Material: Lithograph within molded frame, gilt liner
Condition: Scattered abrasions as depicted, else fine
Additional Information: Framed Odd Fellows "Our Motto" Lithograph, after J.W.
Dorrington, published by Frank W. Parkhurst, Boston, Massachusetts, 1883, the scene
with all-seeing eye, chain links, heart and hand, bible, bundle of rods and other symbols
within a black border
Unquestionably one of the most celebrated architectural engravers in history, the artists
prints of Rome, have excited and inspired architects, illustrators, archeologists,
historians, and collectors for centuries. More than two thousand prints were drawn
directly on copper plates at his workshop on the Via del Corso. Piranesi was a celebrity
in his day earning his place in our image of ancient Rome, from its best-known ruins.
Fine condition; appropriately mounted within a Perry Hoph frame.
(Frame: 23.75" x 18"; view: 21" x 15.25")
This print illustrates Naboth being falsely accused; a crowd of people are gathered listening to the announcement read from a balcony. Prints from this series are within major museum collections including the British Museum and the Boston MFA.
In part the paper and fine detail assign this work to the 16th century. The print is in very good condition and measures approximately 8 x 10" [not removed from frame]. The piece has been paper conserved- cleaned and deacidified, and then framed by Perry Hopf.
Copper-engraved plate with three images, hand colored, probably later. matted, framed and glazed. The Native American sorcerer, or medicine man, stands above a bay or lake, upon which game birds are pursued with bows and arrows on one-page, Bernard Picart grouped two views of the priest with a portrayal of the "Magicien de la Virginie." This portrayal was copied closely from the 1590 engravings in de Bry's America, Part 1. John White depicted two Indian religious figures, an older man…known as a priest; the younger man White called "the flyer ", Theodore de Bry titled the latter "the conjurer." (From Ceremonies et coutumes religieuses de tous les peuples du monde représentées par des figures, avec des explications (Amsterdam, 1723–43; later editions 1810, 1819) The work is housed in a modern gilt frame: 27" x 23.5"; view: 13.5” x 8.5". Strong pigments; not examined out of frame.
Depicted is a party of surgeons grouped about a table, under the presidency of one who holds up a large bag of money in one hand, and with the other points to a scroll inscribed: ---"It does not appear to us that he died----"; he says: ---"This (the money) Convinces me that Cl---k did not dye of the Wound he receiv'd at Br---d"..."
The print is related to event dated Feb. 27, 1769 in Stephens.
Recorded, Catalog of Prints and Drawings in the British Museum. Division I, political and personal satires / prepared by Frederic George Stephens, v. 4, no. 4271
(Plate: approx. 6 7/8 by 4”)
Johann Georg Nordheim was a prolific German engraver whose engraving of the Battle of Bunker Hill was reproduced by American publishers such as the North American Bibliographic Institution. This engraving was sent to Institution subscribers, and had three format options with varying prices. Images of events in American history were popular subjects for prints, which could be made quickly and circulated widely. Academic institutions used prints to encourage appreciation for American art, using the medium to gain exposure to those who were unable to view the paintings in person.
Albert Rosenthal was a prominent Philadelphia portraitist, son of the artist Max Rosenthal. He is also known for his lithographs and etchings. This bust etching of John Marshall is after Chester Harding’s full-length portrait at the Boston Athenaeum. The etching was published for donors to the John Marshall Memorial Window in the Bruton Parish Church at Williamsburg, Virginia, where he was a parishioner. The church itself is pictured at the bottom left of the etching. The window was installed to mark the centennial of Marshall’s appointment as Chief Justice of the United States.
(Frame: 30.5 by 25.5”, sight: 19.5” by 15.5”)
John Sartain was a prolific English engraver and printmaker, who settled in Philadelphia and was an active member of the city’s art community. He created illustrations for his own “Sartain’s Magazine” (begin in 1848), and was the art director of the Centennial Exposition at Philadelphia in 1876. This mezzotint is after a portrait of the Honorable Sir William Blackstone in the Tate Collection.
(Frame: 27.5” by 23.5”, sight: 17” by 12”)
Alfred Jones was an English engraver who is best known for his illustration for the commemorative 1890 stamp of Thomas Jefferson. This engraving is after a painting at Red Hill, in the collection of the Patrick Henry Memorial foundation, showing Henry giving the speech in which he proclaims, “If this be treason, make the most of it.” The Art Union of Philadelphia produced prints of American historical depictions to encourage appreciation for American Art, and engravings like this would be purchased through a subscription to the Union.
(Frame: 28.75” by 23”, sight: 25” by 19.5”)
Likely the original molded oak frame; under glass and matted; Titled 'Mammoth Iron Steamer "Pilgrim" and beneath the title, 'Commander B. M. Simmons'; at the left bottom of the chromo is printed: 'Chas. F. Choate, President-Borden & Lovell, Agents, New York'. Printed at bottom right is: 'J. R. Kendrick - General Manager, Geo. L. Connor - Gen'l Passenger Agent'. Also marked, 'The Manor & Knapp Leith Co., 56 & 58 Park Place, New York (Minor imperfections; frame: 46.75 by 35.75", sight-size: 39.75 by 28.75")
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