolithograph, 1902. Several types of frogs and toads are pictured. LINK.

Untitled. XXVII. (Aligator, crocodile and two large lizards). Published by A. Fullarton, London and Edinburgh. Engraving with original hand-color, 1854. A natural history print from Oliver Goldsmith's "A History of the Earth and Animated Nature." This edition is distinguished by having the birds and animals displayed in full color against a black-and-white background. LINK.

Untitled. XXVII. (Alligator, crocodile and two large lizards). Published by A. Fullarton, London and Edinburgh. Engraving with original hand-color, 1854. A natural history print from Oliver Goldsmith’s “A History of the Earth and Animated Nature.” This edition is distinguished by having the birds and animals displayed in full color against a black-and-white background. LINK.

Coluber Monspessulanus. By Battistelli. Lithograph, hand-colored, 1834. A 19th century lithograph of a snake in full and inset of an aerial depiction of the snake's head. LINK.

Coluber Monspessulanus. By Battistelli. Lithograph, hand-colored, 1834. A 19th century lithograph of a snake in full and inset of an aerial depiction of the snake’s head. LINK.

Lacertus Griseus: The Lyon Lizard; Viscum Caryophylloides, foliis longis in apice incisis, floris labello albo trifido, petalis luteis, longis augustissimis. By Mark Catesby. Hand-colored engraving, 1800.  T. 68. From, ‘The Natural History of Carolina, Florida, and the Bahama Islands: Containing Figures of Birds, Beasts, Fishes, Serpents, Insects and Plants:…’ Engravings by Mark Catesby, published in London. LINK.

Lacertus Griseus: The Lyon Lizard; Viscum Caryophylloides, foliis longis in apice incisis, floris labello albo trifido, petalis luteis, longis augustissimis. By Mark Catesby. Hand-colored engraving, 1800. T. 68. From, ‘The Natural History of Carolina, Florida, and the Bahama Islands: Containing Figures of Birds, Beasts, Fishes, Serpents, Insects and Plants:…’ Engravings by Mark Catesby, published in London. LINK.

Untitled Snake, Tab. XLII. By Albertus Seba. Published in Amsterdam. Hand-colored copper plate engraving, 1734-65. From Locupletissimi Rerum Naturalium Thesauri Accurata Descripto Et Iconibus Artificiosissmis Expressio... LINK.

Untitled Snake, Tab. XLII. By Albertus Seba. Published in Amsterdam. Hand-colored copper plate engraving, 1734-65. From Locupletissimi Rerum Naturalium Thesauri Accurata Descripto Et Iconibus Artificiosissmis Expressio… LINK.

 

Past/Present: Railroad Waiting Room

We have a new Past/Present post for our readers today, featuring two railroad scenes. The older print is a circa 1888 hand-colored engraving of a waiting room scene at a railway depot. The title on the verso of the print is “The Every-Day Life of Railroad Men”. This scene is repeated again in a 20th century lithograph by Charles Locke, entitled “Waiting Room.”

Charles Locke was born in Cincinnati, Ohio, on August 31, 1899. He studied at the Cincinnati Art Academy and the Ohio Mechanics Institute. He came to New York City in 1922 with Joseph Pennell to help teach lithography at the Art Students League, where he remained until 1937. He traveled to Paris in 1928 on a grant from Mrs. John D. Rockefeller to study the work of French painters. His students included John S. Curry, Paul Cadmus, and Don Freeman. As well as being a teacher at the League, he was also a student- learning etching from a friend and fellow instructor, Allen Lewis. Locke is well-known for his role as an educator, and for his prints of New York City docks, bars, shops, and everyday street-life.

Image on the left: In the Waiting Room of the Country Station. Engraving, hand-colored, c. 1988.

Image on the right: Waiting Room by Charles Locke. Lithograph. Edition of 40. Signed and editioned in pencil by the artist.

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