19th Century Prints, Americana, Engraving, Lithograph, Prints, Wood

First Battle of Bull Run

154 Years Ago Today…..

The First Battle of Bull Run was fought on July 21, 1861, near the city of Manassas, Virginia not far from Washington, D.C. It was the first major battle of the American Civil War. The Union forces, led by McDowell, were slow in positioning themselves, allowing Confederate reinforcements time to arrive by rail. Each side had about 18,000 poorly trained and poorly led troops in their first battle. It was a Confederate victory which ended with a disorganized and hasty retreat of the Union forces. Below are several prints we have of the widely documented (and illustrated) first battle.

The Battle of Bull Run, 2 P.M. July 21, 1861.  Alfred Waud. Published by Harper's Weekly, August 10, 1861. Wood engraving, 1861. Image size 13 3/4 x 20 1/4" (35 x 51.4 cm). LINK.

The Battle of Bull Run, 2 P.M. July 21, 1861. Alfred Waud. Published by Harper’s Weekly, August 10, 1861. Wood engraving, 1861. Image size 13 3/4 x 20 1/4″ (35 x 51.4 cm). LINK.

Col. Michael Corcoran, at the Battle of Bull Run, Va. - July 21st 1861. : The desperate and bloody charge of the "Gallant Sixty-Ninth," on the Rebel Batteries.  Published by Currier & Ives, 152 Nassau St. New York. Lithograph, undated. Small folio - image size 8 x 12 1/4 inches. LINK.

Col. Michael Corcoran, at the Battle of Bull Run, Va. – July 21st 1861. : The desperate and bloody charge of the “Gallant Sixty-Ninth,” on the Rebel Batteries. Published by Currier & Ives, 152 Nassau St. New York. Lithograph, undated. Small folio – image size 8 x 12 1/4 inches. LINK.

The Great Battle at Bull Run, VA., on Sunday Afternoon, July 21, Retreat of the Federal Army upon Centreville – Col. Miles’s Reserve Division Covering the Retreat and Repelling the Charge of the Rebel Cavalry – Panic Among the Teamsters and Civilians, and General Stampede Towards Arlington Heights. Published by  Frank Leslie, New York. Wood engraving, c. 1862.  From "Pictorial History of the War of 1861." Image size 19 7/8 x 29 1/4". LINK.

The Great Battle at Bull Run, VA., on Sunday Afternoon, July 21, Retreat of the Federal Army upon Centreville – Col. Miles’s Reserve Division Covering the Retreat and Repelling the Charge of the Rebel Cavalry – Panic Among the Teamsters and Civilians, and General Stampede Towards Arlington Heights. Published by Frank Leslie, New York. Wood engraving, c. 1862. From “Pictorial History of the War of 1861.” Image size 19 7/8 x 29 1/4″. LINK.

 

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19th Century Prints, Engraving, Natural History, New Additions, Prints

New Additions: Alexander Wilson Bird Prints

NEW ADDITIONS bannerNEW ADDITIONSWe have three new additions to our natural history inventory- several bird prints from Alexander Wilson’s “American Ornithology; or, The Natural History of the Birds of the United States.” One of America’s great naturalists and nicknamed the “father of American ornithology,” Alexander Wilson (1766-1813) learned much of birding from friend and fellow bird-enthusiast William Bartram. Working out of his father’s famous botanical garden in Philadelphia, Bartram taught Wilson how to draw, identify, and document different bird species. Wilson soon set out to document every species of bird in North America, an impressive undertaking that led to the creation of “American Ornithology”. Nine volumes of “American Ornithology” were published during Wilson’s lifetime. Of the 268 species of birds illustrated, 26 had not previously been described.

C.L Bonaparte published a supplement to “American Ornithology” in 1825-33, to complete what Wilson started, with prints by Titian Ramsey Peale and Alexander Rider.  A second edition printed from the original plates was published by Collins & Co. & Harrison Hall in 1829.

The three prints shown below are from the first edition of “American Ornithology”, published between 1808 and 1814. Engraved and hand-colored, these charming prints would make a beautiful addition to any print collector’s walls or personal collection.

1. Red cocaded Woodpecker 2. Brown-headed Nuthatch  3. Pigeon Hawak  4. Blue-winged Yellow Warbler  5. Golden-winged W.  6. Blue-eyed Yellow W.  7. Black-brested Blue W.  Alexander Wilson. Engraving, hand colored, 1808-14. Paper size 13 1/4 x 10 1/4

1. Red cocaded Woodpecker 2. Brown-headed Nuthatch 3. Pigeon Hawak 4. Blue-winged Yellow Warbler 5. Golden-winged W. 6. Blue-eyed Yellow W. 7. Black-brested Blue W.
Alexander Wilson. Engraving, hand colored, 1808-14. Paper size 13 1/4 x 10 1/4″. Good condition and color. First edition. LINK.

1. Rice bunting. 2. Female. 3. Red-eyed Flycatcher. 4. Marsh Wren. 5. Great Carolina Wren. 6. Yellow-throat Warbler. Alexander Wilson. Engraving, hand colored, 1808-14. Paper size 13 1/4 x 10 1/4

1. Rice bunting. 2. Female. 3. Red-eyed Flycatcher. 4. Marsh Wren. 5. Great Carolina Wren. 6. Yellow-throat Warbler. Alexander Wilson. Engraving, hand colored, 1808-14. Paper size 13 1/4 x 10 1/4″. Good condition and color. First edition. LINK.

1. Canada Jay, 2. Snow Bunting, 3. Rusty Grakle, 4. Purple Grakle Alexander Wilson. Engraving, hand colored, 1808-14. Paper size 13 1/4 x 10 1/4

1. Canada Jay, 2. Snow Bunting, 3. Rusty Grakle, 4. Purple Grakle Alexander Wilson. Engraving, hand colored, 1808-14. Paper size 13 1/4 x 10 1/4″. Good condition and color. First edition. LINK.

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19th Century Prints, American Views, Landscapes, Lithograph, Multi-stone Lithograph, New Additions, Prints

New Additions: Henry Lewis Prints of the Mississippi

NEW ADDITIONS bannerNEW ADDITIONSWe recently added several lithographs from Henry Lewis’ DAS ILLUSTRIERTE MISSISSIPPITHAL (The Valley of the Mississippi Illustrated) to our collection. In the late 1840’s, Lewis traveled the length of the Mississippi and, with the assistance of other artists, assembled a collection of sketches detailing scenery of the entire river. Based on these drawings, he proceeded to paint a panorama on a continuous length of canvas, which would be moved and viewed through a frame.  The completed piece (hundreds and hundreds of feet in length) began its tour of American cities in the fall of 1848. Due to its popularity, a European tour quickly followed. While on tour in Dusseldorf in 1853, Lewis met and teamed up with the publisher Heinrich Arnz to redo the sketches as lithographs illustrating a book on Mississippi scenery. While production was sporadic and relatively unprofitable, the resulting seventy-eight lithographs provide an early and remarkably complete visual record of the Mississippi River.

Travelling Hunting Party. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

Travelling Hunting Party. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

Prairie on Fire. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

Prairie on Fire. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

The Grand Council. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

The Grand Council. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

Hunting the Deer by Moonlight. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

Hunting the Deer by Moonlight. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

Indians Spearing Fish. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

Indians Spearing Fish. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

Ballustrade Bluffs with the Grand Staircase. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

Ballustrade Bluffs with the Grand Staircase. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

The Maiden Rock. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

The Maiden Rock. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

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Abstract, Contemporary, Gallery Opening Receptions, Gallery Openings, Prints

2014 Winter Contemporary Show

(L) Persistent Optimism 4b. By Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Ed. 2/3. Paper size 11 x 10".  (C) Persistent Optimism 2b. By Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Ed 2/3. Paper size 11 x 10".  (R) Persistent Optimism 4a.  By Heather Mcmordie. Stone lithograph with woodcut and mixed media, 2014. Ed 1/3. Paper size 11 x 10".  LINK.

(Left) Persistent Optimism 4b. (Center) Persistent Optimism 2b. (Right) Persistent Optimism 4a.
By Heather McMordie. Stone lithograph with woodcut and mixed media, 2014. Edition of 3. Paper size 11 x 10″ each. LINK.

The Old Print Gallery’s 2014 Winter Contemporary Show will open on Friday, November 21, 2014 with a free nighttime celebratory reception from 5-8pm at the gallery. Works by thirteen contemporary printmakers, all created within the last two years, were chosen for the show. The prints selected are an impressive and alluring display of the current eclecticism found in contemporary printmaking.  Purposeful and inventive, the prints are successful experiments in medium, color, and scale, and for many of the artists selected, the prints are a deviation from their previous creative propensities. The show will remain on view in the gallery until February 14, 2014.

Harmonious Rhythm I. Nancy Previs. Photo intaglio, 2014. Ed 2/15. Image size 9 5/8 x 12”. LINK.

Harmonious Rhythm I. Nancy Previs. Photo intaglio, 2014. Ed 2/15. Image size 9 5/8 x 12”. LINK.

Highlights include a haunting and mysterious photo intaglio landscape by Dublin-based Nancy Previs and three small mezzotints of the human form by Australian printmaker Cleo Wilkinson, whose printed visages emerge from a velvety black with a tonal richness and striking subtlety.  The exhibit also features three prints from emerging artist Heather McMordie’s new series, Persistent Optimism, an exciting experiment in prints-turned-drawings, each with elements of lithography, woodcut, graphite, colored pencil, and charcoal.

The 2014 Winter Contemporary Show will also showcase several works by local DC printmakers, including an abstract and playful watercolor-based monotype by Philip Bennet, bold screenprint monotypes with woodcut elements by Susan Goldman, and artfully rendered still lifes in etching and aquatint by Jake Muirhead.

Thrush. Jake Muirhead. Softground with drypoint, 2014. A/P. Image size 11 7/8 x 11 7/8". LINK.

Thrush. Jake Muirhead. Softground with drypoint, 2014. A/P. Image size 11 7/8 x 11 7/8″. LINK.

Selected Artists: Philip Bennet, Richard Carleton, Michael Di Cerbo, Eric Goldberg, Susan Goldman,  Su-Li Hung, Robert Kipniss, Mary Manusos, Heather McMordie, Jake Muirhead, Nancy Previs, Richard Sloat, and Cleo Wilkinson.

Splash #2. Philip Bennet. Oil-based ink monotype, 2013. Ed 1/1. Image size 11 x 17".  LINK.

Splash #2. Philip Bennet. Oil-based ink monotype, 2013. Ed 1/1. Image size 11 x 17″. LINK.

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19th Century Prints, Aquatint, Engraving, Genre, Lithograph, Oil Painting, Prints, Stipple

Election Day

Happy Midterm Election Day! In honor of this very important day in our political process, we are sharing three prints by George Caleb Bingham.

The County Election. George Caleb Bingham. Published by Goupil & Co., New York, Paris, London. Stipple and line engraving,1854. Engraved by John Sartain. Image size 22 1/4 x 30" (564 x 760 mm) plus wide margins. LINK.

The County Election. George Caleb Bingham. Published by Goupil & Co., New York, Paris, London. Stipple and line engraving,1854. Engraved by John Sartain. Image size 22 1/4 x 30″ (564 x 760 mm) plus wide margins. At The Old Print Shop: LINK.

George Caleb Bingham is considered by many to be America’s finest genre painter. A number of his printed images, such as the one above, have a political theme. In 1840, Bingham was sent to the Whig convention at Rocheport, Missouri. It is believed that at the convention Bingham realized the artistic possibilities of the political scene and filled his drawing book up with sketches, which were later utilized for his large compositions. The other two large companion scenes to The County Election are Stump Speaking and the extremely rare Verdict of the People.

Stump Speaking. By George Caleb Bingham. Published by Fishel, Adler and Schwartz, 94 Fulton St., New York. Hand-colored stipple, line, and aquatint engraving, 1856. Engraved by Gautier. Image size 22 5/16 x 30" plus title and margins. LINK.

Stump Speaking. By George Caleb Bingham. Published by Fishel, Adler, and Schwartz, 94 Fulton St., New York. Hand-colored stipple, line, and aquatint engraving, 1856. Engraved by Gautier. Image size 22 5/16 x 30″ plus title and margins. At The Old Print Gallery: LINK.

The Verdict of the People. By George Caleb Bingham. Lithograph, 1858-59. Paper size 21 5/8 x 29 3/4" (549 x 755 mm). E. Maurice Bloch in George Caleb Bingham: A Catalogue Raisonne states that only two impressions of this print are known and both are proofs before title.  The two known impressions in the 1967 catalogue were in the collection of Mrs. A. S. Colgate of Tuxedo Park, N.Y. (that impression is currently in the Amon Carter Museum in Fort Worth, Texas) and in the Estate of Curtis B. Rollins, Columbia, Missouri (location of that impression is unknown).

The Verdict of the People. By George Caleb Bingham. Lithograph, 1858-59. Paper size 21 5/8 x 29 3/4″ (549 x 755 mm). E. Maurice Bloch in George Caleb Bingham: A Catalogue Raisonne states that only two impressions of this print are known and both are proofs before title. The two known impressions in the 1967 catalogue were in the collection of Mrs. A. S. Colgate of Tuxedo Park, N.Y. (that impression is currently in the Amon Carter Museum in Fort Worth, Texas) and in the Estate of Curtis B. Rollins, Columbia, Missouri (location of that impression is unknown).

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