John Quincy Adams. John Quincy Adams. / Engraved, by F. Kearny, from a portrait by King; from Delaplaine's, National Gallery. / Published by B. O. Tyler. / Washington City. Stipple. Stauffer 1565.

"Published in 1824. 'Price One Dollar.'" Stauffer.

BRIDPORT, HUGH:

Born in London, 1794 - Great Britain gave us a good number of our early engravers - came to Philadelphia, 1816, and worked there at least as late as 1837. He was a portrait and miniature painter, had a drawing school, executed some portraits in stipple, and drew portraits on stone for Philadelphia lithographers. Besides all this, Stauffer tells us that he was one of the instructors of the deaf-mute artist Albert Newsam.

Henry Conwell. The Rt Rev. Henry Conwell D.D. / R. C. Bishop of Philadelphia. / Engraved by H. Bridport from a Painting by J. Neagle 1826. Stipple. Stauffer 274.

GIMBREDE, THOMAS, 1781-1832:

Gimbrede, brother-in-law of Prudhomme the engraver, was born in France and came to the United States in 1802 as a miniature painter. He did stipple portraits for New York publishers and for the "PortFolio" and the "Analectic Magazine," and in 1819 became drawing master at the West Point Military Academy, where he remained until his death. His son, Joseph Napoleon (b. 1820), was also an engraver.

Edward G. Malbone. Gimbrede Sculpt / Edward G. Malbone / Engraved for the Analectic Magazine Published by M. Thomas. Stipple. Stauffer 1063.

From the "Analectic Magazine" Sept., 1815.

Napoleon François Charles Joseph. Isabey á Vienne / Mars 1815. / Napoléon François / Charles Joseph / Prince de Parme / Né le 20 Mars 1811. / Gravé par Gimbrede N. Y. Stipple. Stauffer 1072.

LONGACRE, JAMES BARTON, 1794-1869:

Longacre learned engraving from George Murray. "His earliest work," says Stauffer, "was done for S. F. Bradford's Encyclopedia, of 1803-18". A godsend those early encyclopedias must have been to young engravers, and older ones too, for that matter. Longacre, however, soon found his specialty in stipple portraits, many of them engraved after his own drawings. Notable among his larger portraits is his Jackson (1820), after Sully, in which he drew tones of sonorous richness from the stipple process, which in the hands of not a few engravers ran to anaemic grays or dull, heavy blacks. With James Herring he issued the "National Portrait Gallery" (1834-39), a noteworthy collection of portraits of Americans. For this work, says Stauffer, "Longacre set the standard of engraving so high, that after employing the best engravers in this country, he was compelled to induce others to come from Europe especially for this purpose.

In 1844 Longacre succeeded Gobrecht as engraver to the United States Mint.

Charles Carroll. Charles Carroll Of Carrollton. / Engraved by James B. Longacre from a Painting by Chester Harding Line. Stauffer 1953.

This is one of the cases where Longacre turned to line engraving; as a rule he worked in stipple.

It is to be noted that American portrait engraving of the first half of the nineteenth century not only gives us a pictorial record of American notables, but reproduces for us the work of American painters who portrayed their sitters with a certain quiet dignity and a noteworthy restraint in color.

De Witt Clinton. DeWitt Clinton. / Engraved by J. B. Longacre from a miniature by G. Catlin. / Painted at Albany Decem. 1824. Stipple. Stauffer 1961, second state, with Sam Maverick Print added.

Miss Lydia Kelly. Miss Kelly. / As Beatrice. / Engraved by J. B. Longacre from a Painting by J. Neagle. / Lopez & Wemyss' Edition. / Published by A. R. Poole Philadelphia 1826. / Printed by B. Rogers. Stipple. Stauffer 2029. Proof before letters.

Wall Case 26

KELLY, THOMAS:

Born in Ireland about 1795, came to the United States, was in Boston 1823, Philadelphia 1831-33, New York 1834-35. He died in the New York almshouse about 1841. At his best Kelly attained the delicacy of his J. R. Drake after Rodgers and the force of his Chapman after Neagle, the latter portrait here shown.

Fisher Ames. Painted by Stuart. - Engraved by T. Kelly. / Fisher Ames. / Published by Samuel Walker, Harlem Place, Washington Street Boston. Stipple. Stauffer 1593.

Nathaniel Chapman. Engraved by T. Kelly, from the original picture painted by J. Neagle, for the Hall of the Medical Institute Philadelphia. / N. Chapman, M. D. / Professor of the Institutes & Practice of Physic & Clinical Practice in the University of Pennsylvania. &c. &c. &c. / (Copyright, 1831.) Line. Stauffer 1599. Two last lines of inscription trimmed off.

Rufus King. Engraved by T. Kelly from the Original Picture by Stuart. / Rufus King. / Rufus King (fac-simile signature]. Line. Stauffer 1610.

NEAGLE, JOHN B., 1796?-1866:

Born in England; died in Philadelphia. He engraved portraits and book illustrations, and "in the latter part of his life was engaged almost entirely on bank-note work." So Stauffer.

Thomas C. James. Painted by Wood.Engraved by Neagle. / Published by Joseph Delaplaine / Thomas C. James M.D. / Printed by Harrison & Porter. Line. Stauffer 2305, first state.

Mother and boy. Westall R. A. del. - Engraved by J. B. Neagle / Mother and Boy. / Published by T. T. Ash Philadelphia. Line. India paper. Stauffer-Fielding, p. 205.

Published in "The Pearl, or, Affection's Gift," Philadelphia, 1830. "His small annual plates represent his best work." - Stauffer.

Title. J. Neagle Sc. / The / Analectic Magazine / Vol. 13. / Published by M. Thomas, / Johnsons Head No. 52 Chesnut Street. / Philadelphia / 1819. Line. 6.8 x 4.6.

It is noteworthy that the publishers of this magazine and of the "Port-Folio" went to the expense of having new title-pages engraved for successive volumes. Engraved titles, for books as well as magazines, were in vogue then.

HOOGLAND, WILLIAM :

The fragmentary information that Stauffer was able to gather includes these statements. About 1815 Hoogland was designing and engraving vignettes in New York; in 1826 he was with Abel Bowen in Boston, where John Cheney and Joseph Andrews were among his pupils; in 1841 he was again in New York. He "was one of the early American bank-note engravers." It may be added that besides his book illustrations and title-pages he did a number of portraits, one of the best being that of W. E. Channing. Apparently he also drew for lithographers in Boston.

† Alexander Hamilton. Painted by Ames. Engraved by Hoogland. / Alexander Hamilton. / Published by Samuel Walker (Harlem Place) Washington Street Boston. Stipple. Stauffer 1423.

Title vignette. New York Visitor, 1841. The / New-York / Visitor / Vol. 1 / and / Wm Hogland sc / Ladys Parlor Magazine. / J. W. Harrison Publisher 1841 / Line. 5 x 2.14.

DRAYTON, J.:

"An engraver of landscape in aquatint, and an expert print colorist," who was working "at least as early as 1820," says Stauffer.

The word colorist, with its suggestion of Stevenson's "A penny plain and twopence coloured," recalls an activity for which a publishing house such as that of Ackermann in London had on hand a staff of experienced colorists. See Martin Hardie's "English Coloured Books," p. 89-91.

Bordentown, New Jersey. Engravd & Colour'd by J. Drayton. / View near Bordenton, from the Gardens of the Count de Suvilliers. Aquatint. In color. Stauffer 542.

St. Leonard Cottage. Drawn by Miss C. Schetky - Engraved by J. Drayton. / The Cottage of St Leonards. / Muschat's Cairn, and the Ruins of St Anthony's Chapel. Aquatint. Stauffer 549.

The Library has also an impression, in the Stauffer Collection, with Pubd. by P. Price Jr. Philada. for the Casket. added below.

Wall Case 27

STRICKLAND, WILLIAM, 1787-1854:

Strickland studied architecture with B. H. Latrobe, but by 1809 he began to branch out into various activities. He practiced as an architect, designing various public buildings in Philadelphia; he was also the architect of the State House in Nashville, under which edifice his body lies in a crypt. He painted portraits, designed for engravers, and himself did aquatints. The rise of railway building led him to turn also to the practice of civil engineering, in which, Stauffer says, "he became as famous as he had deservedly been as an architect." One of his projects was a national monument commemorative of Washington.

† Merriwether Lewis. St. Memin Pinxt. Strickland Sculpt. / Merriwether Lewis Esq. / Engraved for the Analectic Magazine and Naval Chronicle. Aquatint. Stauffer 3050, first state.

The last line of inscription is not given in Stauffer. Published in the "Analectic Magazine," v. 7,

1816.

Aquatint has been rarely used for portraits. Bass Otis executed some heads in this medium (see Wall Case 22).

† Fort Niagara. Strickland sc. / Fort Niagara taken from the British side of the River at Newark. Aquatint. Stauffer 3056.

† The Peacock and L'Épervier. T. Birch del. W. Strickland sc. / Peacock & L'Epervier. Aquatint. Stauffer 3060.

Water Gap, Pennsylvania. T. Birch pinx. Strickland sc. / View of the Water Gap and Columbia Glass works - River Delaware Aquatint. Stauffer 3066.

Certain localities appear repeatedly in our pictorial records of the country's natural beauties. The Delaware Water Gap is noteworthy among these, and of course, above all others, Niagara Falls.

In the present case the exercise of the love of natural scenery, with an eye on the glass works, marks a delightful blend of interests.

CHILDS, CEPHAS G., 1793–1871:

He learned engraving from Gideon Fairman, and became an able engraver in line and stipple, doing portraits, landscapes and city views. Business cards and the like were turned out by Childs & Carpenter in 1822. From 1818 to 1845 Childs is listed in the Philadelphia directory as "historical and landscape engraver." During 1831-35 he was associated with the painter Henry Inman, as Childs & Inman, their general engraving business being augmented by a lithographic department. This latter was placed in charge of P. S. Duval, who was brought from Europe. Inman himself made drawings on the stone, and Albert Newsam, the deaf-mute, was employed by the firm. Childs was also at one time associated in lithographic work with George Lehman. The name of Inman brings to mind the interest which artists took in lithography in those early days, while the mention of firms brings up the early history of lithographic printing and publishing in Philadelphia. That, however, is another story. To return to Childs. About 1845 he turned to newspaper work, becoming a commercial editor. As to his interest in militia matters, see the caricature by Clay, in this Wall Case.

Simon Bolivar. Gravado por C. G. Childs / El Libertador Simon Bolivar. / Presidente de la Republica de Colombia. / Engraved From the original picture presented by Bolivar to Judge Prevost. Stipple. Stauffer 341.

Bank of the United States. Drawn by Geo. Strickland. - Engraved by C. G. Childs. / Bank of the United States. / Pub. by C. G. Childs Engraver Philadelphia 1828. / Copy Right secured. Line. Stauffer 354.

† Book plate: Henry D. Gilpin. Henry D. Gilpin. Line.

CLAY, EDWARD W., 1792-1857 :

The record of Clay, as traced by Stauffer, shows that he was a midshipman, later was admitted to the bar in 1825, but was finally drawn to art. The day's work set him at various tasks: he engraved portraits in line, etched music titles and what not, drew for the engravers, and drew on the stone for H. R. Robinson (see "Early Views," no. 200) and Childs & Inman. He is particularly known through his caricatures, of which a specimen is shown in this Wall Case, and he contributed comic comment as late as the days of the slavery controversy in Buchanan's time. Later his eyes gave out and he became a court clerk in Delaware.

Baron Charles De Drais. E. W. Clay Scul. Stauffer 391. Line.

An early velocipede picture.

Nation's Bulwark. Clay Copy Right Secured. Sketches of Character No 1 / Pub. for the Proprietors by R. H. Hobson. Chesnut St Philada 1829. / The Nation's Bulwark. / A well diciplined Militia. Etching. In color. Stauffer 393.

"Clay was a merciless caricaturist and some of his lampoons of his fellow-citizens are said to have caused him much personal inconvenience." Stauffer tells us also that in the present print "some of the faces are portraits, including one of C. G. Childs." Besides his varied and numerous business activities, Childs was much interested in volunteer military organizations in Philadelphia. The pictorial record of American militia organizations is an interesting reflection of popular taste in uniforms and trappings. As to this latter circumstance or pomp and circumthe article see "American military prints," in the "Print Connoisseur" for March, 1921.

stance

on

Wall Case 28

CHENEY, JOHN, 1801-85:

John Cheney is particularly notable through his small portraits and other vignettes in books and annuals. From the inanity of some of the "keepsake" plates, his work stands out by delicacy, and even as in Guardian Angels, after Reynolds - a certain richness. As his plates were in some cases used over and over again in various publications, one must be careful to see them in proofs or in early impressions, before the plates were worn. S. R. Koehler explains Cheney's abandonment of the graver thus: "The annuals were ruined by competition, and deteriorated in quality to such a degree that there was no longer any place in them for work of the excellence of John Cheney's and of his better fellow-engravers, all of whom, so far as they remained in the profession, turned their attention to bank-note work. John Cheney also engraved a few bank-note dies; but what little he did after 1845 was principally portrait work... few attempts...which manifestly show a decline in quality, the result, apparently, of weariness growing out of disappointment, he laid down the graver forever when he was but little more than fifty years of age." The Museum of Fine Arts, Boston, held an exhibition of the works of John Cheney and his brother, Seth Wells, in 1893.

After

a

Several of our earlier engravers were self-taught, working with home-made tools, plates and presses; for instance: Fairman, Smillie, Wm. Rollinson, Alexander Anderson, and J. I. Pease. It appears that John Cheney likewise began to engrave with no instruction other "than that offered by books and the examination of such prints as came under his notice," with tools made by himself and plates hammered from pieces of an old copper boiler.

† Sibyl. from a Painting after Guido. - Engraved by J. Cheney. / Sibyl. / Published by Carter & Hendee, Boston. / McKinzie Print Title & publication line trimmed off. Line. S. R. Koehler, Catalogue of the engraved... work of John and Seth Wells Cheney, Boston, 1891, no. 23, first state.

From "The Token," 1830, opp. p. 31.

† The Young Princess. Engraved by Cheney. / The Young Princess. / Published by Chas. Bowen. / Printed by R. Andrews. / Line. Koehler 36, first state.

From "The Token," 1835, opp. p. 255.

Dorothea. (Bathing). Painted by J. G. Middleton. - Engraved by J. Cheney after Goodyear. / Bathing. / Printed by D. Stevens. Line. Koehler 42, second state.

From "The Literary Souvenir," 1838, opp. p. 145. Title vignette (Head of young lady). The Gift. / an / Annual / (vignette) / T. Sully J. Cheney. / Edited by Miss Leslie. / Philadelphia. / E. L. Carey and A. Hart. / J. &

W. W. Warr. / Printed by Butler & Long. (1840) Line. Koehler 53, second state.

"The Gift" was one of those annuals - "Token," "Keepsake," "Atlantic Souvenir," "Hyacinth," "Opal," "Moss Rose," "Lady's Cabinet Album," which came from the presses in such numbers during the period 1830-60. Besides much poor production, these annuals show also some very pleasing work in line engraving. Durand, Smillie, and other noted American engravers signed a number of these plates, among which those by Cheney stand out by pleasing refinement, dignity, and restraint. Some of our American plates traveled even to France - as witness the "Keepsake Americain."

Lady reading. M. J. De Franca. — J. Cheney. / Lady Reading / Printed by D. Stevens. / Line. Koehler 55, first state.

From "The Christian Keepsake," 1840, opp. p. 43. Egeria. E. Malbone. - J. Cheney. / Egeria. / Printed by Butler & Long. / Line. Koehler 66, first state.

From "The Gift," 1843, opp. p. 102. Beatrice. (Fair Inez.) D. Huntington. J. Cheney. / Fair Inez. / Printed by Butler & Long. Line. Koehler 72, second state.

From Griswold, "The Poets and Poetry of Eng land," 1845, opp. p. 337.

This, like other plates, was used for more than one publication, the title being changed.

Edward Everett. R. M. Staigg. - J. Cheney. / Edward Everett [fac-simile signature) / Boston. / Published by Charles C. Little & James Brown. Line. Koehler 95, third state.

From "The National Portrait Gallery," 1852.

Joseph Story. Joseph Story [fac-simile signature] / From a Crayon Drawing by W. W. Story. / Engraved by J. Cheney. Line. Koehler 96, second state.

From the "National Portrait Gallery."

Wall Case 29

DURAND, ASHER BROWN, 1796-1886:

Asher B. Durand. Waldo & Jewett pinx. / A. B. Durand. / Inciso in America 1820 dal suo amico Michele Pekenino Line. Grolier Club. Engraved work of Asher B. Durand, New York, 1895, no. 1.

This plate was used later by Pekenino as a portrait of Bolivar.

For C. L. Elliott's portrait of Durand, engraved by F. Halpin, see Wall Case 36.

+ Cadwallader David Colden. Painted by Waldo & Jewett. Eng. by A. B. Durand. / Hon. Cadwallader D. Colden, Esqr. / From the Original Picture in the possession of the Corporation. Line. Grolier 24, second state. As used in the "Memoir of the Celebration of the Completion of the New York Canals," 1825.

Stephen Decatur. Painted by T. Sully, Eng. by A. B. Durand from a Copy by James Herring. / Stephen Decatur / Stephen Decatur facsimile signature) / Copyright... 1835 by James Herring. Line. Grolier 31. 1. Trial proof on India. 2. India proof before the name.

Engraved for the "National Portrait Gallery of Distinguished Americans."

Philip Hone. Painted by Peale. - Eng. by A. B. Durand / The Honorable Philip Hone, / Mayor of the City of New York in 1826. / Line. Grolier 50.

Engraved for "Memoir of the Celebration of the Completion of the New York Canals."

William Jay. Branwhite del. - A. B. Durand sc. / Rev. William Jay. / Armstrong & Plaskitt Baltimore.../. (Copyright), 1833

/ Line. Grolier 56. 1. Proof before any inscription. 2. As described.

Aaron Ogden. Painted and Engraved by A. B. Durand / Aaron Ogden. / Aaron Ogden fac-simile signature) / (Copyright)...1834 by James Herring... Line. Grolier 78.

Engraved for the "National Portrait Gallery of Distinguished Americans." Original picture in New York Historical Society's collection.

Falls of the Sawkill. Painted by W. J. Bennett. Engraved by A. B. Durand. / The Falls of the Sawkill / Published by Elam Bliss New York / Printed by Wade. Line. Grolier 233. A later state, with ornamental border and with Steel Plate. Engd. for The New York Mirror. Printed by Illman & Pilbrow instead of Published, etc., as above.

The Rescue. Edwd Corbould - Durand & Co/ The Rescue. / Worts Print. / Line. 5.14 x 4.7. Not in Grolier.

Wall Case 30

DURAND, ASHER BROWN, 1796-1886:

Old Pat. Painted by S. L. Waldo. - Engd by A. B. Durand. "Old Pat" in pencil. Line. Grolier 144.

"This was the first plate engraved by Durand direct from a painting. The original is called 'A Beggar with a Bone', and is in the Boston Athenaeum." - Grolser Ciub Catalogue.

† Apollo Belvidere. Durand sc. / ΑΠΟΛΛΩΝ Line. Grolier 165.

Engraved for "Address before the American Academy of Fine Arts, by Robert Ray, New York, Nov. 17th, 1825."

Specimen Sheet. Specimen of Bank Note Engraving / By A. B. & C. Durand, Wright & Co / New York July 1827 Line. Grolier 178.

The bank-note business at one time drew many artists into its service - Durand, Smillie, Casilear, Danforth, Balch, and various others. The Library's Print Room contains a large number of original drawings for bank-note vignettes by Durand.

Ariadne. Painted by J. Vanderlyn - Eng. by A. B. Durand. / With "Oct. 15, 1834" in pencil. India paper. Line. Grolier 237, sixth

state.

A noble translation, particularly successful in the rendering of flesh, of an early example of painting of the nude in this country.

S. R. Koehler describes this as "the largest plate of such high, artistic achievement that ever appeared in America, of a purity and grace of graver-work in the figure of Ariadne the landscape is mainly in etching that need fear no comparison." This was Durand's last plate.

DURAND, CYRUS, 1787-1868:

was a

Stauffer tells us that "he was a most ingenious mechanic, and among his earlier inventions machine constructed for Peter Maverick, then of Newark, for ruling straight and wavy lines in connection with bank-note work. This was the first of a long series of improvements and inventions intended for use in the production of bank-notes; and Cyrus Durand is credited with having made the first American lathe."

† Portrait, in border of machine-ruled wavy lines. Line. Oval. 2.2 x 1.13.

Supposed by the Durand family to have been engraved by Cyrus Durand. The ruled border was certainly made with his machine for ruling of which Stauffer speaks (see note above).

Wall Case 31

HAVELL, ROBERT, JUNIOR, 1793-1878:

The story of his life is told in an article by George Alfred Williams in the "Print Collector's Quarterly,' v. 6, 1916, p. 227-256. As the author states that he got his facts in part from the engraver's family, this record replaces the contradictory ones in Stauffer and Thieme-Becker.

Born in England, he was selected by Audubon to engrave in aquatint the plates for his "Birds of America." The story of Audubon's search for a suitable engraver, and of the trials and discouragements borne by artist and engraver, is entertainingly told by Mr. Williams. In 1839 Havell came to the United States, settling in Sing Sing, and becoming "a thoroughly representative citizen." In this country he made some important contributions to the iconography of American cities. He died in Tarrytown, and lies buried in Sleepy Hollow Cemetery there.

See also "Early Views," no. 139, 140, 227.

+ Panoramic view of New York. Panoramic View of New York. / (Taken from the North River.) / Entered...1844 by Robt. Havell / Published by Robt. Havell Sing Sing. New York. / and Wm. A. Colman 203 Broadway / Ackermann & Co. 96 Strand London. Stokes, Iconography III: 685, plate 123a. Fifth state. Cut down.

For first state, see "Early Views," no. 227.

† Blue Grey Fly Catcher. Vignette. Over: No 17-Plate 84. / Under: Blue Grey Fly Catcher / Muscicapa Coerulea. Wils. / Male 1 Female 2 / Black Walnut Juglaus nigra / Drawn from Nature and Published by John J. Audubon F. R. S. F. L. S. - Engraved, Printed & Coloured by R. Havell. Line. In color. 19.8 x 12.4. Upper section of the plate only, showing only the lettering above the picture.

From: John James Audubon, Birds of America from original drawings. London, Published by the Author, 1827-30, v. 1.

The plates for this famous folio edition of Audubon were executed in England, before Havell left that country for the United States.

BALCH, VISTUS, 1799-1884:

Balch worked as an engraver successively in Utica, Albany and New York. He was a member, at various times, of Balch & Co., Balch & Stiles, and Balch, Rawdon & Co. Among his plates were some New York City views, after A. J. Davis, done for the "New York Mirror." This periodical, in the Thirties, published a number of interesting views of the metropolis.

Garret D. Wall. Drawn by C. Fendrich Engraved by V. Balch N. Y. / Garret D. Wall fac-simile signature]. Line. Stauffer-Fielding 102.

The Library also has an impression with Engd for the U. S. Magazine & Democratic Review / J. & H. E. Langley New York added below. This state is not noted in Stauffer-Fielding.

† Bank-note vignette. Man seated in foreground, with tools about him; ship being launched in background. Line. 1.3 x 2.4.

† Bank-note engraving. Landing of Columbus. After the painting by John Vanderlyn, in the Capitol at Washington. Line. 2.1 x 4.8.

† City Hall Staircase. C. A. Busby del. Balch Rawdon & Co fe. / City Hall Stair Case. Line. 2 x 2.8.

Again a case of an artist going into a partnership for the production of bank-note work. Noteworthy instances are A. B. Durand and James Smillie.

† St. Johns Church. E. W. Bridges delBalch Rawdon & Co. sc. / St Johns Church./ Line. 1.14 x 2.6.

BARBER, JOHN WARNER, 1798-1885:

Barber was apprenticed to Abner Reed, and in 1823 established himself in New Haven. He soon became interested in historical work, driving about the country for data. That recalls Benson J. Lossing's similar activity somewhat later. Barber published a number of books, some illustrated with copperplates signed by himself. For instance, "History and Antiquities of New Haven" (1831) and "Connecticut Historical Collections" (1836). Barber also engraved on wood.

Prospect Hill, East Haven, Conn. Drawn & Engraved by J. W. Barber N. Haven / Prospect Hill. East Haven, Con. Line. 3.5 x 6.14.

† Public Square, New Haven. Over: Pl. IV. Under: J. W. Barber del et Sc. / Public

Square or Green. / in New Haven Con. Line. In color. 2.11 x 4.2.

From "Views in New-Haven and its Vicinity... Drawn and engraved by J. W. Barber" (1825; 5 plates). These plates appear again, without plate numbers, and with other changes in lettering, etc., in "History and Antiquities of New Haven," by Barber (1831). That is, excepting the present print, for which a different plate was substituted in the 1831 book.

Wall Case 32

MAVERICK, SAMUEL:

Appears in the New York City directory, 1805-47, according to Stauffer, first as "copperolate printer" and later as "engraver and copperplate printer."

Maverick, Durand, Smillie, Gimbrede, Hill are names that recall each two or more engravers. Such instances of art "running in the family" were yet more common in eighteenth-century France.

See also "Early Views," no. 184.

† Capture of Burgoyne. Saml Maverick Sc./ Capture of Burgoyne. Line. Stauffer 2269. From "American Military Biography," Philadelphia, 1831.

RAWDON, FREEMAN:

Born 1804; living in 1860. Was member of firms of Rawdon, Clark & Co., Rawdon, Wright & Co., Rawdon, Wright & Hatch, etc., all prominent in bank-note work.

For Balch, Rawdon & Co., see Wall Case 31. Broadway, New York. A. J. Stansbury Rawdon, Clark & Co Sc. / View in Broad Way near Grace Church. Line. Stauffer 2644.

The Bracelet. Thomas S. Cummings N. A. - Rawdon, Wright Hatch & Smillie. / The Bracelet Boston. Published by D. H. Williams. Line. 4.4 x 3.6.

HATCH & SMILLIE:

See also Rawdon, Wright, Hatch & Smillie in this case, George W. Hatch in Wall Case 37, and James Smillie in Wall Case 34.

† Custom House, Wall St. Over: Plate 13th. Under: Drawn by C. Burton - Engraved by Hatch & Smillie / Custom House, Wall St / New York. / New York Bourne Broadway / Entered 1831 by G. Melksham Bourne... Line. 2.11 x 3.5.

† Unitarian Church, Mercer St. Drawn by C. Burton. - Engraved by Hatch & Smillie. / Unitarian Church, Mercer St / New York. / New York Bourne Broadway. / Entered 1831 by G. Melksham Bourne... Line. 2.11 x 3.6.

Printed on same sheet with preceding. DANFORTH, MOSELY ISAAC, 1800-62:

Danforth, apprenticed in 1818 to Asaph Willard of Hartford, struck out for himself in 1821 in New Haven, soon moved to New York, and in 1827 to London where he remained about ten years. Returning to New York, he became interested in bank note engraving, and was a member of Danforth, Bald & Co., Danforth, Wright & Co., Danforth, Underwood & Co., and Danforth, Perkins & Co. The last named was one of the concerns which in 1858 were consolidated into the American Bank Note Co.

Danforth was one of the five engravers who were among the original twenty-four members of the National Academy of Design - a noteworthy proportion.

The proofs here shown form part of the collection of prints by this artist presented to the Library by his son-in-law Dr. Henry M. Dodge in 1927.