Washington Irving. Painted by C. R. Leslie R. A.-Engraved by M. I. Danforth / Washington Irving Esqre/ London. Published July 12th 1831. by Colnaghi, Son & Co. Printsellers to their Majesties. Pall Mall East. Line. Stauffer 445; before all letters. Don Quixote. C. R. Leslie R. A. ** M. J. Danforth Don Quixote. / Printed by Butler & Long. Line. Stauffer 451; before all let ters. A portrait. Girl with parrot. Painted by C. R. Leslie R. A. - Engraved by M. I. Danforth. A Portrait. Line. Stauffer-Fielding 328; before all letters. "Lord Holland's Daughter" in pencil. The three preceding items accentuate the popularity of the genre pictures and literary illustrations by Leslie, the artist of English birth who was for a while in this country and studied under the American artists West and Allston in England. Landing at Jamestown. John G. Chapman, pinxt.-M. I. Danforth, sculpt. / Landing at Jamestown. Engraved for the New York Mirror. Line. India paper. Stauffer 458, without last line of inscription. Business card. Vignette. B. Hudson Jr & Co/ Carpeting & Dry-Goods / Opposite the Post Office hartford [sic! Conn Line. Plate 2.12 x 4.7. [Draped figure of young boy leaning on stone monument.] Vignette. Line. Plate 3.2 x 4.10. Apprenticed to his brother-in-law Thomas Gimbrede. Engraved stipple portraits and plates for annuals, later turned to bank-note work, and was employed by the Treasury Department, Washington, 1869-85. Was a National Academician at a time when engravers were much more apt to win that honor than later. B. C. Cutler. A. Dickinson pinxt — J. F. E. Prud'homme sc. / most affectionately yours/ B C Cutler. Last two lines fac-simile autograph. Stipple. Stauffer 2566. Mrs. Rumpff. New York. Engraved by J. F. E. Prud'homme from an Original Picture in the possession of J. J. Astor. Esqr 1839. Mrs. Rumpff. / (Miss Astor, At The Age of 22) J. S. Taylor, N. York. Stipple. Stauffer 2605, second state; publisher erased. The velvet hat. Jas Inskipp del. — J. F. E. Prudhomme 1839 / The Velvet Hat. / R. A Sibyl. Painted By Dan Huntington Engraved By J. W. Casilear / A Sibyl. / From the original picture — in the possession of the American Art Union — published exclusively for the Members. for the year 1847. (Seal of American Art Union New York 1839) / Entered...1847... Line. 9.14 x 7.14. W. S. Baker, American engravers, Philadelphia, 1875, p. 26. Signed in pencil by both artists. Three female figures. Bank-note vignette. Three seated female figures, one playing on a lyre. J. W. Casilear Del et Sculpt. Line. 2. x 2.12. Casilear was at one time a member of the banknote firm of Tappan, Carpenter, Casilear & Co. + Farmers. Drawing for a bank-note vignette, representing three men harvesting, one mowing with a scythe. Original drawing. 2. x 2.12. The demand for bank-note work proved a potent factor in the technical development of America's line engravers, and in the designing of vignettes for the notes many able artists had a hand. Durand, for example, and F. O. C. Darley. The Library's Print Room has a number of original drawings of banknote vignettes by Durand, and some by Darley. DODSON, RICHARD W., 1812-67: Stauffer tells us that he "made some of the best portraits in the National Portrait Gallery, published by Longacre & Herring." Artists, like other people, have their weak moments. In "Graham's Magazine," Jan., 1843, appeared a group of five "American authoresses," engraved by Dodson. The production, which is topped by a curtain. pole, from which the curtain has been drawn back, aroused the indignation of one of the subjects. Frances Sargent Osgood. She expressed herself in verses beginning: "We've let you draw our faces, sir, Now draw the curtain, too!" The poem was re-issued by the Elzevir Press (Worthington C. and Paul L. Ford), Brooklyn, in 1885, in an edition of ten copies. A little contribution to gaiety in the history of American graphic art. William Henry Harrison. Engraved by R. W. Dodson from an original Portrait by J. R. Lambdin painted for the National Portrait Gallery. / Major Genl. William Henry Harrison W. H. Harrison [fac-sim. signature]. Line. Stauffer 492. CUSHMAN, GEORGE H., 1814-76: Pupil of Asaph Willard. "An admirable lineengraver," says Stauffer, "but chiefly known as a miniature painter of high rank.' Young American on the Alps. Oval in rectangle. Painted by G. P. A. Healy - Eng by G. H. Cushman / Young American on the Alps. Printed by R. Neale. Line. 4.13 x 3.12. DAINTY, JOHN: "Was engraving landscape in a mixed manner, about 1840, in Philadelphia.' - Stauffer. The "mixed manner" in time, in the hands of some engravers, became a hodge-podge of line, stipple, mezzotint, etching, rouletting, and machine-ruling, used to get results that were as quick as they were characterless and dull. The Young Angler. The Young Angler. / Engd & Printed for Godey's Lady's Book by S. Dainty Line. Sky in color. 6.2 x 4.14. Wall Case 34 SMILLIE, JAMES, 1807-85: Born in Scotland, came to Quebec in 1821, and to New York in 1829. Noted particularly for his landscape work, and was one of the engravers who became National Academicians. After 1861 he devoted himself to bank-note engraving. The Library possesses a large collection of his work, donated by his son James David. See also Hatch & Smillie, and Rawdon, Wright, Hatch & Smillie, in Wall Case 32. See also "Early Views," no. 230. Certificate. On the crucifixion of our Saviour and the two Thieves. / 26 lines of text. Engd by J. Smillie Junr - Quebec. March 1823/ Published by W. Gale: Schoolmaster, Hope Street, Quebec. The upper left corner of the print with part of the lettering torn off and the corner filled in with a blank sheet of paper on which the following note appears. "I was six weeks engraving_this plate for which I received ten dollars." Line. 16.7 x 11.7. The Voyage of Life - Youth. Painted by Thomas Cole - Engraved by James Smillie. The Voyage of Life - Youth. From the original painting distributed by the American Art Union. / Published exclusively for the Members of 1849 (Seal of American Art Union of New York 1839) Printed by J. Dalton. Entered...1850... Line. 15.4 x 22.14. This is one of Smillie's four engravings after Cole's series "The Voyage of Life." Even to-day there are occasionally heard faint echoes of the interest and admiration which these paintings aroused in their day. Besides the artistic ability of Cole, who was noted as a landscape painter, the subject of this allegorical series naturally had much to do with its popularity. Dream of Arcadia. Painted by Thomas Cole. - Engraved By James Smillie / Dream of Arcadia. From the original picture belonging to the American Art Union and included in the distribution list 1850 / American Art Union 1850 Printed by W. R. Smith Line. 6.8 x 10.6. These premium plates of the American Art Union must have done much to bring some idea of art to a people hardly emerged from the pioneer stage and groping after the finer things of life. Dover Plains. Painted by A. B. Durand, P.N.A.D.-Engraved by James Smillie / Dover Plains. / Engraved from the original picture in the possession of Daniel Seymour Esqre American Art Union 1850 / Printed by W. E. Smith / Entered...1851 by the American Art Union... Line. 6.14 x 10.7. My own green forest land. A.B. Durand, P.N.A.D.-James Smillie. / "My own green Forest Land." / New York, D. Appleton & Co. Signed in pencil by both painter and engraver, the latter adding the year "1847." In pencil by the engraver's son, James D., "Fitzgreen Halleck's poems." Line. 5.3 x 4.4. Landscape. Oval in rectangle. J. IV. Casilear Pinxt-J. Smillie Sculpt. Signed in pencil by both artists. Below in pencil, by the engraver's son James D., "For the Ladies Repository, Cinn. O." Line. 6.4 x 5. The painting here reproduced is of the period of the "Hudson River School." Samuel Isham refers to the mixture of patriotism and art of the landscape painters of the time in this country, who had a "great personal delight in the American country." The same authority says of Casilear that he shows clearly "the influence of Cole and Durand, and especially his training as an engraver under the latter, in the careful, minute finish of his views of Lake George." Wall Case 35 SARTAIN, JOHN, 1808-97: Born in England, he came in 1830 to Philadelphia, where he died. He was a very busy man, not only in engraving (and he produced many plates) but as a publisher of magazines. He was interested in "Campbell's Foreign Semi-Monthly Magazine" (1843-), the "Eclectic Museum," and "Sartain's Union Magazine" (1849-52). He did many plates for his magazine and for other publications, and a number of large "framing prints," such as the "Marion" here shown. Most of such framing prints in this country were engraved in line. Besides Sartain, Thomas Doney did a few in mezzotint. Gen. Marion in his Swamp Encampment. Painted by John B. White Charleston, S. C. - Engraved by John Sartain / Gen. Marion in his Swamp Encampment inviting a British officer to dinner. / published by the Apollo Association for the Promotion of the Fine Arts in the U. S. / No. 1. 1840. / Entered 1841 by the Apollo Association... Mezzotint. 16.12 x 20.7. John Sartain. On Steel for the Eclectic after an Ambrotype by Henry Sartain Phila /John Sartain (Facsimile autograph). In pencil: "with John Sartain's Compts" Mezzotint. 6.13 x 5.3. Adam Woodcock. Painted by W. Bradley. - Engraved by J. Sartain / Adam Woodcock. / From an Original Picture in the Possession of E. L. Brinley Esqr Mezzotint. 6.6 x 5. magazines, but even in the rush of production (one of his plates is actually said to have been mezzotinted in one night) he managed to prove his able craftsmanship in a number of mezzotints, especially the larger portraits of Gilmor and Lawrence, both after Law rence. Albert Barnes. Painted by J. NeagleEngraved by J. Sartain, Sansom St Phil. Albert Barnes Fac-simile autograph / Pastor of the 1st Presbyterian Church, Philadelphia-Printed by I. Sansom / Pubd Septr 1837 by J. S. Earle. 16 S. 5th St Phila Mezzotint. 9. x 7.8. Common Deer. Over: Pl. 1. Under: Doughty pinxt. - Sartain sc. Common Deer. In pencil "1829." Line engraving. In color. 7.2 x 8.14. Pencil note by D. M. Stauffer: "First line plate made by J. S. in America." Thomas Doughty himself drew animal studies on the lithographic stone one has to live-but presumably he did with most gusto his landscape paintings, the "poetic and silvery tones" of which were noted at the time. Wall Case 36 HALPIN, FREDERICK, 1805-80: Born in England (like not a few even of these later engravers, such as Smillie and Jones); died in the United States in 1880. He came to New York about 1842, and was for a while in the employ of Alfred Jones. Asher B. Durand. Oval in rectangle. Entered...1865 by Sam P. Avery.../ Painted by C. L. Elliott - Engraved by F. Halpin. / Published By Sam P. Avery 694 Broadway New York 1865. India paper. Signed in pencil by both artists. Line. 8.11 x 7.2. Grolier Club, Catalogue of the engraved work of Asher B. Durand, New York, 1895, no. 2. There is a natural subject interest in this print. Moreover, the name of the publisher, Samuel P. Avery, takes us back to the days when that connoisseur and generous patron of the arts, practically the founder of this Library's Prints Division, - was in the picture business. JONES, ALFRED, 1819-1900: Born in England; died in New York. In 1834 he was apprenticed to the firm of Rawdon, Wright, Hatch & Edson, and later studied drawing at the Academy of Design, of which institution he became an Academician. Among his interesting large framing prints are "Farmer's Nooning" (Apollo Associa tion, 1843), after W. S. Mount; "Mexican News" (American Art Union, 1851), after R. C. Woodville; and "Sparking" (1844), after F. W. Edmonds; all three, examples of that contemporary genre painting which busied itself with the life of the American people, and which these engravings brought to a greater audience. William Cullen Bryant. Oval in rectangle. William Cullen Bryant. [fac-simile autograph, / Painted by A. B. Durand / Engraved by Alfred Jones and S. A. Schoff / Published by the Century / Entered 1858, by John Durand On India paper. Signed in pencil by A. B. Durand. Line. 8.14 x 7.2. Baker The Capture of Major André. Painted by A. B. Durand - Figures Engd by Alfred Jones. - Landscape Engd by Smillie & Hin shelwood. The Capture of Major André / From a painting by A. B. Durand in the possession of the Honble. James K. Paulding / Published by the American Art Union exclusively for the members 1845. - Printed by W. E. Smith. / Entered...1846 by the American Art Union.../ In centre: seal of American Art Union Line. 13.5 x 17.12. Baker 3. Unfinished state, with sky in background and faces of all the figures filled in. Proof before all letters. The Apollo Association, and later the American Art Union, issued a number of large "framing prints" as premiums in the Forties and Fifties of the nineteenth century. In these prints the works of American painters such as Mount, Edmonds, Woodville, Ranney, and others were given a wider circulation. These were genre pieces, racy and of the soil, and they were presented by engravers of ability. Besides offering a record of a period of American painting and a representation of the state of steel engraving in the United States at the period, these engravings also constitute valuable documents toward the social history of the American people. It should be noted that there were also an Art Union of Philadelphia and a Western Art Union. The Capitol, Washington. Copyrighted 1898-Alfred Jones Engr. / The Capitol. / Washington, U. S. A. India. Line. 12.2 x 16.12. Baker [12a). Wall Case 37 KNEASS, WILLIAM, 1781-1840: Worked in Philadelphia, in line and in aquatint, and in 1824 succeeded Robert Scot as engraver and die-sinker at the U. S. Mint. Member of firms of Kneass & Delleker and Kneass, Young & Co. Mercury. W. Kneass sc. / Dum brevis esse laboro obscurus sio. / Pub. by Wm. Duane Market Str. Philad. Line. Stauffer 1671. HUMPHRYS, WILLIAM, 1794-1865: Humphrys, we are told, was born in Dublin, learned engraving from George Murray in Philadelphia, went to England after 1823, returning to the United States in 1843, and in 1845 went abroad again, dying in Italy. Israel Putnam. Engraved by W. Humphreys from a sketch by Col. J. Trumbull. P.A.A.F.A. / Major General Israel Putnam. / Israel Putnam [fac-simile signature]. Stipple. Stauffer 1472. From "National Portrait Gallery," 1834. Stauffer says that this Humphreys [note the added e] may be another man, since it is in stipple, and Humphrys worked in line. BANNISTER, JAMES: Born in England; living in New York in the early twentieth century "at a very advanced age." Daniel Sharp. Oval in rectangle. Bannister sc. / Yours Affectionately / Dan Sharp (2 lines, facsimile autograph / Engraved Expressly for the Baptist Memorial Line. 5.14 x 4.4. Thomas Hogg. Vignette. J. Bannister. / Thomas Hogg Facsimile autograph.] / Printed by Wellstood & Peters. Line. 3 x 2.12. The frequent appearance of the printer's name on these engravings of the middle of the nineteenth century is very noticeable. PEASE, JOSEPH IVES, 1809-83: Apprenticed to Oliver Pelton, Hartford; went to Philadelphia in 1835; in 1848 to Stockbridge, Mass. Did much work for annuals, and later devoted himself to bank-note engraving. Rustic Civility. W. Collins Pinxt-J. I. Pease sculpt / Rustic Civility. / Line. 3.5 x 4.7. Mumble the Peg. Oval in rectangle. H. Inman J. I. Pease. / Mumble the Peg. / Printed by Butler & Long. Line. 4.2 x 3.8. Another one of the many engravings in which American customs -in this case a boy's game have been held for us by American painters and translated into black-and-white by American engravers. SCHOFF, STEPHEN ALONZO, 1818-1905: Worked under Oliver Pelton and Joseph Andrews. He could engrave both in the regulation linear way and in a manner of noteworthy freedom (see note to print here shown), and he also produced a number of etched plates reproducing paintings. Much of his life was devoted to bank-note engraving. See also portrait of W. C. Bryant, by Jones and Schoff, in Wall Case 36. Caius Marius on the Ruins of Carthage. J. Vanderlyn Pt-S. A. Schoff Sc / Caius Marius on the Ruins of Carthage. / from / Vanderlyns-Picture / Published by the Apollo Association / exclusively for the members of the year / 1842-J. R. Burton Ptr / Seal of Apollo Association — New York 1839 Proof before all letters. India. Signed in pencil by both artists. Line. 13.2 x 9.14. Stauffer tells us that Schoff did this "with the kind aid of Mr. A. B. Durand," and that he considered this "his best plate." It is interesting to compare this plate, engraved in the regulation, formal manner, with Schoff's "Bathing Boys," after W. M. Hunt. In the latter he varied the line, breaking and twisting it to translate tones, color-values, even brush-marks. This abandonment of the recognized conventions to express textures shows a spirit akin to that of the "new school" of wood engraving of the Eighteen eighties in this country. HATCH, GEORGE W., 1805?-67: Member of firms of Hatch & Smillie (see Wall Case 32) and Rawdon, Wright, Hatch & Smillie (see Wall Case 32), and one of the founders of the American Bank Note Co. Martin Van Buren. Painted by Henry Inman. / Engraved by George W. Hatch. / Martin Van Buren/of New-York. / Secretary of State of the U. S. Line. 3.12 x 2.12. The Devil's Pulpit. Drawn by Neilson. / Engraved by G. W. Hatch the Devil's Pulpit/near Weehawken. Line. 2.11 x 3.13. ARMSTRONG, WILLIAM G.: Born 1823. Was a pupil of J. B. Longacre and was much occupied with bank-note engraving. Colonel Armand Taffin, Marquis de la Rouarie. In uniform and wearing a fur busby. Vignette. Proof before all letters. Line. 4 x 2.12. Floor Case A THE FIRST FOUR SHILLINGS CAST AT THE NEW ENGLAND MINT UNDER THE DIRECTION OF JOHN HULL, MINT MASTER. Being specimens of the earliest known engravings made in the British North American Colonies. Possibly by Joseph Jenckes. 1652?, Showing the "N E" shilling, the "Willow Tree," "Oak Tree" and "Pine Tree" shillings, the three last dated 1652. Stauffer states, I, p. xxi, 140, that Joseph Jenckes was induced to come from Hammersmith to establish the first "foundry and forge" in the American Colonies and in 1652 made the dies for the Pine Tree shilling at the Lynn iron-works. The first coins made in America for the use of the British colonists were issued in pursuance of an act of the General Court of Massachusetts in the session of the 26/27 of May, 1652, in response to the increasing demands of trade, the confusion arising from a lack of standardization of values and the importation of foreign coin, including much that was base and counterfeit. Upon its own responsibility the Massachusetts Court ordered "That a Mint house be Erected at Boston... And all persons whatsoever have liberty to bring into the sayd Mint, all bullion, plate or spanish Coyn, there to be melted and brought to alloy of sterling Money...into twelve penny, six penny and three penny peices [sic] which shall be stamped with a double Ring on either side with this inscription MASSACHUSETS, & a tree in the ceter on the one side, NEW ENGLAND with the year of our Lord, and the figure XII. VI. III. according to the Value of each peice [sic] on the other side, together with a privy mark... [1652.54]". cf. The Book of the General Lavves and Libertyes concerning the inhabitants of the Massachusets... Revised to 1649... Cam bridge, 1660. It is generally conceded that there were two distinct groups of these first coins, (1) The New England, or N E series, without date, (2) the Pine Tree, consisting of the so-called Willow, Oak and Pine Tree varieties, all bearing the same date, 1652, for about thirty years. Priority of issue is not proved by direct evidence and opinions differ as to sequence. S. S. Crosby, in his The Early Coins of America, Boston, 1875, gives a detailed study of the laws, documents, etc., with tables of varieties of the different pieces. See also Memoir and Diaries of John Hull in American Antiquarian Society, Collections, 1857, III, p. [109]-316. Lent by William B. Osgood Field, Esq. MR. RICHARD MATHER. [Attributed to John Foster. Before 1670. Facsimile., 8.2 x 5.14. (In: Samuel A. Green, Ten fac-simile reproductions. Boston, 1903, pl. [1–2).) Earliest known woodcut portrait made in the English colonies. John Foster (1648-1681) was an engraver and first printer at Boston. Stauffer 1009; 1, 87-90. EARLY AMERICAN BOOK PLATE.] Nicholaus Lynde, ter suos Numerat. 1690. 3.4 x 1.1. Two lines within a border of type ornaments. Mutilated. This dated book plate of 1690 is the ninth in order of the known, identified and dated American book plates, the earliest of these being the plate of the Rev. John Cotton, dated 1674. cf. American Antiquarian Society, Proceedings, 1923. n. s. xxxiii, p. 270. [SEAL, OR ARMS OF THE MASSACHUSETTS COLONY. Engraving attributed to John Foster. Facsimile. 2.12 x 2.4. (In: The General Laws And Liberties of the Massachusetts Colony... Cambridge Printed by Samuel Green 1672., verso of title-page. [Reprinted Boston, 1887.1) First known state; with low round trees, stocky Indian, etc. Not in N. Y. P. L. copy of the original 1672 edition of the General Laws. "James Blake in his Annals of Dorchester, Boston 1846, records under the year 1681, the death of John Foster School-master of Dorchester, and he that made the then Seal or Arms of ye Colony, namely an Indian with Bow & Arrow etc.'.... It is known that the origin of the Colonial Seal dates back to the earliest days of the Charter, so that this allusion must be to the engraver, and not to the designer." S. A. Green, Ten fac-simile reproductions, Boston, 1901, p. 9; see also his John Foster, p. 11-12. [SEAL, OR ARMS OF THE MASSACHUSETTS COLONY. Engraving attributed to John Foster. 2.9 x 2.4. (In: Increase Mather, A Brief History Of The VVarr with the Indians in Nevv England... Boston, Printed and Sold by John Foster... 1676, p. 15.) Second state; with tall trees, slender Indian and staff. A later state with noticeable differences in trees, Indians, lettering, etc., is found on "An order for the holding of courts and executive justice. Published the 10th of June 1686." This is page 3 of a volume without title page found in the State Library of New Hampshire which issued this page in facsimile for the purpose of identification. Stauffer 1, p. 88-89. A MAP OF NEW-ENGLAND, BEING THE FIRST THAT EVER WAS HERE CUT AND DONE BY THE BEST PATTERN THAT COULD BE HAD... 12 x 15.5. (In: William Hubbard, A Narrative Of The Troubles With The Indians in New-England... Boston; Printed by John Foster... 1677, frontispiece.) The first map engraved and printed in New England. Credited to John Foster. Known as the "White Hills Map." "The map. was undoubtedly engraved by Foster who printed the book. The evidence to prove this is wholly circumstantial, but all the various clews leading to the proof, point to the same conclusion... There are two editions of the map, one slightly smaller than the other..."-S. A. Green, John Foster, Boston, 1909, p. 15. "With regard to the proper maps belonging to the Boston and London editions respectively, my own opinion fully coincides with that of Joseph Sabin and other booksellers who have had good opportunities for examining different copies of both editions. I know of four copies of the Boston edition which have or did have the 'White Hills' map in its proper place facing page 1, with the original stitching; and I know of a larger number of copies of the London edition containing the 'Wine Hills' map, in similar condition. Most other copies of both editions have been rebound, and either lack the map or have it inserted out of place... Mr. Sabin states clearly that as the mercantile value of the London edition is less than that of the Boston edition, the map is often taken out of the former to insert in the latter." W. Eames in S. A. Green, John Foster, p. 78. Stauffer 1010. A MAP OF NEW-ENGLAND 12.10 x 15.4. (In: William Hubbard, A Narrative Of The Troubles With The Indians in NewEngland... Boston, 1677, frontispiece.) The preceding map, re-engraved for the London edition of the Narrative, inserted in a rebound copy of the original Boston edition. Known as the "Wine Hills Map." PORTRAIT OF HUGH PETERS. Signed: J. F. Sculp. 4.6 x 3.8 (with text). (In: Hugh Peters, A Dying Fathers Last Legacy Boston: Printed by B. Green... 1717, frontispiece.) Hugh Peters was executed at London in 1660; John Foster died in 1681. There was a London edition, not seen, published in 1660 which may have contained a portrait copied in Boston. Though not attributed to Foster it is possible that he made this. †A MAPP OF RARITON RIVER... [Photograph.j 6.13 x 7.15. "Although... [the Bradford print] was long considered to be the earliest map or plan engraved upon copper in this country, it has been relegated to second place by the recent discovery of a map of the Raritan River, engraved nearly forty years earlier. This socalled 'map of the Raritan River,' the first map or plan, indeed the first engraving on copper (of which we have any record) made in America [i.e. English America] was engraved by R. Simson in 1683 from a plot or drawing by John Reid. It is fully described in a paper read by Charles Harper Walsh before the Columbia Historical Society of Washington, on March 21, 1911, and published by the Society in pamphlet form in 1912. But two copies of the map are known; one in the Map Division of the Library of Congress, the other in the collection of the New Jersey Historical Society." — I. N. P. Stokes, The Iconography of Manhattan Island, New York, 1914, v. 1, p. 254. [PORTRAIT OF INCREASE MATHER BY THOMAS EMMES, OF BOSTON. 1701. Facsimile., 5.6 x 3.5. (In: Kenneth B. Murdock, The portraits of Increase Mather... Cleveland, 1924, no. [7.1) The original portrait was published as a frontispiece in Mather's The Blessed Hope, published_at Boston in 1701, and in his Icabod, Boston, 1702. For an account of Emmes and descriptions and states of the plates, cf. Murdock; and Stauffer 1, 78–79. Stauffer 982. THE BULL. 4.12 x 2.13 (?). (In: The Husband-man's Magazine. Boston, 1718.) Early example of book illustration in Boston. The magazine was reprinted from one of the English editions of Profit and pleasure united, or The Husband-man's magazine...By J. S. London, 1684. SIN BROUGHT BEFORE THE JUDGE... 4.7 x 2.10. (In: Richard Bernard, The Isle of Man... The Sixteenth Edition. Boston: Reprinted by J. Franklin... 1719, frontispiece.) Early Boston book illustration. The book was reprinted from an English edition. [THE ROYALL CHARLES. 3 x 2.2. (In: (John Floor Case B THREE "INDENTED BILLS" OF THE MASSACHUSETTS COLONY, dated 1690, 1708, 1710, showing some of the earliest paper money engraved in the English Colonies.] 5.4 x 4 (each). (In: Continental Money Collection.) [1.] Bill of Twenty Shillings... Boston in New-England, February the third 1690... no. 449. [Mss. reproduction.] The earliest paper money engraved in the Colonies. Bearing the seal of the Colony. [2] ... Bill of Twenty Shillings. the Thirty-first... Anno 1710... no. 7821. Bearing the seal of the Crown. Boston May [3.] ...Bill of Fourty [!] Shillings... Boston November the twenty-first Anno 1708... no. 1950. Bearing the seal of the Crown. "The scarcity of metallic money among the early colonists, and the necessary issue of a paper currency |