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 https://archive.org/details/catalogueofengraOOsoci 
 
OF THIS BOOK 
 E HUNDRED AND TWENTY-FIVE COPIES 
 HAVE BEEN PRINTED ON SPECIAL 
 O. W. HAND-MADE PAPER 
 AND TWELVE COPIES ON 
 IMPERIAL JAPAN 
 PAPER 
 
CATALOGUE OF THE 
 ENGRAVINGS 
 ISSUED BY THE 
 SOCIETY OF ICONOPHILES 
 
CATALOGUE 
 
 OF 
 
 THE ENGRAVINGS 
 
 ISSUED BY 
 
 THE SOCIETY OF 
 ICONOPHILES 
 
 OF THE CITY OF NEW YORK 
 
 MDCCCXCIV— MCMVIII 
 COMPILED BY 
 
 RICHARD HOE LAWRENCE 
 
 WITH AN INTRODUCTION BY 
 
 WILLIAM LORING ANDREWS 
 
 NEW YORK 
 ANNO DOMINI MCMVIII 
 
COPYRIGHT, 1908, 
 BY THE SOCIETY OF ICONOPHILES 
 
CONTENTS 
 
 PAGE 
 
 Introduction, by William Loring Andrews - - - 13 
 
 Catalogue of the Engravings with Historical Notes - 23 
 
 Autobiography of Edwin Davis French 69 
 
 List of Members -------- 79 
 
 Index 83 
 
LIST OF ILLUSTRATIONS 
 
 PAGE 
 
 I Certificate of Membership 6 
 
 II The Tombs 25 
 
 I I I Poe's Cottage 33 
 
 IV Portrait of Isaiah Thomas 35 
 
 V Portrait of Washington ----- 39 
 
 VI City Hall, taken from Wall Street - - - 43 
 
 VII Portrait of Joseph Rodman Drake 53 
 
 VIII New York from Brooklyn ----- 55 
 
 IX William Street 59 
 
 X New York in 1775 - 61 
 
INTRODUCTION 
 
 Mrs. Martha J. Lamb, writing in 1876, tells us that "clubs had long been 
 one of the features of New York life, but prior to 1825 they were small and 
 attained no special publicity, nor did they multiply rapidly for another 
 decade." "Notwithstanding," — she continues, — "New York is now the 
 second city in the world (London standing first), in the number and mem- 
 bership of its clubs, there being in operation within the city limits up- 
 wards of one hundred, with a membership in the aggregate of not less than 
 fifty thousand."* This enumeration must have included, we judge, every 
 sort and kind of an organization in the city of a social, civic, commercial, 
 scientific or political character, most of which were of an ephemeral nature, 
 and long since ceased to exist. How short-lived the great majority of 
 them were, is shown by the fact that only three strictly social clubs are 
 now in existence that were established before the civil war; namely, the 
 Union Club, founded in 1836, the Century Association in 1847, an< ^ tne 
 Harmonie Club, organized in 1852. 
 
 The Union League Club — organized as a purely patriotic and political 
 association, but now largely social in character — which is next in longevity 
 to the afore-mentioned was founded in 1863; the University Club in 1865. 
 The last named, however, failed at first to receive the support and en- 
 
 *The first Club house erected on Manhattan Island of which we have a picture is 
 the "Belvedere." A facsimile of the engraving of this building in the New York Maga- 
 zine for August, 1794, forms No. 9, Series V, of the publications of the Society. 
 
 '3 
 
INTRODUCTION 
 
 couragement of the class for whose benefit it was intended, and for a num- 
 ber of years the breath of life was kept in its body corporate by the small 
 group of college graduates who inaugurated the movement. They resolved 
 themselves into the University Dining Club, which is still in existence, or 
 was until quite recently, and thus preserved the organization of the Uni- 
 versity Club as we find it to-day, domiciled in its beautiful building on 
 the corner of Fifty-fourth Street and Fifth Avenue. 
 
 The Grolier Club of New York had the reverse of this experience. 
 Limited at the outset to fifteen members, it at once became apparent that 
 room for an association of this character existed and it speedily outgrew 
 the designs and expectations of its founders, both as to its scope and the 
 limit of membership. The Society of Iconophiles in its humbler and nar- 
 rower sphere has encountered similar good fortune. It originated in what 
 was felt at the time by some, at least, of its founders to be a passing fancy 
 that in a year or so would exhaust itself, and the gift of continuance that 
 the Society has displayed has been to these "doubting Thomases" a source 
 of wonderment as well as of gratification. Fifteen years have now passed 
 over its head; it has outgrown its experimental stage, and the interest of 
 its members, and of a (necessarily limited) portion of the community in 
 its work, appears still to be unabated. 
 
 To fix with aforethought the proper time and season in which to in- 
 augurate a movement of this character is a sign of good judgment; to stum- 
 ble upon it unwittingly, as apparently did the founders of both the Grolier 
 Club and the Society of Iconophiles, may be regarded as a stroke of blind 
 good fortune. 
 
 In the year 1893, Mr. Edwin Davis French, whose occupation for nearly 
 a quarter of a century previously, had been that of an engraver upon silver, 
 and who was for many years in charge of the engraving department of the 
 Whiting Company, turned his attention to the designing and engraving of 
 book-plates, which had then just begun to acquire popularity and to become 
 a fad, not only among book-collectors but with many who made slight or 
 no pretentions to that title. 
 
 The following year Mr. French was commissioned by the newly fledged 
 Society of Iconophiles to draw and engrave on copper, a series of views of 
 
 14 
 
INTRODUCTION 
 
 buildings of interest in the city of New York, before the rapid march of im- 
 provement should sweep away these few remaining relics of the olden time.* 
 It was a modest attempt to imitate the publications of Bourne and Pea- 
 body, issued in the early part of the last century, which are now so highly 
 prized by all lovers and collectors of pictures of old New York, for the 
 beauty of the engravings as well as for their historic interest. 
 
 The production of this series of views was all that was contemplated 
 by the writer when, one mid-winter's day, he journeyed to Wall Street and 
 submitted the project he had in mind to a few of his bibliomaniacal friends 
 whom he chanced to meet; but he found that he had under-estimated their 
 civic love and pride, and failed to fitly measure the strength of their print- 
 collecting proclivities. They one and all heartily seconded his proposal, and 
 the outcome was the formation of The Society of Iconophiles, an associa- 
 tion which probably may claim the doubtful distinction of having the 
 most limited membership of any book or print club now in existence in 
 this city. The Bradford Club, however, which flourished for a few years 
 in the middle of the last century, was a still closer corporation, only five 
 names being inscribed upon its roll of members.f 
 
 Mindful of the Dutch origin of their city, the Iconophiles adopted for 
 the seal of their society, at the suggestion of the late Mr. Edwin B. Holden, 
 a windmill with the legend Gott schut^e die Marke. This seal appears upon 
 the covers or wrappers of all the Society's publications except the Pennell 
 lithographs, until 1906, when Mr. Sidney L. Smith engraved a new seal, 
 which was also designed by Mr. Holden. 
 
 The motto of the Society, Pro Urbis Amore, was suggested by Mr. 
 Beverly Chew. It was not adopted until 1 901, and was first used upon the 
 certificate of membership designed and engraved by Mr. French. 
 
 The six original members of the Society were, in alphabetical order, 
 William L. Andrews, Edward H. Bierstadt, Beverly Chew, Edwin B. Hol- 
 
 *Four of these buildings have already disappeared. 
 
 fThe five members of the Bradford Club were J. Carson Brevoort, Wm. Menzies, 
 Charles Congden, John B. Moreau and Charles C. Moreau. Only eight books were pub- 
 lished by it, the editions limited to 125 copies, 75 for subscribers and 50 Club copies for 
 private distribution only and not to be sold. 
 
 '5 
 
INTRODUCTION 
 
 den, Richard H. Lawrence and Marshall C. LefTerts. To these were added 
 subsequently: Samuel P. Avery, Charles B. Foote, William F. Havemeyer 
 and J. Harsen Purdy. 
 
 This completed the active membership of the Society, the limit of 
 which has never been extended despite the efforts of some of its members 
 from time to time to have the number increased. 
 
 This little circle remained unbroken for less than three years. The 
 first to pass out from it into that far country from which no traveller re- 
 turns, was Edward Hale Bierstadt, one of the most active and interested 
 of its members, who died December 19, 1896.* 
 
 On September 20, 1900, the necrology of the Society was still further 
 lengthened by the death of the ardent collector of first editions of English 
 and American authors, Charles B. Foote,f (to whom Edmund Gosse dedi- 
 cated his Gossip in a Library published in 1892), and on August 11, 1904, 
 by the demise of Mr. Samuel P. Avery, the eldest, but one of the most active 
 and helpful of its members, as it was ever his wont to be in the many public 
 institutions of the city with which he was connected during his long and 
 useful life, and to which he contributed unstintedly of his time and means. 
 
 Messrs. Junius S. Morgan, Tracy Dows and R. T. H. Halsey were elected 
 to fill these vacancies as they severally occurred. 
 
 On June 8, 1906, Mr. Edwin B. Holden, one of the six original members 
 of the Society, died at his residence on Riverside Drive. No member of 
 the Society had its interests more at heart or devoted more time or atten- 
 
 *Mr. Bierstadt was one of the most patient and painstaking of bibliographers. The 
 preparation of the Bibliography of English Literature in four volumes (1893-1905), prob- 
 ably involved more labor and study than any other of the publications of the Grolier 
 Club. The Committee first placed in. charge of this work was composed of Messrs. 
 Lefferts, Chew, Bierstadt and Pierson, and most of the proofs of the first volume (all 
 that was completed before Mr. Bierstadt's death) were read and corrected by Mr. Bier- 
 stadt, while a large proportion of the three subsequent volumes was the result of his 
 labors. 
 
 •fMr. Foote enjoyed the friendship of, and corresponded with, a number of literary 
 men here and in England. E. C. Stedman and Lawrence Hutton, Edmund Gosse and 
 Austin Dobson among them. To Mr. Foote and Mr. Beverly Chew jointly Mr. Hutton 
 dedicated his book entitled From the Books of Lawrence Hutton. 
 
 16 
 
INTRODUCTION 
 
 tion to the furtherance of the objects it had in view than Mr. Holden; but 
 more to be treasured is our remembrance of him as a friend and companion. 
 As characteristic of the man, his brother Iconophiles sadly recall the fact 
 that the annual meeting of the Society for the year 1906 was to have been 
 held, by invitation, at his home, but finding at the last moment that his 
 health would not permit him to carry out this intention, he still insisted 
 upon being our host by proxy at the Players Club. 
 
 The vacancy caused by Mr. Holden's death was filled by the election 
 of Mr. Charles A. Munn. 
 
 The fifty to seventy-five impressions of the Society's publications 
 printed in excess of the number allotted to members were, until 1905, dis- 
 posed of through the booksellers, Messrs. J. O. Wright & Co. and Dodd 
 Mead & Co., but in April of that year it was considered advisable, in order 
 to secure a more direct and economical distribution of the edition, to add 
 to the ten active members fifty subscribing or associate members, and the 
 following circular was issued in the month of May: 
 
 The Society of Iconophiles, having completed the first decade of 
 its existence, has decided to inaugurate a new method of distributing its 
 publications. 
 
 The Society has already published the following prints: 
 
 Series I Views in New York: 
 
 Twelve engravings on copper by E. D. French. 
 
 Series II Picturesque New York: 
 
 Twelve lithographs by C. F. W. Mielatz. 
 
 Series III Printers and Engravers: 
 
 Six Portraits engraved on copper by F. S. King. 
 
 Series IV Men and Events connected with New York: 
 
 Six portraits and views engraved on copper by F. S. King. 
 
 Series V Facsimiles of early engraved views of New York: 
 
 The prints re-engraved on copper by S. L. Smith. 
 
 Series VI Early New York Authors: 
 
 Portraits engraved on copper by F. S. King. 
 
 Series VII Views of New York on Staffordshire Pottery: 
 Engraved in aquatint by C. F. W. Mielatz. 
 
 >7 
 
INTRODUCTION 
 
 The next series will be a set of twelve lithographs by Joseph Pennell, 
 in which he gives his impressions of recent architectural developments in 
 New York. 
 
 It is the intention of the Society to continue the issue of engraved por- 
 traits and views connected with the history of New York, though a depar- 
 ture from subjects having a strictly local interest may sometimes be made. 
 
 The publications of the Society have hitherto been disposed of through 
 dealers. It is now proposed to change the plan of distribution on the lines 
 given below: 
 
 The Active Membership of the Society shall continue as at present. 
 In it shall rest the sole proprietorship in the assets of the Society, and it 
 alone shall be liable for all debts or obligations contracted by the Society. 
 
 The Active Members shall continue to have the same management 
 of the Society and privileges as heretofore. 
 
 There shall be fifty Associate or Subscribing Members, chosen by the 
 Active Members, who shall pay to the Society an enrollment fee of ten 
 dollars each. There shall be no annual dues. 
 
 Associate Members shall have the privilege of subscribing to one copy 
 of each publication, at a price to be fixed as near cost as circumstance may 
 warrant. 
 
 The failure of an Associate Member to subscribe to a publication of the 
 Society may be construed as a resignation from the Associate Membership. 
 
 The publications of the Society will, as a rule, be limited to seventy- 
 five copies. 
 
 The first series of prints issued under this new arrangement were the 
 12 lithographs by Joseph Pennell of the towering buildings in the city 
 commonly called "skyscrapers." 
 
 The fifty Associate or Subscribing members were quickly secured. A 
 few changes have occurred among them since the membership was formed, 
 but the roll is now full and is supplemented by a waiting list, all of which 
 is satisfactory evidence that there are a sufficient number of New York 
 Antiquarians and Collectors ready to support the Society in the carrying 
 out of the object for which it was formed, namely the issue from time to 
 
 18 
 
INTRODUCTION 
 
 time of prints illustrating old and modern New York, and the encourage- 
 ment of the fast declining art of pure hand engraving. 
 
 In the fifteen years of its existence the Society has published seventy- 
 eight engravings and the following books: 
 
 Washington's Reception by the Ladies of Trenton together with the 
 Chorus sung as he passed under the triumphal arch raised on the Bridge 
 over the Assunpink [or Assanpinck] April 21, 1789. New York, 1903, 
 quarto. 104 copies printed. 
 
 An Index to the Illustrations in the Manuals of the Corporation of the 
 City of New York, 1841-1870. New York 1906, Octavo. 250 copies 
 printed. 
 
 In these two instances only, and in the present publication, has the 
 Society wandered away from its own particular field. It is a Society for 
 publishing prints, not books, and its members believe in the wisdom of the 
 old saying, "Let every shoemaker stick to his last." 
 
 None of the issues of the Society, except one lettered impression and 
 the trial proofs of each engraving remains in its possession. 
 
 The Society of Iconophiles has always been an harmonious body of 
 men. Few and unimportant are the differences of opinion that have arisen 
 among them, and the Society has never changed the occupants of its official 
 positions of which there exist but two: that of President, and the dual one 
 of Secretary and Treasurer. It has no rent or salaries to pay, and the an- 
 nual meeting, the only regular one it holds, has generally been called to 
 order around the hospitable board of one or another of its members, a pleas- 
 ant prandial custom which has been found to be an effective way in which 
 to secure a full attendance of the members, and to revive and stimulate 
 their interest in the work of the Society. 
 
 To say that love of home is one of the strongest of human passions is 
 to utter a very trite remark. Even the fugitive from justice, with a price 
 set upon his head, cannot always resist its influence and stealthily returns 
 to his old surroundings at the risk of his liberty, perchance his life. Home- 
 sickness is a mental ailment that has been prevalent since the dawn of 
 
 19 
 
INTRODUCTION 
 
 creation, and men of every age and clime join in the plaint of Goldsmith's 
 Traveller: 
 
 "Where 'er I roam whatever lands to see 
 My heart untravell'd fondly turns to thee 
 Still to my brother turns, with ceaseless pain, 
 And drags at each remove a lengthening chain." 
 
 Hammerfest in Norway is the most northerly civilized town on the 
 face of the earth. For one half the year darkness, snow, hail and bitter 
 cold are the portion of its inhabitants, and yet they tell us of one of their 
 number who wandered far away, and for two years sojourned in milder 
 climes. Then he returned and told his old friends and neighbors that 
 Hammerfest was good enough for him. 
 
 The happiest hour in the experience of every normally constituted 
 Knickerbocker traveller, is the one that strikes, as the brave ship which 
 bears him homeward ploughs the waters of his own beautiful lower bay and 
 lays its course for the "Narrows" through which Henry Hudson piloted 
 the "Half Moon" three centuries ago. Glad as he may have been months 
 before to turn his face towards the open sea, and much as he may have seen 
 and enjoyed in his wanderings over the earth, he is only too willing to ad- 
 mit that the home-coming is the best and sweetest part of his journey. It 
 is worth while to go away from home just to know the delight of coming 
 back. 
 
 The love and longing for one's own city, town or village being so pre- 
 valent a sentiment, it is safe to conclude that in this great city of New York 
 there will always be found support and encouragement for a Society, which, 
 like that of the I conophiles, endeavors to preserve, for the benefit of future 
 generations, a pictorial record of the shifting scenes that its streets and 
 buildings present to the observer as the rolling years pass by. 
 
 The artists who, in addition to Mr. French, have given the Society the 
 benefit of their genius, taste and talent are: 
 
 Joseph Pennell Sidney L. Smith 
 
 C. F. W. Mielatz Francis S. King 
 
 Walter M. Aikman 
 20 
 
INTRODUCTION 
 
 A few years before his death the late Mr. French prepared, at the re- 
 quest of the Society, an account of his life and work. As the first of our 
 designers and engravers, and in testimony of our regard for him not only as 
 an artist of marked ability in his chosen field, but also as a man of a refined 
 and gentle personality with whom it was a pleasure to come in contact, 
 this autobiography is printed herewith. 
 
 William Loring Andrews. 
 
 2! 
 
CATALOGUE OF THE 
 ENGRAVINGS 
 
 WITH 
 HISTORICAL NOTES 
 
TDK HALLS 
 
 < " TH t 2fc 
 
 OF JUSTICE 
 rOMBC." ' 
 
 FIRST SERIES 
 
 VIEWS OF NEW YORK 
 Twelve engravings on copper by Edwin D. French. 
 
 Edition: 101 impressions on Japan Paper, n of which are proofs before 
 letter signed by the engraver. Each print is enclosed in a wrapper 
 which bears the Society's imprint and seal and a brief description of the 
 subject. Published in 1895. 
 
 SUBJECTS 
 
 1 St. Paul's Chapel. 1895 
 
 2 Interior of St. Paul's Chapel (View of Chancel). 
 
 3 Fraunces' Tavern. 
 
 4 The Roger Morris House. 
 
 5 Hamilton Grange. 
 
 6 St. Mark's Church. 
 
 7 City Hall. 
 
 8 The Halls of Justice ("The Tombs"). 
 
 25 
 
THE SOCIETY OF ICONOPHILES 
 
 SUBJECTS— CONTINUED 
 
 9 National Academy of Design. 
 
 10 St. John's Chapel, Varick Street. 
 
 1 1 The Murray Hill Distributing Reservoir. 
 
 12 Bowling Green. 
 
 NOTES 
 
 1 St. Paul's Chapel. The oldest church edifice now standing in the 
 city of New York, and the pride and wonder of the city in its day. The 
 foundation stone was laid on May 14, 1764, and the building opened and 
 dedicated with elaborate religious and civil ceremonies on October 30, 
 1766. The building faced the Hudson River, which then came up to the 
 present Greenwich Street, and commanded an uninterrupted view of the 
 Jersey shore. The steeple was not added until 1794. The architect, Mr. 
 McBean, is said to have been a pupil of James Gibbs, the architect of "St. 
 Martin's-in-the-Fields," one of London's fine churches, and an edifice which 
 St. Paul's much resembles in the interior. 
 
 2 The Chancel of St. Paul's. At the opening ceremonies of St. Paul's 
 Chapel the sermon was preached by the Rev. Dr. Samuel Auchmuty, Rector 
 of Trinity Church, and Chaplain to the Right Hon. William, Earl of Sterling. 
 When the city was occupied by the British, St. Paul's was re-opened on 
 September 22, 1776, and a sermon was preached by the Rev. Thomas L. 
 O'Beirne, Chaplain to Admiral Lord Howe. In 1789 George Washington 
 attended a service after his inauguration as first President of the United 
 States, and in his diary for 1789 and 1790, as regularly almost as Sunday 
 comes round, is the entry, "Went to St. Paul's Chapel in the forenoon." 
 The pew set apart for his use was next the north wall, midway between 
 the chancel and the vestry room. In 1 8 1 8 the remains of General Mont- 
 gomery, killed at Quebec in 1775, were removed to New York and buried 
 beneath the mural monument which stands outside under the chancel win- 
 dow. This monument had been erected to his memory in 1787, in accord- 
 
 26 
 
CATALOGUE OF THE ENGRAVINGS — FIRST SERIES 
 
 ance with an Act of Congress passed in 1776. It was made in France from 
 designs by Caffieri, under the direction of Benjamin Franklin, and shipped 
 to New York, during the Revolution, by way of North Carolina to avoid 
 capture by the British. In a letter to Robert R. Livingston, dated Passy, 
 August 12, 1782, Franklin makes the following reference to this monu- 
 ment: "... this puts me in mind of a monument I got made here, by 
 order of Congress five years since. I heard of its arrival and nothing more. 
 It was admired here for its elegant antique simplicity of design, and its 
 various beautiful marbles." 
 
 In 1873-74 repairs were made in the interior of the Church, consisting of 
 new pews, stained-glass windows, new chandeliers and wall decorations. 
 In 1879 the old pulpit was removed from the head of the centre aisle to the 
 north side of the choir. The sounding-board over the pulpit is said to be 
 the only pre-Revolutionary relic still in its original place in the City of New 
 York: "when the patriots went through the city, destroying everything 
 which symbolized our allegiance to the mother country, the coat-of-arms 
 of the Prince of Wales, on the summit of this board, escaped their notice 
 and here it has remained until the present time." 
 
 3 Fraunces' Tavern. Until its recent ' restoration ' this building, at 
 the corner of Broad and Pearl Streets, was one of the oldest in New York. 
 It was built by Stephen De Lancey, who purchased the land on which it 
 stands in 1700. In 1762 it passed by deed to Samuel Fraunces, a native of 
 the West Indies, who here opened a tavern called the "Queen's Head." 
 In 1765 Fraunces retired from the enterprise and was succeeded by John 
 Jones who also withdrew, in the following year, and was succeeded by 
 Bolton & Sigell, who advertised in Holt's New York Journal of January 
 15, 1767, that "they propose to open, on Monday next, a Tavern and 
 Coffee House at the House of Mr. Samuel Frances near the exchange. . . . 
 where gentlemen may depend upon receiving the best of usage." In 1770 
 Fraunces again took possession, and it was under his management that the 
 house, under the title of "Fraunces' Tavern," acquired its celebrity. The 
 Chamber of Commerce was organized in the Long Room of this tavern in 
 1768. This room was also the scene, on December 4, 1783, of one of the 
 
 27 
 
THE SOCIETY OF ICONOPHILES 
 
 most memorable occurrences in the War of the Revolution — Washington's 
 farewell to his brother officers. In 1904 the building was purchased by the 
 Sons of the Revolution, and in 1906 its restoration, or rather complete 
 reconstruction, was begun and completed in 1907 at a cost of $60,000. It 
 is now used as the headquarters of the Society. 
 
 4 The Roger Morris House, or Jumel Mansion. This house was 
 built about one hundred and fifty years ago by Colonel Roger Morris for 
 his bride, the beautiful Mary Philipse. On the keystone of an arch in the 
 main hall is carved the date of its completion, 1758. Twenty years later 
 the house was Washington's headquarters, and after the capture of the 
 island by the British, it was occupied by the Hessian general, Knuyphausen. 
 The property was sold in 1783 under the Act of Attainder passed in 1779 
 by the Legislature of the State of New York. After several changes of 
 ownership the house became the property of Stephen Jumel, a French 
 merchant, by whom it was devised to his widow, the famous woman whom 
 Aaron Burr married in his old age. 
 
 It stands on a commanding eminence at St. Nicholas Avenue and One Hun- 
 dred and Sixtieth Street, a beautiful specimen of Colonial architecture. In 
 1903 the house was acquired by the City of New York, and full custody of 
 the old building was given to the Daughters of the American Revolution, 
 who formally opened it on May 28, 1907. 
 
 5 Hamilton Grange. Built in 1801 by Alexander Hamilton, who oc- 
 cupied it as a country seat up to the time of his death, on July 12, 1804. In 
 front of it stood a group of thirteen gum trees, which were planted by Ham- 
 ilton as symbolical of the thirteen States. The house was moved in 1889 
 from its original location at One Hundred and Forty-second Street and the 
 old Kingsbridge Road to One Hundred and Forty-first Street and Convent 
 Avenue, and is now used as the parish school of St. Luke's Church. The 
 exterior remains unchanged and though many repairs have been made in 
 the interior, the woodwork and contour of the rooms remain the same. 
 
 6 St. Mark's Church in the Bowery. Standing on the north-west 
 corner of Tenth Street and Second Avenue, on the site of the private chapel 
 
 28 
 
CATALOGUE OF THE ENGRAVINGS— FIRST SERIES 
 
 built by Governor Stuyvesant, and in which his body was interred. On 
 the outer eastern wall is a tablet inscribed: "In this vault lies buried 
 Petrus Stuyvesant late Captain General and Governor in Chief of Amster- 
 dam in New Netherland now called New-York, and the Dutch West-India 
 Islands died Feby A. D. 1672 aged 80 years." The ground was donated 
 to the Episcopal Church in 1793, by Peter Gerard Stuyvesant, a great 
 grandson of the Governor. The corner-stone of the present edifice was 
 laid April 25, 1795, and the building was opened for worship on May 9, 
 1799. The steeple was built in 1829; the portico, extending across the 
 entire front, was not added until 1858. Next to St. Paul's Chapel this 
 is the oldest church edifice in the city. The building seen in the distance 
 was erected, and is still occupied, by the New York Historical Society. 
 
 7 City Hall. The foundation-stone of this building was laid on May 
 26, 1803, during the Mayoralty of Edward Livingston, and the building 
 was completed in 181 2 at a cost of half a million of dollars. At the time 
 of its erection it was, without doubt, the finest edifice in the United States, 
 and it still remains, after the lapse of nearly a century, one of the most 
 chaste and pleasing examples of municipal architecture in the city. The 
 prize of $350 offered by the Aldermen was won by designs submitted in the 
 name of John McComb and his appointment as architect followed, but 
 there is evidence to show that credit for the designs does not belong entirely 
 to him. McComb in his diary refers to a communication in the Evening 
 Post "about the manner Mr. Mangin was treated in not having his name 
 published as the principal architect." The communication referred to was 
 a letter signed "Justice," in the Evening Post for June 4, 1803, with the 
 following editorial introduction: "It is with extreme regret that we have 
 to record a transaction so illiberal as the one which forms the subject of 
 the following communication. We should have given it a place sooner 
 but we wished first to make some inquiries into the correctness of the facts, 
 and we should now have suppressed it, had we not satisfactory reasons to 
 believe it is founded in too much truth." Joseph F. Mangin, "the real 
 author of the plan of the New City Hall," as he is called by "Justice," was a 
 French architect and for many years one of the City Surveyors. The un- 
 
 29 
 
THE SOCIETY OF ICONOPHILES 
 
 published diary of John McComb, preserved in the New York Historical 
 Society, shows that he was an able administrator. From it we learn that 
 the original plans called for brownstone and that a quarry of that material 
 was leased by the city at Newark. It was McComb's desire, however, to use 
 marble, and his arguments were finally effective in securing the use of 
 "white stone," as he calls it, for the front and two ends. A contract was 
 made with the owners of a quarry at West Stockbridge, Massachusetts, and 
 the marble was drawn across New York State to the Hudson River. All told, 
 there were 35,271 cubic feet of marble used at a cost of $1.06 per cubic foot 
 delivered. 
 
 8 The Tombs or City Prison on Centre Street. The site of this 
 building was formerly a fresh-water pond, known as the Collect. In 1805 
 the Common Council ordered that this pond be drained and filled in with 
 clean earth. The prison, which was a good example of Egyptian architec- 
 ture, was finished in 1838; some of the stone used in its construction came 
 from the old Bridewell in the City Hall Park. The Tombs was taken down 
 in 1897 t0 ma ke way for the present structure. 
 
 9 Academy of Design. The National Academy of Design was founded 
 in 1826, and chartered in 1828. It was the first institution in the country 
 established under the exclusive control and management of professional ar- 
 tists, to whom alone, it was contended, could Art and its general dissem- 
 ination be properly entrusted. The building here represented stood on the 
 northwest corner of Fourth Avenue and Twenty-third Street. It was be- 
 gun in 1863, the corner-stone being laid with appropriate and imposing 
 ceremonies on October 21st of that year. The architect was P. B. Wight, 
 who took as his model the Doge's Palace in Venice. This building was 
 taken down in 1899. 
 
 10 St. John's Chapel, Varick Street. Built by Trinity Parish be- 
 tween 1803 and 1807 in a region then just becoming fashionable. It fronted 
 a park known as Hudson Square, later as St. John's Park. Watson in his 
 Annals of New York, writing in 1843, says: " Hudson's Square is a beautiful 
 
 30 
 
CATALOGUE OF THE ENGRAVINGS — FIRST SERIES 
 
 embellishment of New York, redeemed from a former waste The 
 
 large growth of the trees and the abundance of grateful shade make it, in 
 connection with the superiority of the uniform houses which surround it, 
 a place of imposing grandieur." This park was sold in 1869 to the New 
 York Central and Hudson River Railroad Co., and the church is now sur- 
 rounded by tenements and factories. 
 
 11 Murray Hill Reservoir. In the olden time the people of New York 
 obtained their water from private wells and were abundantly supplied, 
 for Manhattan Island abounded liberally in springs and water courses. In 
 time, however, this source of supply became inadequate, and as early as 
 1776 a reservoir was completed by Christopher Colles on the east side of 
 Broadway between the present Pearl and White Streets, into which water 
 was to have been pumped from wells and distributed through wooden pipes, 
 but the Revolution put an end to the scheme. Water from the Croton 
 watershed was introduced into the city in 1842, when this distributing res- 
 ervoir on Murray Hill, on the West side of Fifth Avenue between Fortieth 
 and Forty-second Streets, was completed. The water was first let into this 
 reservoir on July 4th, amid the greatest enthusiasm, and with an imposing 
 military and civic procession. The structure was of dark granite, forty-four 
 feet in height, and held 21,000,000 gallons. It was demolished in 1901, to 
 be replaced by the New York Public Library. 
 
 12 Bowling Green. Laid out in 1732. In March of that year the City 
 Fathers "Resolved that this corporation will lease a piece of land lying at the 
 lower end of Broadway, fronting to the Fort, to some of the inhabitants of 
 the said Broadway, in order to be enclosed to make a Bowling-Green thereof, 
 with walks therein, for the beauty and ornament of the said street, as well as 
 for the recreation and delight of the inhabitants of the city, leaving the 
 Street on each side thereof 50 ft. in breadth." 
 
 In 1 77 1 it was ordered: "Whereas the General Assembly of this Province 
 have been at the great expense of sending for an equestrian statue of his 
 present majesty and erected the same on the Bowling Green, before his 
 majesty's fort in this city, and this Board, conceiving that unless the said 
 
 3' 
 
THE SOCIETY OF ICONOPHILES 
 
 Green be fenced in, the same will very soon become a receptacle for all the 
 filth and dirt of the neighborhood, in order to prevent which, it is ordered 
 that the same be fenced with iron rails, in a stone foundation." This fence 
 still surrounds the Green; the crowns which originally ornamented the tops 
 of the pillars were broken off when the statue of George 1 1 1 was demolished. 
 The buildings represented in the engraving were originally private residences, 
 standing on the site of the Government House. As they were built and oc- 
 cupied by wealthy and distinguished families they were known by the pop- 
 ular name of "Quality Row." Afterwards, from their occupancy, they 
 were known as "Steamship Row," and were demolished in 1900 to make 
 way for the new Custom House. 
 
 32 
 
SECOND SERIES 
 
 PICTURESQUE NEW YORK 
 Twelve lithographs by Charles F. W. Mielatz. 
 
 Edition: 103 impressions, 11 of which are signed by the artist. Each 
 print is enclosed in a wrapper which bears the Society's imprint and 
 seal. Published in 1898. 
 
 SUBJECTS 
 
 1 The Battery and Castle Garden. 
 
 2 Morningside Park and St. Luke's Hospital. 
 
 3 The Aaron Burr House, No. 1 1 Reade Street. 
 
 4 Clinton Hall, from a sketch made in 1889. 
 
 5 High Bridge. 
 
 6 On the Harlem River at High Bridge. 
 
 33 
 
THE SOCIETY OF ICONOPHILES 
 
 SUBJ ECTS— CONT INUED 
 
 7 South Street, from Coenties Slip. 
 
 8 Oyster Market, near Christopher Street. 
 
 9 Dutch Reformed Church, Kingsbridge Road. 
 
 10 " Five Points." 
 
 1 1 The Poe Cottage, Fordham. 
 
 12 Old Mill, Van Cortlandt Park. 
 
 NOTES 
 
 3 No. 1 1 Reade Street. Aaron Burr had a law office in this build- 
 ing in 1832. It stood in close proximity to the site of the Manhattan Water- 
 works which Burr was active in promoting. The house was taken down in 
 1899 to make way for the new Hall of Records. 
 
 4 Clinton Hall. The building here represented was the old Astor 
 Place Opera House which was remodelled in 1854 for the Mercantile Li- 
 brary. In 1890 it was taken down and in its place was built the present 
 Clinton Hall. 
 
 9 Dutch Reformed Church. Fordham Manor Reformed Church was 
 organized May, 1696; the first church was erected in 1706; the present church, 
 represented in the lithograph, was erected in 1849. It was in the Valentine 
 family vault, in the graveyard of this church, that the body of Virginia Poe, 
 the poet's wife, was laid, and where it remained for many years until it was 
 removed to Baltimore to rest beside Poe's body. 
 
 10 "Five Points." From a sketch made by Mr. Mielatz in February, 
 1884. 
 
 1 1 Poe's Cottage. This cottage was occupied by Edgar Allan Poe from 
 1846 to 1849. ^ st iN stands at the corner of One Hundred and Ninety- 
 fifth Street and Kingsbridge Road, but was moved back from its original 
 site about 25 feet when Kingsbridge Road was widened. It was probably 
 erected toward the end of the eighteenth century. 
 
 34 
 
THIRD SERIES 
 
 EARLY AMERICAN PRINTERS AND ENGRAVERS 
 Six portraits in ornamental borders, engraved on copper by Francis S. King. 
 
 Edition: 132 impressions printed on India paper, laid down, 11 of which 
 are proofs signed by the engraver. The prints in this series are not 
 enclosed in wrappers. Published in 1 897-1 901. Below will be found 
 descriptions of the ornamental borders in Mr. King's own words. 
 
 SUBJECTS 
 
 1 Hugh Gaine, Printer and Bookseller. 
 
 2 Isaiah Thomas, Esq., Printer, Worcester, Massachusetts. 
 
 3 Paul Revere. 
 
 4 Alexander Anderson. The first engraver on wood in 
 
 America. 
 
 5 James Rivington, Printer and Bookseller. 
 
 6 Amos Doolittle, Engraver of the Battles of Lexing- 
 
 ton and Concord. 
 
 35 
 
THE SOCIETY OF ICONOPHILES 
 NOTES 
 
 1 Hugh Gaine. "There is so much in this plate that I scarcely know 
 where to begin. The 'Tree of knowledge' appears growing out of the 
 barren and stony soil of Gaine's period and the root springing from a skull 
 suggests life out of death. The serpent suggests wisdom. In the back- 
 ground is New York. Gaine was proprietor of 'The New York Mercury,' 
 and his sign was a Bible and a crown, which are shown in the panel at 
 the top to left, together with an old hand press and two inking balls. 
 The singing bird suggests the springtime, and the general awakening of 
 his profession. The harp his Irish origin. The female figure is holding his 
 most important publication, the Journal of the Votes and Proceedings of the 
 General Assembly. This plate is engraved entirely with the graver, and 
 printed from a clean-wiped plate." The portrait is after a painting in the 
 possession of E. H. Butler, Esq., of Philadelphia. 
 
 2 Isaiah Thomas. "An architectural design. At the top, in the center, 
 appears his bookplate to which I have added more ornament, bearing his 
 motto: Nec Elatus Nec Dejectus. On the left is a figure holding an old 
 Roman lamp, symbolizing the antiquarian; opposite is a figure holding ink- 
 ing pads and symbolizing printing. Below on the left is a bust of Guten- 
 berg; on the right one of Franklin, their names appearing on ribbons above. 
 The design throughout is ornamented with festoons of ribbons and fruit; 
 a ram's head is beneath the portrait. Below is a collection of antique art 
 objects recalling his interest in the subject. It is a line engraving 
 throughout except the portrait which is engraved by picking with the 
 graver to imitate a delicate lead-pencil drawing. It will be interesting to 
 compare the treatment of this portrait with that of Rivington." The 
 portrait is from a painting by Gilbert Stuart. In the inner part of the 
 frame enclosing the portrait, to the right, is the following inscription in 
 minute letters: dedicated to e. b. holden, esq., by engraver. 
 
 3 Paul Revere. "The idea of this design was suggested by an Eng- 
 lish marble. The buds and stems are those of a species of New England 
 
 36 
 
CATALOGUE OF THE ENGRAVINGS— THIRD SERIES 
 
 water lily. On the top is an American Eagle bearing a ribbon on which is 
 Revere's motto: Pugna Pro P atria. In the right upper corner are the signal 
 lanterns; on the left bits and spurs, suggesting the ride. In the lower left- 
 hand corner are a bell, crucibles, etc., referring to his occupation as a bell 
 and general metal founder. Under the portrait to the right are the im- 
 plements of his profession as an artist. The plate is engraved through- 
 out with a tool such as is shown resting on a palette in the engraving. 
 It is a picked and line engraving, not stipple." On the stem of a lily 
 beneath the portrait is the following inscription in minute letters: dedi- 
 cated TO MR. R. H. LAWRENCE, BY ENGRAVER. 
 
 4 Alexander Anderson. "A classical design with an ornamented 
 head holding festoons of fruit and flowers in its mouth. Beneath the por- 
 trait are engraver's tools. The plate was engraved entirely with a 
 graver and the print is from a clean- wiped plate excepting the coat on 
 which a rag was used slightly to make it richer." 
 
 The portrait is from a photograph taken in 1869. 
 
 5 James Rivington. "A modified classical design. As Rivington 
 passed part of his life in England and part in America I have introduced the 
 flags of both nations. Beneath the portrait are books and newspapers. 
 I would suggest that it would be interesting to compare this portrait with 
 that of Isaiah Thomas; in the Rivington will be seen the boldest, and in the 
 Thomas the most minute, treatment of the set. This print appears to 
 its best when seen at a distance of two feet or more. It is all engraved 
 with a graver, and is printed from a clean-wiped plate excepting the 
 background which is slightly toned with a rag by the printer." 
 
 The portrait is based on the painting by Gilbert Stuart. 
 
 6 Amos Doolittle. "Above is the coat-of-arms of Connecticut, with 
 the motto of the State: Qui Transtulit Sustinet. Beneath the panel bear- 
 ing the inscription are flags, a drum and cannon, suggesting the subject of 
 his early engravings. Also a palette with the implements of his profession. 
 The plate is engraved throughout with a graver, and while the ornamental 
 
 37 
 
THE SOCIETY OF ICONOPHILES 
 
 portion of the plate is printed from a clean-wiped plate, the portrait and 
 background are toned with a soft rag by the printer, somewhat after the 
 method used in printing an etching." 
 
 The portrait is from a water-color painting in possession of the New Haven 
 Colony Historical Society. 
 
 38 
 
FOURTH SERIES 
 
 MEN AND EVENTS CONNECTED WITH THE 
 
 CITY OF NEW YORK 
 Six portraits and views in decorative borders, engraved 
 on copper by Francis S. King. 
 
 Edition: 120 impressions on Japan paper, 11 of which are proofs before 
 letter signed by the engraver. Each print is enclosed in a wrapper, 
 which bears the Society's imprint, seal and a brief description of the 
 engraving. Nos. 1, 2, and 3 are accompanied by a few pages of text 
 describing the events depicted in the views beneath the portraits. 
 Published in 1 899-1 902. 
 
 SUBJECTS 
 
 1 Lafayette and a View of his landing in New York, 
 
 August 16, 1824. 
 
 2 Washington and a View of the Evacuation of New 
 
 York, November 25, 1783. 
 
 39 
 
THE SOCIETY OF ICONOPHILES 
 
 SU B J ECTS— CONT INUED 
 
 3 DeWitt Clinton and a View of the Battery at the time 
 
 of the Erie Canal Celebration, November 4, 1825. 
 
 4 Admiral Dewey and the Arch erected to celebrate his 
 
 arrival in New York, September, 1899. 
 
 5 Aaron Burr and a View of the Richmond Hill House. 
 
 6 Alexander Hamilton and a View of the Grange. 
 
 NOTES 
 
 1 Lafayette. The portrait is from a line engraving by Geille, the head 
 of which is copied quite closely from the full-length portrait of Lafayette, 
 painted in 1822 by Ary Scheffer; the military uniform is from a painting 
 by Gerard. The view of the landing of Lafayette is from a drawing by 
 Imbert, engraved by Samuel Maverick. Mr. King describes the plate as 
 follows: "The chief idea is to have a frame in keeping with the portrait 
 of Lafayette and the landing. On the right is a shield bearing a liberty 
 cap; above is a branch of laurel; a gun, cannon-balls, ropes, sails, anchor, 
 etc., signify our struggle in a general way, and its commercial results. A 
 map is indicated under Lafayette's coat-of-arms. To the left is the 
 American Eagle, holding in its claws arrows and laurel and resting on the 
 American flag. The mariner's compass suggests Lafayette's voyage to 
 this country, and is in keeping with the view below. Above the eagle is 
 a palm branch and the French and American flags. Above is the sun cast- 
 ing light over all, with laurel leaf decorations. The line of oak leaves at 
 the bottom indicates strength and endurance." 
 
 2 Washington. The portrait is from an original study by Joseph 
 Wright, now in the Pennsylvania Historical Society. This portrait was 
 selected because it was doubtless painted at headquarters, Rock Hill, near 
 Princeton, in October, 1 783, a short time before the evacuation of New York. 
 Although it is unlike any other portrait of Washington, it has the stamp of 
 his approval, for he commissioned the same artist to paint the portrait he 
 
 40 
 
CATALOGUE OF THE ENGRAVINGS— FOURTH SERIES 
 
 sent to the Count de Solms, and also had Wright paint another portrait in 
 1784. William Dunlap, who was also at headquarters in October, 1783, 
 thus mentions this portrait in his History of the Arts of Design : "At this 
 time and place Mr. Wright painted both the General and Mrs. Washington, 
 as I likewise attempted to do. Wright's pictures I then thought very like." 
 The view of the evacuation is taken from the background of the full-length 
 portrait of Washington painted by John Trumbull, now in the City Hall, 
 New York. Trumbull refers to this portrait in his Autobiography in the 
 following terms: "I returned in July (1790) to New York, where I was re- 
 quested to paint for the corporation a full-length portrait of the President 
 . . . In the background, a view of Broadway in ruins, as it then was, the old 
 fort at the termination; British ships and boats leaving the shore with the 
 last of the officers and troops of the evacuating army, and Staten Island in 
 the distance. Every part . . . was accurately copied from the real objects." 
 
 3 DeWitt Clinton. The portrait is from a painting by Charles C. 
 Ingham, now in the possession of the Century Association. 
 
 The view of the Battery is part of a large lithograph in Colden's Memoir of 
 the Erie Canal Celebration, published in 1825. Mr. King describes the plate 
 as follows: "The design as a whole maybe considered Colonial. The columns 
 of staves on each side are bound together by the usual bands, and sur- 
 mounted by vase-shaped ornaments having the stars and stripes decora- 
 tions. In the centre directly over the portrait is the seal of the State of 
 New York; below the frame is an oval wreath with the name DeWitt 
 Clinton, with a palm branch on one side and oak leaves on the other. Below 
 on the right and left are the bows of canal boats, ' Erie' and ' Hudson,' made 
 fast with ropes to the columns of staves, suggestive of both ends of the 
 canal. Fresh and salt water fish in the waves beneath approaching one 
 another are intended to represent the 'wedding of the waters.' The 
 horse shoes on the lower corners indicate the propelling power used on 
 the canals." 
 
 4 Admiral Dewey. The portrait is from a photograph taken in 1899. 
 Mr. King describes the plate as follows: "I have tried several times to de- 
 
 4' 
 
THE SOCIETY OF ICONOPHILES 
 
 scribe this plate, but thus far have not succeeded very well. The design 
 should in a great measure tell its own story and I hope it does. Of course 
 the dolphins, ship-blocks, bolts, ropes and guns all refer to Dewey's pro- 
 fession. The battle of Manila Bay is pictured in the lower left hand corner. 
 The picture of the Arch refers to his reception in New York. These pic- 
 tures are presided over by a figure of Liberty with outstretched arms, hold- 
 ing a bundle of arrows over the sea fight, and an olive branch over the arch. 
 Above the portrait are turrets with guns and draped flags with the shield of 
 the United States. Over all is a 'fighting-top,' with spars, guns and smoke, 
 behind which a sun-burst is suggested. It is engraved with a graver through- 
 out, no acids or dry point being used; many so-called engravings done now 
 are, in great part, etchings." 
 
 5 Aaron Burr. The portrait is from a painting by John Vanderlyn, 
 now in the New York Historical Society. The view of "Richmond Hill" 
 is based on a print in the New York Magazine for June, 1790. 
 
 6 Alexander Hamilton. The portrait is based on the one painted by 
 John Trumbull, from life, in 1792. It was from this portrait that Trum- 
 bull painted the picture now belonging to the Chamber of Commerce of 
 New York, and it is the only one he did from life. The view of "The 
 Grange" is from a photograph taken in 1893. 
 
 42 
 
FIFTH SERIES 
 
 FACSIMILES OF EARLY ENGRAVED VIEWS OF NEW YORK 
 Ten prints re-engraved on copper by Sidney L. Smith. 
 
 Edition: 103 impressions on Japan paper, 1 1 of which are proofs signed by 
 the engraver. Each print is enclosed in a wrapper which bears the 
 Society's imprint and seal, and a brief description of the engraving. 
 Published in 1899- 1903. 
 
 SUBJECTS 
 
 1 Federal Hall. The seat of Congress. 
 
 2 View of the new Dutch Church. 
 
 3 View of Columbia College. 
 
 4 An East View of Trinity Church. 
 
 5 A View of the present seat of his Excel, the Vice 
 
 President of the United States. 
 
 6 A View of St. Paul's Church. 
 
 7 Government House. 
 
 43 
 
THE SOCIETY OF ICONOPHILES 
 
 SU B J ECTS— CONT INUED 
 
 8 A Perspective View of the City Hall in New York 
 
 taken from Wall Street. 
 
 9 View of Belvedere House. 
 
 10 A View of the Battery and Harbor of New York, 
 and the "Ambuscade" Frigate. 
 
 NOTES 
 
 i Federal Hall. Reduced from a rare engraving by Amos Doolittle, 
 from a drawing by Peter Lacour, and printed and sold by Doolittle at New 
 Haven in 1790. The original engraving is 12^ x \6$4 inches, and represents 
 the inauguration of Washington in the gallery on Wall Street. 
 The City Hall, called, after 1789, Federal Hall, was situated at the head of 
 Broad Street, fronting on Wall Street, where the United States Sub-Treas- 
 ury Building now stands. It was erected in 1700, the Common Council hav- 
 ing, in 1698, voted to build a new City Hall for £3,000, and in 1699 sold the 
 old "Stadt Huys" which stood on Pearl Street, facing Coenties Slip. At 
 the new City Hall were held the sessions of the Common Council, the Pro- 
 vincial Assembly, the Supreme Court and the Mayor and Admiralty Courts. 
 It was the place of election, and was also used as the City Prison until 1789. 
 It was altered to accommodate the sessions of the First Congress under the 
 Constitution, under the direction of Major L'Enfant, author of the original 
 plan for the City of Washington. When Congress decided to move the seat 
 of the National Government to Philadelphia, Federal Hall was again altered 
 to receive the Courts and Legislature of the State. It was in the open 
 gallery in front of the Senate Chamber that Washington was inaugurated 
 first President of the United States, on April 30, 1789. The building was 
 taken down in 18 12. 
 
 In the Columbian Magazine, for August, 1789, is the following description 
 of Federal Hall, as it appeared after the alterations made for the accommo- 
 dation of the Federal Legislature: "The basement story is Tuscan, and is 
 
 44 
 
CATALOGUE OF THE ENGRAVINGS — FIFTH SERIES 
 
 pierced with seven openings; four massy pillars in the centre support four 
 Doric Columns and a pediment. The frieze is divided to admit thirteen 
 stars in the metopes, these, with the American Eagle and other insignia in 
 the pediment, and the tablets over the windows filled with the thirteen ar- 
 rows and the olive branch united, mark it as a building set apart for na- 
 tional purposes." 
 
 2 New or Middle Dutch Church. Reduced from an engraving by 
 William Burgess, size, 9^ x 14 inches, believed to be unique. This church, 
 erected east of Nassau Street, below Liberty (then Crown Street) was 
 opened for service in 1729, and was known as the New Dutch Church to 
 distinguish it from the church in Garden Street, which was built in 1693. 
 When another church was erected at the corner of Fulton and William 
 Streets it was known as the North, the Garden Street Church being desig- 
 nated the South, and the one in Nassau Street as the Middle Dutch Church. 
 During the Revolution this Church was used first as a prison, and after- 
 wards as a riding-school for the British officers and soldiers. The whole of 
 the interior was then destroyed, leaving only the bare walls and roof. It 
 was not until 1790 that the church was restored and re-opened for divine 
 service. It was used as a place of worship for the last time on August 1 1, 
 1844. It was then leased to the United States Government, and was 
 occupied as the City Post Office from 1845 t0 1875. In 1882 it was taken 
 down to make way for the building now occupied by the Mutual Life 
 Insurance Company. 
 
 3 Columbia College. Facsimile of an engraving by C. Tiebout in the 
 New York Magazine for May, 1790, from which the following account of the 
 College is taken. " King's College, in the City of New York, was principally 
 founded by the voluntary contributions of the inhabitants of the province, 
 assisted by the General Assembly, and the Corporation of Trinity Church, 
 in the year 1754, a royal charter being then obtained. . . . The building 
 (which is only one third of the intended structure) consists of an elegant 
 stone edifice, three complete stories high, with four staircases, twelve 
 apartments in each, a chapel, hall, library, museum, anatomical theatre 
 
 45 
 
THE SOCIETY OF ICONOPHILES 
 
 and a school for experimental philosophy. All students, but those in 
 Medicine, before the revolution, were obliged to lodge and diet in the col- 
 lege, unless they were particularly exempted by the Governors or Presi- 
 dent, and for the security of their morals, &c, the edifice was surrounded 
 by a high fence, which also encloses a large court and garden. . . . 
 The college is situated on a dry gravelly soil, about 150 yards from the 
 Bank of Hudson River, which it overlooks, commanding a most extensive 
 and beautiful prospect. . . . King's College is now called Columbia 
 College . . . Until the revolution the College did not flourish. The plan 
 upon which it was originally founded, was contracted, and its situation 
 unfavorable. The former objection is removed, but the latter must 
 remain." 
 
 4 Trinity Church. Facsimile of an engraving by C. Tiebout in the 
 New York Magazine for January, 1790. The following description of 
 Trinity Church is taken from the same magazine: "Trinity Church was 
 founded in the year 1696, in the reign of William III, while Mr. Fletcher 
 was governor of the Province; and divine service was first performed in it 
 on the 6th of February, 1697 [March 13, 1698], by the Reverend Mr. Vesey, 
 Rector of the Parish. The original church was a small square edifice, 
 large enough, however, to accommodate the Episcopal Congregation till the 
 year 1735, when an addition was made to the East end, and in the year 
 1737 it was augmented, on the north and south sides, to the noble size in 
 which it appeared at the time of its destruction. In the great conflagra- 
 tion of the City, on the 21st of September 1776, the Church was entirely 
 destroyed. The new Church was built by Mr. J. Robinson, Carpenter, and 
 Messrs. Moore and Smith, Masons. It is 104 feet long and 72 wide, and the 
 steeple 200 feet high; but as it is not yet completed a description in its pres- 
 ent form would convey to our readers but an imperfect idea of the whole 
 edifice. The representation here given was drawn from a view in Broad- 
 way. The portico in front, and the balustrade and towers at the foot 
 of the spire, were, however, taken from the builder's plan, and are sup- 
 posed to be pretty correct." 
 
 This church was taken down in 1839, and the present church was begun in 
 
 46 
 
CATALOGUE OF THE ENGRAVINGS— FIFTH SERIES 
 
 the autumn of the same year, but was not completed and ready for conse- 
 cration until May 21, 1846. 
 
 5 Richmond Hill House. Facsimile of an engraving by C. Tiebout 
 in the New York Magazine for June, 1790, from which the following 
 is extracted: "The annexed plate is a view of the country seat, the 
 property of Mrs. Jephson, the present residence of John Adams, Esq., 
 Vice-President of the United States of America. It is beautifully situated, 
 near the City of New York, on the banks of the Hudson, of which it com- 
 mands an extensive prospect. The venerable oaks, and broken ground, 
 covered with wild shrubs, give it a very romantic air. This place was for- 
 merly the headquarters of the President when Commander in Chief of the 
 American army, at the commencement of the late war." 
 Mrs. John Adams has left a description of the place as it appeared in 1789. 
 " In natural beauty," she writes, "it might vie with the most delicious spot 
 I ever saw. It is a mile and a half distant from the City of New York. The 
 house stands upon an eminence; at an agreeable distance flows the noble 
 Hudson, bearing upon its bosom innumerable small vessels laden with the 
 fruitful productions of the adjacent country. Upon my right hand are 
 fields beautifully variegated with grass and grain, to a great extent, like 
 the valley of Honiton in Devonshire. Upon my left the city opens to view, 
 intercepted here and there by a rising ground and an ancient oak. In 
 front, beyond the Hudson, the Jersey shores present the exuberance of a 
 rich, well-cultivated soil. In the background is a large flower-garden, en- 
 closed with a hedge and some very handsome trees. Venerable oaks and 
 broken ground covered with wild shrubs surround me, giving a natural 
 beauty to the spot which is truly enchanting. A lovely variety of birds 
 serenade me morning and evening, rejoicing in their liberty and security." 
 In Valentine's Manual of the Corporation, 1852, p. 467, is the following: 
 " Richmond Hill House stood at the corner of Varick and Charlton streets 
 and has associated with it many interesting events of former days. It 
 was occupied during the Revolutionary War as a country residence by Sir 
 Guy Carleton, Lord Dorchester, and several other distinguished noblemen, 
 and has been the scene of many a gay party. After the war it came into 
 
 47 
 
THE SOCIETY OF ICONOPHILES 
 
 the possession of Colonel Aaron Burr, who resided there for many years 
 ... It has since been used as a theatre and public house and has been 
 much altered of late years to adapt it to modern taste, and has been lowered 
 over twenty feet, to conform to the grade of the surrounding streets." 
 The Richmond Hill House was taken down in 1849. 
 
 6 St. Paul's Chapel. Facsimile of an engraving by Scoles in the New 
 York Magazine for October, 1795, from which the following is taken: "The 
 annexed view of St. Paul's Church is very judiciously taken from the Park, 
 where the foliage of the young trees embellishes the accuracy of the design. 
 This church was built about 35 years since, and is esteemed the most elegant 
 in the city. The front is an Ionic portico, the pediment of which contains 
 a statue of St. Paul in a niche in the centre; and the inside is finished in the 
 Corinthian order, with columns supporting an arched ceiling. The great 
 window in front is adorned with the monument erected by Order of Congress 
 to the memory of General Montgomery; the pulpit and altar are designed 
 and executed with a remarkable degree of taste, and the only imperfection 
 appears at the west end, by the deficiency of an organ, the preparation for 
 which, entrances, etc., which it was intended to conceal, are at present a 
 blemish. "The steeple, which was finished last year, completes the external 
 appearance of the building; it is somewhat more than 200 feet high from 
 the ground, above the lower reserve grade angular section or story, of the 
 Ionic order, with the proper columns, pilaster and pediments; the two next 
 sections are octangular, of the Composite and Corinthian orders, supported 
 by columns at the angles; the whole is crowned with a spire. The church, 
 tower and first section of the steeple are of stone, the rest is of wood. As 
 no expense has been spared, and the several parts have been directed by 
 persons of taste and capacity, the structure is generally esteemed prefera- 
 ble to most of the kind in the United States." 
 
 7 Government House. Facsimile of an engraving by Scoles in the 
 New York Magazine for January, 1795. In the same magazine is the fol- 
 lowing description of the engraving: "Government House in the City of 
 New York is erected on the spot where Fort George formerly stood, front- 
 
 48 
 
CATALOGUE OF THE ENGRAVINGS — FIFTH SERIES 
 
 ing Broadway. It was built by act of the Legislature, and intended for the 
 residence of the Governor of the State. Its situation in point of pleasant- 
 ness, is perhaps exceeded by few in the United States, having a beautiful 
 prospect of the harbour, of Long Island, Staten Island, the Jersey Shore, 
 etc., . . . The view here given is taken from the Northwest corner of the 
 Battery, near the end of Greenwich Street, it exhibits a part of the City, and 
 some portion of the Green and walk on the Battery." 
 
 8 City Hall, Wall Street. Reduced from an engraving by C. Tie- 
 bout (size, 2oS/{ x 14X inches), in the New York Historical Society. On 
 the back of this print is the following inscription: "Presented to the New 
 York Historical Society by John Pintard on the 15th May, 1812, the day on 
 which this building was prostrated, the materials having been sold at Auc- 
 tion to Mr. Jinnings for four hundred and twenty-five Dollars." 
 
 The following is a list of the early engravings of the City Hall in Wall 
 Street as it appeared after the alterations made to accommodate the 
 Sessions of the First Congress. While this building was the seat of the 
 National Government it was known as the "Federal Hall" or "Federal 
 Edifice." 
 
 1 — View of the Federal Edifice in New York. S. Hill, Sculpt. En- 
 graved for the Massachusetts Magazine, June, 1789. Vol. i. 
 No. vi. 
 
 Si%e: 7X x 8% inches. In the Massachusetts Magazine for June, 1789. 
 
 2 — View of the Federal Edifice in New York. Columb. Mag. 
 Size: 7X x 7^ inches. In the Columbian Magazine for August, 1789. 
 
 3 — Perspective View of the Federal Edifice in the City of New 
 York. Engraved for the New York Magazine. 
 
 Si{e: 454 x 3^ inches. In the New York Magazine for March, 1790. 
 
 4 — Federal Hall. The Seat of Congress Peter Lacour Delin. A. 
 Doolittle Sculpt. Printed & Sold by A. Doolittle New Haven 
 1790. 
 
 49 
 
THE SOCIETY OF ICONOPHILES 
 
 Si{e: 12% x i6f£ inches. Re-engraved by Sidney L. Smith for the 
 Society of Iconophiles, and 103 impressions printed in October, 1899. 
 Si%e: 4$4 x 6^ inches. 
 
 5 — A Perspective View of the City Hall in New York taken from 
 Wall Street. C. Tiebout Delineate & Sculpsit. 
 Si%e: 20S/& x 14X inches. Re-engraved by Sidney L. Smith for the So- 
 ciety of Iconophiles, and 103 impressions printed in February, 1902. 
 Si^e: 6J4 x 4% inches. 
 
 9 Belvedere House. Facsimile of an engraving by Scoles in the New 
 York Magazine for August, 1794. The following account of this Club 
 House is taken from the above magazine: " Belvedere House (an Eastern 
 view of which we have the pleasure to present to our readers in this 
 month's Magazine) is situated on the banks of the East River, about 
 a quarter of a mile beyond the pavement of the eastern extremity 
 of the City of New York. It was built in the year 1792, by thirty-three 
 gentlemen, of whom the Belvedere Club is composed . . . The ball- 
 room, which includes the whole of the second story of the east front, is an 
 oblong octagon of forty-five feet in length, twenty-four wide and seventeen 
 high, with a music gallery . . . The windows of this room open to the floor, 
 and communicate with a balcony twelve feet wide, which surrounds the 
 eastern division of the house and affords a most delightful promenade . . . 
 The room on the ground floor is of the same shape and dimensions of the 
 ball-room, and is generally used as a dinner and supper room for large 
 companies and public entertainments. The west division of the house is 
 composed of two dining parlours, a bar-room, two card-rooms and a number 
 of bed-chambers. The west front opens into a small court-yard, flanked on 
 each side with stables, a coach house, and other offices. The little grounds 
 into which the east front opens, are formed into a bowling-green, gravel 
 walks, and some shrubbery, in as handsome a manner as the very limited 
 space would admit of. The want of extensive grounds is, however, much 
 compensated for by the commanding view which its situation gives of the 
 City and adjacent country. The prospect is very varied and extensive: a 
 great part of the City, the bay of New York, Long-Island, the East River 
 
 50 
 
CATALOGUE OF THE ENGRAVINGS — FIFTH SERIES 
 
 as far as Hell Gate, the island of New York to the northward of the City, 
 and a little of the North River, with its bold and magnificent bank on the 
 Jersey side, altogether compose a scenery which the vicinity of few great 
 cities affords. . . . For the satisfaction of those at a distance, and to 
 account for the contracted appearance of the house in the plate, it may be 
 necessary to add, that the view is taken from the opposite shore of Long- 
 Island, a distance of more than a mile." 
 
 This building was located on a high plot of ground at the corner of Mont- 
 gomery and Cherry Streets, and is indicated on Longworth's map of the 
 City, dated 1808. 
 
 10 The Battery and Harbour. Facsimile of an engraving by S. Hill 
 in Drayton's Letters written during a tour through the Northern and Eastern 
 States, Charleston, 1794, from which the following is extracted: 
 "We came opposite the battery; which is at the extreme point of the town 
 . . . The guns (which are thirteen in number) are placed upon carriages 
 on a stone platform en barbette, some few feet above the level of the water. 
 Between the guns and the water is a public walk; made by a gentle decline 
 from the platform: and going round the ground upon which the battery is 
 placed. Some little distance behind the guns, two rows of elm trees are 
 planted; which in a short time will afford an agreeable shade. The flag staff 
 rises from the midst of a stone tower, and is decorated on the top with a 
 golden ball: and the back part of the ground is laid out in smaller walks, 
 terraces, and a bowling green. — Immediately behind this, and overlooking 
 it, is the government house; built at the expense of the State. . . . 
 "At the lower end of Broad-way, is the battery, and public parade; of which, 
 I have already given you some account: and I now present you with a sketch 
 of it, as seen from this spot. While I was taking it, the Ambuscade sailed 
 by, having a liberty cap on the fore-top-gallant-mast head. I drew it with 
 pleasure, hoping that it would be an ornament to the piece: and I trust 
 everything, which brings to the mind ideas of social liberty, and good gov- 
 ernment, will be." 
 
 5' 
 
SIXTH SERIES 
 
 EARLY NEW YORK AUTHORS 
 Two portraits engraved on copper by Francis S. King. 
 
 Edition: 103 impressions on Japan paper, 1 1 of which are proofs before let- 
 ter signed by the engraver. Each print is enclosed in a wrapper bear- 
 ing the Society's imprint and seal. Published in 1903-04. 
 
 SUBJECTS 
 
 1 Fitz-Greene Halleck. 
 
 2 Joseph Rodman Drake. 
 
 NOTES 
 
 1 Halleck. This portrait is from an oil painting by Henry Inman, 
 which was painted in the year 1828 for George P. Morris, and is now in the 
 New York Historical Societv. Mr. J. G. Wilson says of Inman's portrait 
 
 53 
 
THE SOCIETY OF ICONOPHILES 
 
 that it is "incomparably the best ever made of the poet, who was painted by 
 four generations of artists — Jarves, Inman, Elliott and Hicks." 
 
 2 Drake. From an oil painting by John Paradise, now in the possession 
 of Mr. Eckford Craven de Kay. Halleck wrote of Drake that he was, per- 
 haps, the handsomest man in New York — "a face like an angel, a form like 
 an Apollo, and his person was a true index of his mind." 
 
 54 
 
SEVENTH SERIES 
 
 VIEWS OF NEW YORK ON STAFFORDSHIRE POTTERY 
 Eight aquatints engraved by C. F. W. Mielatz. 
 
 Edition: 104 impressions on Japan paper, 11 of which are printed in blue 
 and signed by the engraver; the remainder of the edition is printed in 
 sepia. Each print is enclosed in a wrapper bearing the Society's im- 
 print and seal. Published in 1904-06. 
 
 SUBJECTS 
 
 1 A View of New York from Fulton Street, Brooklyn. 
 
 2 The Battery, New York, Esplanade and Castle Garden. 
 
 3 New York Alms House, now Bellevue Hospital. 
 
 4 City Hotel, Broadway, between Thames and Cedar Streets. 
 
 5 Castle Williams from the Battery. 
 
 6 Brooklyn Ferry, Fulton Street, New York. 
 
 7 St. Paul's Chapel and the Rutherford House. 
 
 8 Castle Clinton and the Battery. 
 
 55 
 
THE SOCIETY OF ICONOPHILES 
 
 NOTES 
 
 About 1820 the Staffordshire potters in order to gain the American trade 
 and overcome the hatred of all things English, decorated their wares with 
 scenes from American history, views of important American towns, and well- 
 known buildings. These designs were printed on the pottery in rich dark 
 blue and were usually copied from contemporary engravings. In some 
 cases, however, original sketches seem to have been used, and it is from plates 
 and platters with New York views of this character that Mr. Mielatz has en- 
 graved this series for the Society of Iconophiles. 
 
 1 New York from Brooklyn. This view is found on a 10-inch plate 
 made by Stevenson with the following inscription printed on the back: 
 "New York from Brooklyn Heights, by W. G. Wall, Esq." The original 
 drawing for this plate was made by W. G. Wall, a young Irishman, who 
 came to New York in 18 18, and achieved great fame from his water colour 
 sketches of American scenery, for some of which he realized as much as 
 four hundred dollars. Large aquatints in colours of his views of New 
 York from Brooklyn and Weehawk and Hudson River scenes had a large 
 circulation. 
 
 The scene on this plate pictures Fulton Street, Brooklyn, near the present 
 Brooklyn Bridge entrance. The first steam ferry-boat to Brooklyn, the 
 "Nassau," appears in the centre of the East River. 
 
 2 The Battery, New York Esplanade and Castle Garden. This 
 view is found on a large platter made by Stevenson, labelled " Esplanade 
 and Castle Garden," and gives an interesting glimpse of the open air life 
 of eighty years ago. The title "Esplanade" was that given to the central 
 walk in the Battery, long the favorite society promenade. In the distance 
 appears the entrance to Castle Garden. In the harbor and to the left of 
 Castle Garden the artist has inserted a picture of the steamship "Aetna," 
 which was destroyed by the explosion of her boilers in 1825. 
 
 3 New York Alms House, now Bellevue Hospital. This view 
 was taken from a large platter made by I. & W. Ridgway. The predecessor 
 
 56 
 
CATALOGUE OF THE ENGRAVINGS— SEVENTH SERIES 
 
 of the old Alms House stood on the northwest corner of what is now the 
 City Hall Park, and was erected in 1 79 1 from the proceeds of a lottery 
 instituted by the city fathers. The cornerstone of the building which 
 forms the subject of the engraving, was laid in 181 1. The six acres of land 
 for its site cost 522,000. The building was constructed of stone taken from 
 a quarry in the neighborhood, and was opened in 18 16. In 1848 it, in turn, 
 became overcrowded, and its occupants were transferred to their present 
 quarters on Blackwell's Island. The building was then remodelled and 
 turned into a hospital, and as Bellevue Hospital has served the city for 
 upwards of half a century. 
 
 4 City Hotel, Broadway, between Thames and Cedar Streets. This 
 view is from a nine-inch plate by Stevenson, and gives an interesting study 
 of Broadway three-quarters of a century ago. The large building in the 
 center of the scene covers the block between Thames and Cedar Streets 
 (115 Broadway). The foundations of the City Hotel were laid in 1794. 
 The building was completed four years later. Its great height, four sto- 
 ries, made it a landmark, easily discernible on all contemporary views of the 
 city from the water. More interesting still than this old hostelry around 
 which the social life of the city revolved for so many years, is the street 
 scene here depicted — the load of wood, the saw horse, the pump, all char- 
 acteristic of the Knickerbocker life long since departed. 
 
 5 Castle Williams from the Battery. This engraving was taken 
 for a nine-inch plate by Stubbs, and shows us Castle Williams little changed 
 in appearance from the Castle Williams of to-day. It was designed in 1807 
 by Col. Jonathan Williams of the United States Engineers, and completed 
 just before the War of 181 2. It was built of Newark Sandstone with walls 
 forty feet high and eight feet thick. The lower tier mounted twenty-seven 
 35-pounders, and the upper tier thirty-nine 20-pounders. In the foreground 
 appears a portion of the lower end of the city with its shores in their 
 natural beauty. 
 
 6 Brooklyn Ferry. Fulton Street, New York, from a small 
 platter by Stevenson. On the left of this view is pictured the entrance to 
 
 57 
 
THE SOCIETY OF ICONOPHILES 
 
 Fulton Market, erected upon a site purchased by the city in 182 1. In the 
 centre the "Ferry Slips" and the "Nassau," the first steam ferry-boat 
 which ran between New York and Brooklyn. The lease of the privilege of 
 operation of this ferry was purchased by Robert Fulton and William Cutting. 
 Beekman's slip was bought by the city for a landing place, and Ferry Street, 
 now Fulton, was opened up. The "Nassau" was launched in 181 4 and 
 built on the lines of a catamaran: her motive power being supplied by a 
 large wheel in the center between the two hulls. 
 
 7 St. Paul's Chapel and the Rutherford House, from a six-inch 
 plate by Stevenson. This picture of St. Paul's Chapel is from the south- 
 east, a different quarter from that of other contemporary views. The 
 house to the right was erected about 1770 by Major Walter Rutherford, a 
 Scotchman, who, on his retirement from the royal army, settled in New 
 York and married Catherine Alexander, the sister of Lord Sterling. Prior 
 to the Revolution, Broadway only extended up as far as St. Paul's, all 
 traffic turning off to the right to the Boston Post Road. The continua- 
 tion, on which this house stood, was called Great George Street. In 1806 
 the house was remodelled. It served as a store until John Jacob Astor 
 erected on this site his famous hotel. 
 
 8 Castle Clinton and the Battery, on a large platter by Enoch Wood. 
 The series of aquatints ends with a view of the fortification, the foundations of 
 which were laid in 1807 upon a ledge of rocks three hundred feet distant from 
 the shore. The fortress was completed in 181 1, and was named the South- 
 west Battery. In 1 816 it was renamed Castle Clinton, after George Clinton, 
 New York's distinguished Governor. In the same year the Battery was 
 extended seaward; still two hundred feet of the bridge remained. Six years 
 later Castle Clinton was dismantled and ceded back to the city. In 1824 it 
 was leased to one Marsh at an annual rental of $1,400. Its top was decked 
 over and made into a promenade, where, during the summer, the Castle 
 Garden Band played nightly. Tickets of admission to the Garden, redeem- 
 able at face value in refreshments sold within, were sold for a shilling each. 
 
 58 
 
EIGHTH SERIES 
 
 SKY-SCRAPERS OF NEW YORK 
 Twelve lithographs by Joseph Pennell. 
 
 Edition: 100 impressions, all signed by the artist. The set of twelve being 
 enclosed in a cover designed by Mr. Pennell. 
 
 SUBJECTS 
 
 1 Battery Park. 
 
 2 Broadway from Bowling Green. 
 
 3 "Broadway Towers." 
 
 4 The Stock Exchange. 
 
 5 Nassau Street. 
 
 6 Pine Street. 
 
 7 William Street. 
 
 59 
 
THE SOCIETY OF ICONOPHILES 
 
 S U B J ECTS— CONT I N U E D 
 
 8 " Building the Building." 
 
 9 "The Flat Iron." 
 
 10 Union Square. 
 
 1 1 Broadway above 23rd Street. 
 
 12 The "Times" Building. 
 
 NOTES 
 
 These lithographs were drawn by Mr. Pennell when on a visit to New York 
 in 1904, and are an interesting expression of the strong impression made 
 upon the artist by the "towering piles" of new New York. They were 
 printed in England under the supervision of the artist, and were issued by 
 the Society in 1905. 
 
 60 
 
A VIEW op NEW YOKKix J77J 
 
 engrauedfor (be SoA&^J^ciely of Sconopnile-t 
 
 NINTH SERIES 
 
 TWELVE VIEWS OF NEW YORK, ENGRAVED ON COPPER FROM 
 OIL PAINTINGS, WATER-COLOR DRAWINGS AND RARE 
 
 ENGRAVINGS 
 
 Edition: 100 impressions on Japan paper, 11 of which are proofs before 
 letter signed by the engraver. Each print is enclosed in a wrapper 
 bearing the Society's imprint and seal. The new seal, engraved by 
 Sidney L. Smith, is first used on these wrappers. Published in 1905-08. 
 
 SUBJECTS 
 
 1 A South East Prospect of the City of New York in 1756-57. 
 
 2 Broadway looking North at Grand Street. 
 
 3 Clinton Hall, Nassau and Beekman Streets. 
 
 4 The Custom House, New York, 1799-1815. 
 
 5 A South West Prospect of the City of New York (1806). 
 
 6 Novum Amsterodamum. 
 
 7 King's College 1756- 1784. Columbia College 1784- 1857. 
 
 61 
 
THE SOCIETY OF ICONOPHILES 
 
 S U B J ECTS — CONTI NUED 
 
 8 State Street, Nos. 16-19. About 1864. 
 
 9 A View of New York in 1775. 
 
 10 Broadway and Grand Street in 1830. 
 
 1 1 Grace and Trinity Churches. 
 
 12 St. Paul's Chapel. 
 
 NOTES 
 
 1 A South East Prospect of the City of New York. Engraved by 
 Francis S. King, from an oil painting presented to the New York Historical 
 Society in 1904, by Miss Cornelia Le Roy White in the name of Goldsbor- 
 ough Banyer, who was a descendant of the original owner, of the same 
 name. This painting, which is 60 x 37X inches, was formerly the property 
 of Goldsborough Banyer, who came to America in 1737, and held several 
 important public offices in the Province of New York from 1746 until the 
 termination of the British rule. He retired to Albany, where he died in 
 181 5, leaving a large estate. 
 
 The water front in this picture corresponds closely to the "Duyckinck" 
 map, surveyed by Maerschalk and dated 1755. The date given in the title 
 was fixed by the late Mr. E. B. Holden, who wrote in regard to it as follows: 
 " 1 made the date 1756-57 as in 1756 an English fleet came in and probably 
 brought prizes. Admiral Boscowen won a naval battle off Newfoundland 
 in 1755. Of the ships in the picture at least one is a war ship. Probably 
 most of the prizes came from the West Indies, and are merchantmen." 
 
 2 Broadway looking North at Grand Street. Engraved by Walter 
 M. Aikman from an oil painting by R. Bond, dated 1852. The flag is at 
 half mast, and the Broadway House draped in mourning for the death of 
 Henry Clay, whose remains arrived in New York on July 3, 1852. The 
 day of his funeral obsequies was observed in New York on July 20th, by a 
 great civic and military parade. The Broadway House was the head 
 quarters of the Whigs in the campaign of 1844. After Clay's defeat in 
 this election it lost prestige and declined. 
 
 62 
 
CATALOGUE OF THE ENGRAVINGS— NINTH SERIES 
 
 3 Clinton Hall, Nassau and Beekman Streets. Engraved by 
 Francis S. King, from a water-color drawing by Alexander Jackson Davis, 
 the architect of the building. The Clinton Hall Association was formed in 
 1828 to erect a building for the permanent accommodation of the Mercantile 
 Library. This building, at the corner of Nassau and Beekman Streets, was 
 opened November 2, 1830. The Mercantile Library, formed in 1820 for the 
 purpose of affording the advantages of a circulating library to merchants' 
 clerks, was opened on February 12, 1821, in a room at 49 Fulton Street, 
 with 700 volumes. When it moved into Clinton Hall, in 1830, it had 6,000 
 volumes. Twenty three years later the number had increased to 47,000, 
 and, having outgrown its accommodations, the Opera House in Astor 
 Place was purchased at a cost of #140,000, the property in Nassau Street 
 being sold for #100,000. 
 
 4 The Custom House [or Government House]. Engraved by 
 Walter M. Aikmanfrom a wash-drawing by William Rollinson. The first 
 stone of this pretentious edifice was laid May 21, 1790, the Legislature 
 having resolved in 1789 that a house for the use of the President of 
 the United States should be erected on part of the site of the ancient fort. 
 It was of red brick, two stories high, with a portico of white Ionic columns, 
 and stood on an eminence facing Bowling Green. The designs for the 
 front of this building were furnished by John McComb, architect, of the 
 City Hall. The seat of government having been removed to Philadelphia 
 before its completion, it was never occupied by the President, but for 
 several years was used as the city residence of Governors Clinton and Jay. 
 About the year 1800 it was converted into offices for the Customs. It is 
 said to have been destroyed by fire in 181 5. Its site was occupied for 
 many years by private residences, which later were known as "Steamship 
 Row." These were removed in 1900, to make way for the new Custom 
 House. 
 
 5 A South West Prospect of the City of New York. Engraved 
 by Sidney L. Smith from a rare engraving which is without title or date. 
 This interesting view of the lower part of the city in the early part of the 
 
 63 
 
THE SOCIETY OF ICONOPHILES 
 
 nineteenth century shows the side of the Government House, pictured in 
 the preceding plate, and the churn-like structure supporting the flag-staff 
 on the west side of the Battery. This structure was taken down in 1825. 
 The second Trinity Church is seen on the left of the plate. 
 
 6 New Amsterdam about 1650. Engraved by Sidney L.Smith from 
 a painting in the New York Historical Society. This painting was pre- 
 sented to the Society in 1881 by C. E. Detmold, one of the founders of the 
 Metropolitan Museum of Art, it having been purchased in Amsterdam of the 
 bookseller, Frederick Muller. It is in an old carved wood frame, and is 
 said to have hung in the Home Office of the Dutch West India Company. 
 The upper part of this frame is reproduced in the engraving beneath the 
 view. The shield to the left bears the arms of the City of Amsterdam. On 
 the shield to the right is the Lion of Holland without the sword and arrows 
 in its paws. The inscription, placed by the engraver on the ribbon, is the 
 one that appears on the bottom of the painting. Translated, it reads: 
 "In the ship Lydia by Laurens Block son of Herman, in the year 1650." 
 In 1888 Thomas Addis Emmet saw in Muller's shop in Amsterdam another 
 painting which was an exact replica, frame and all, of the picture presented 
 to the New York Historical Society in 1881. He was told by Muller that 
 he had secured the painting from an old teakwood vessel which had 
 formerly been in the Dutch Navy and was one of the squadron which took 
 New York from the English in 1673, and had been broken up a few weeks 
 before. See the Magazine of American History for January, 1890. 
 
 7 Columbia College, 1857. Engraved by Walter M. Aikman from a 
 photograph taken in 1857. The corner-stone of King's College was laid 
 August 23, 1756, and in May, 1760, the officers and students "began to 
 Lodge and Diet in it." The building was known as King's College until 
 May 1, 1784, when the first act was passed changing the name to Columbia 
 College. The use of the building was discontinued on May 7, 1857, and in 
 that year its demolition was begun. It stood west of Broadway, between 
 Barclay and Murray Streets, and its grounds originally extended down to 
 the Hudson River. President Myles Cooper describes the College as it 
 
 64 
 
CATALOGUE OF THE ENGRAVINGS 
 
 — NINTH SERIES 
 
 existed in 1773, as distant about one hundred and fifty yards "from the 
 Hudson River, which it overlooks, commanding from the eminence on 
 which it stands a most extensive and beautiful prospect." 
 
 8 State Street, Nos. 16-19. Engraved by Walter M. Aikman from 
 a photograph taken about 1864. The houses in this picture are interesting 
 examples of the domestic architecture of New York in the first half of the 
 nineteenth century. They were erected about 1828-30 on the site of the 
 old fort, fronting on the Battery and back of the seven houses facing 
 Bowling Green. No. 18 was occupied in 1830 by I. Phillips Phoenix. 
 This was then the most fashionable part of the city. At the left is seen 
 the rear of Stephen Whitney's house, No. 7 Bowling Green, in its day 
 one of the most elegant and stately residences in the city. 
 
 9 A View of New York in 1775. Engraved by Sidney L. Smith from 
 an aquatint in the Atlantic Neptune. The Atlantic Neptune, a collection 
 of maps and charts, was published for the use of the Royal Navy of 
 Great Britain in 178 1. It consisted of two elephant folio volumes and con- 
 tained 1 10 colored or tinted maps and 104 views. The maps include Nova 
 Scotia, the River St. Lawrence, the Island of Cape Breton, the coasts and 
 harbors of New England, New York, Long Island, the Hudson River, the 
 coast of Carolina, the Gulf of Mexico; plans of the proceedings of the British 
 fleet in New York Harbor, the siege of Yorktown, the battle of Camden, etc. 
 In addition to the above view of New York, it contains the following pic- 
 tures of the vicinity of the city: Highlands of Naversink; South Shore of 
 Long Island, the Entrance to the North and East Rivers, the Light House 
 on Sandy Hook, and the Narrows with the east bluff of Staten Island. 
 
 10 Broadway and Grand Street in 1830. Engraved by Walter M. 
 Aikman, from an oil painting by R. Bond, dated 1830. As early as 1809 a 
 public house stood on the corner of Broadway and Grand Street, which 
 then and for many subsequent years was conducted by Abraham 
 Davis. This was afterwards called the Broadway House, and the same 
 premises were occupied as a hotel for many years. In November, 1809, the 
 
 65 
 
THE SOCIETY OF ICONOPHILES 
 
 Street Commissioner reported that Mr. Samuel Burling had offered to 
 furnish as many poplar trees as might be necessary to line Broadway 
 from Leonard to Arch Street (present Astor Place), provided the Cor- 
 poration would move and set them without expense to him. The Com- 
 missioner further stated that he had consulted a number of property 
 owners and found them exceedingly anxious to accept the liberal offer 
 of Mr. Burling, and one had offered to cart a great portion at his own ex- 
 pense. It being concluded by the corporation that the arrangement would 
 "be an additional beauty to Broadway, the pride of our city, and as the 
 season was then a proper one for transplanting and the curbstones were 
 then being laid, the proposition was approved." Valentine's Manual of 
 the Corporation, 1865, p. 614. 
 
 1 1 Grace and Trinity Churches. Engraved by Sidney L. Smith from 
 a sepia drawing by William Strickland in the New York Historical Society. 
 Grace Church was erected in 1809 by a congregation that had separated 
 from Trinity Church. It stood on the corner of Broadway and Rector 
 Street. In The Picture of New York, published in 1828, it is described 
 as follows: "It is a substantial and neat edifice of brick, with a handsome 
 cupola, the rear of the building is of an elliptical form, with a terraced gar- 
 den and the Rector's house. . . . Pews in this Church command the highest 
 rents of any in the city; such is the influence of fashion, wealth and a much 
 beloved and eloquent pastor" [Doctor Jonathan M. Wainwright]. 
 
 This church was taken down in 1846 when the present structure was erected 
 at Broadway and Tenth Street. The Trinity Church pictured in this en- 
 graving is the second edifice, completed in 1790. The building south of 
 Grace Church, No. 65 Broadway, was occupied by John R. Livingston 
 from 1794 to 1816; by the Branch of the Bank of the United States from 
 1 8 1 7 to 1824, when the bank moved to the building erected for it in Wall 
 Street, and which is now occupied by the U. S. Assay office. No. 65 Broad- 
 way was valued in 1799 at £4,000. After 1825 it was a boarding-house. 
 
 12 St. Paul's Chapel. Engraved by Sidney L. Smith from a sepia 
 drawing by W. Strickland in the New York Historical Society. William 
 
 66 
 
CATALOGUE OF THE ENGRAVINGS — NINTH SERIES 
 
 Strickland, who made the drawings from which this and the preceding 
 number were engraved, was an English architect, who died in Nashville, 
 Tennessee, in 1856. He was buried in the crypt of the State Capitol at 
 Nashville, of which building he was the architect. The date of these two 
 pictures by Strickland can be placed between 1809 and 18 13, for Grace 
 Church was not erected until 1809, and John Scoles, whose name is barely 
 legible on the building opposite St. Paul's, 222 Broadway, moved to 67 
 Bowery in 1 8 14. Scoles, "engraver and bookseller," with the address 
 "222 Broadway and 27 Ann St." is found in the New York Directory 
 from 1805 to 18 1 3. His name appears continuously in the directories 
 from 1793 to 1844. He was a mediocre engraver of numerous portraits 
 and views. His views of St. Paul's, Government House, and Belvedere 
 House have been reproduced by the Society of Iconophiles in Series 5. 
 No. 222 Broadway stood on that part of Shoemakers Pasture bounded by 
 Broadway, Fulton, Nassau and Ann Streets. For some years prior to the 
 Revolution it was a public resort known as Spring Garden. Immediately 
 preceding the Revolution it was purchased by the Sons of Liberty for their 
 headquarters, and known as Hampden Hall. Subsequent to the Revolu- 
 tion its uses were private until converted into a Museum by John Scudder, 
 in the year 1830. 
 
 67 
 
AUTOBIOGRAPHY 
 
 OF 
 
 EDWIN DAVIS FRENCH 
 
 WRITTEN FOR THE 
 
 SOCIETY OF ICONOPHILES 
 
 IN 
 1901 
 
AUTOBIOGRAPHY OF EDWIN DAVIS FRENCH 
 
 I was born January 19, 185 1, in the village of North Attleboro, Massa- 
 chusetts. My father, Deacon Ebenezer French, was a carpenter and builder, 
 an excellent workman, and a man of sterling qualities, highly esteemed and 
 respected by all who knew him. My great-grandfather, Ezra French, 
 fought in the patriot army during the war of the Revolution, and his grand- 
 father, John French, came from England and settled in Eastern Massa- 
 chusetts about the end of the seventeenth century. 
 
 My boyhood was spent in my native village, where I, of course, attended 
 the public schools. I always had a fancy for drawing, but doubt if I ever 
 really had any unusual talent in that direction. At the age of fourteen I 
 went to Suffield, Connecticut, to prepare for college, and two years later I 
 entered the freshman class — the Class of 1870 — at Brown University, in 
 Providence, R. I. Unfortunately, a breakdown in health compelled me to 
 leave the college course in the middle of the Sophomore year, and I never 
 returned to complete it. A couple of years later, my health being somewhat 
 improved, I took up the trade of engraving on silver, an occupation which I 
 followed for nearly twenty-five years, chiefly in the employ of the Whiting 
 Company, whose works were formerly located in my native town. 
 
 In 1873, I married Mary Olivia, daughter of the late Harvey Pierce 
 Brainerd, of Enfield, Conn. 
 
 In the year 1876, the Whiting Company, my employers, removed their 
 works to New York City, whither I went with them. Here I was placed in 
 
 V 
 
THE SOCIETY OI- ICONOPIIILES 
 
 charge of their engraving department, holding this position until I took 
 up my bookplate work in 1894. 
 
 When I was about thirty years of age I commenced drawing from cast 
 and life in the evening classes of the Art Students' League of New York, work- 
 ing under the instruction of William Sartain, and afterwards under Messrs. 
 Geo. de Forest Brush and F. Edwin Elwell. 1 was elected to the membership 
 of the League in 1885, and served for five years on its Board of Control, at 
 first as Treasurer, and afterward as President of the League (1889-91). It 
 was during my presidency that the American Fine Arts Society was organ- 
 ized, whose work was the building and maintenance of the present home, 
 in West Fifty-seventh Street, of the Art Societies which originated it, the 
 Society of American Artists, the Architectural League, and the Art Students' 
 League; and not a little of the work of its organization and promotion fell 
 to my share. 
 
 It was, I think, in the early part of 1893, that Mrs. French's sister, Miss 
 Brainerd, became interested in collecting ex-libris, for which she had unusual 
 opportunities, being at the time a cataloguer in the Library of Columbia 
 University, and she brought together a very valuable collection of old Amer- 
 ican and European bookplates. I would say here, that although I un- 
 questionably owe very much to bookplate collectors as a class, and espe- 
 cially to certain individual collectors, for the reputation I have gained as a 
 maker of ex-libris, I never could altogether bring myself to approve of the 
 separation of a bookplate from a book, and feel that irreparable damage has 
 been wrought in public and private libraries by the removal of such marks 
 of ownership, often historic, from so many of the older volumes. Miss 
 Brainerd, however, made this collection for the library, with the knowledge 
 and consent of the librarian, adding extensively to it by the exchange 
 of duplicate plates, and gave it over to the Library when she resigned her 
 position there. 
 
 I was naturally interested in these curious old bits of engraving, and in 
 an idle hour attempted a burlesque imitation of an old plate, a print of which 
 I surreptitiously placed among those in my sister-in-law's collection. After 
 puzzling over it for awhile, she discovered the fraud, and then insisted that 
 I should engrave a bona-fide bookplate for her little collection of books and 
 
 72 
 
AUTOBIOGRAPHY OF EDWIN DAVIS FRENCH 
 
 for exchanges with collectors. So, in unemployed hours during the sum- 
 mer I completed my first bookplate, and was quite agreeably surprised at 
 the effectiveness of the proof the plate-printer sent me! My second at- 
 tempt was a plate for my wife, and the third was for my International- 
 Language collection of books, the inscription being in Volapuk. I had 
 been for several years much interested in that language, had corresponded 
 in it with its adherents in all parts of the world, and had written and 
 translated many articles for various Volapuk journals in Europe and 
 America. As a result, I had gathered together a large number of books and 
 pamphlets in and relating to Volapuk, and also much of the literature of 
 other systems of international language which have been presented with 
 varying degrees of success, from Dr. Samenhof's Esperanto (which at one 
 time numbered nearly as many adherents as Volapuk) to such projects as 
 Bauer's Spelin, all of which unquestionably had their good features, but 
 never developed into practical use. This explanation is for the sake of 
 those who are unwilling to take my Volapuk ex-libris seriously. 
 
 The following winter, by the advice of some of my friends of the Archi- 
 tectural League, I showed proofs of my bookplate work at the annual exhibi- 
 tion of that Society. In this way, and by means of the various plates of 
 mine which had found their way to collectors of ex-libris, my work became 
 gradually known. My first commission was from Mr. Beverly Chew, whom 
 I met at his rooms by appointment on the evening of January 19, 1894, to 
 learn his wishes concerning a bookplate for himself. Mr. E. H. Bierstadt 
 was also there that evening, as I remember. Mr. Chew also entrusted to me 
 the engraving of The Players bookplate from an exquisitely delicate wash- 
 drawing by Howard Pyle, which at the time seemed to me (and indeed I 
 fear it proved to be) quite too formidable an undertaking for a plate- 
 engraver of my limited experience. I think it was the same day that I met 
 Dr. Charles E. Clark, of Lynn, Mass., at the Fifth Avenue Hotel, and agreed 
 to make two bookplates for him. The next week Mr. S. P. Avery sent for 
 me, and an invitation plate for the coming inauguration of a new wing at the 
 Metropolitan Museum was discussed. Mr. W. L. Andrews, who was present, 
 wanted me to make a bookplate for him. My new work accumulated so 
 rapidly, I had to ask permission from my employers, the Whiting Company, 
 
 73 
 
THE SOCIETY OF ICONOPHILES 
 
 to remain away from the works until such time as I could finish what I had 
 on hand, which was readily agreed to, work being very scarce in our depart- 
 ment there. The decoration of silverware by means of engraved ornament 
 had gone quite out of fashion, and there were only a few engravers left, and 
 they got work only a part of the time. It never became necessary for me 
 to return to my silverware engraving. 
 
 During that year, 1894, I engraved bookplates for Mr. Beverly Chew, Dr. 
 Charles E. Clark (2), a memorial plate for Mr. Avery, for his daughter's li- 
 brary, for Mr. W. L. Andrews, Whitelaw Reid, M. C. Lefferts, E. H. Bierstadt, 
 C. B. Foote, W. E. Baillie, Henry Blackwell, H. E. Deats, E. B. Holden (2) 
 and one for Mrs. Holden, E. R. Holden, J. P. Woodbury, Dr. R. B. Coutant, 
 James J. Goodwin and Rev. Francis Goodwin, of Hartford, Rev. Beverley 
 Warner of New Orleans, Jonathan Godfrey, C. C. Kalbfleisch, H. S. Rowe, 
 Miss Lawrence and J. H. Bates; also for the Oxford Club of Lynn, the Players, 
 the Colonial Dames of America and the Grolier Club. I also engraved an 
 invitation plate for the Metropolitan Museum, an illustration for Mr. 
 Andrews' Stray Leaf from the Correspondence of Charles Dickens and Washing- 
 ton Irving, and his imprimatur, after Millet's Sower, and commenced the first 
 engraving published by the Society of Iconophiles — the exterior view of 
 St. Paul's Chapel. 
 
 The next year, 1895, 1 made bookplates for L. I. Haber, R. S. Mansergh 
 of Tipperary, Ireland (who has the distinction of being the only client of 
 mine who never paid for plate nor printing), L. B. Lowenstein, A. C. Bern- 
 heim, E. D. Church, a memorial plate for the books of Mrs. Bakewell, C. B. 
 Alexander, a second plate for James J. Goodwin, J. W. Ellsworth, a small 
 plate for Mr. Chew, H. H. Vail, M. Taylor Pyne, M. P. Clough, H. A. Sherwin, 
 S. F. Barger, Miss M. G. Messenger, T. M. Osborne, F. E. Marshall, Miss 
 Holden, Percy R. Pyne, and J. K. Goodrich; also plates for the Library of 
 the Metropolitan Museum, with two electrotype variations, the Champaign 
 Public Library and one for the Club of Odd Volumes of Boston. I also en- 
 graved a plate for Mr. W. F. Havemeyer, after a design by Thomas Tryon, 
 one for Mr. Theo. L. DeVinne designed by G. F. Babb, and one for the 
 Biltmore Library in two sizes, from Mr. Vanderbilt's own design. For the 
 Society of Iconophiles I completed the following plates: "St. Paul's Chapel" 
 
 74 
 
AUTOBIOGRAPHY OF EDWIN DAVIS FRENCH 
 
 —"Interior of St. Paul's Chapel"— " Fraunces' Tavern "—" Roger Morris 
 House," and "Hamilton Grange." I also engraved three plates, two 
 copies of old engravings in the "New York Magazine" and one from a recent 
 photograph, and made numerous drawings for head- and tail-pieces and 
 initials for process reproduction, for Mr. Andrews' Old Booksellers of New 
 York. 
 
 The following were the bookplates made by me in 1896: W. L. Bull, 
 M. P. Clough, Library of N. Y. Bar Association, V. E. Macy, Tracy Dows, 
 two plates of different size for the Yacht Sovereign, after designs by 
 Thomas Tryon, the E. T. McLaughlin Memorial Plate for Yale University. 
 Dr. C. A. Herter, A. J. Morgan, Howard Willets, Robert Sedgwick, a pre- 
 sentation plate for Mr. Andrews, C. H. Taylor, Jr., after a design by E. B. 
 Bird, Mrs. Borland, Mrs. Plummer, another plate for H. A. Sherwin, the 
 John Crerar Library, Chicago, the Denver Club, after a design by Mrs. Sar- 
 gent, E. R. Lamson, after a design by E. H. Garrett, an ex dono plate for 
 Miss Messenger and a small plate for Mrs. Bliss. The same year I completed 
 the following plates for the Society of Iconophiles: "St. Mark's Church" — 
 "City Hall"— "The Tombs"— "Academy of Design"— and "St. John's 
 Chapel." I also engraved a large certificate plate for the Metropolitan 
 Museum, with three electrotype variations, and a fac-simile of the Hartgers 
 Fort Nieuw Amsterdam for the Society of the Colonial Order. Also a rather 
 large invitation card and admission ticket to the celebration of the fiftieth 
 anniversary of surgical anaesthesia at the Massachusetts General Hospital, 
 after a design adapted by B. G. Goodhue. 
 
 In the year 1897, I made bookplates for the Emmett collection of the 
 New York Public Library, for Mrs. Gray, Otto Kahn, Mrs. Carnegie, R. H. 
 McCarter, J. L. Stearns, Miss Kingsbury (after design by Miss Lillian West- 
 cott), Julian Marshall, of London, The Candidati (a literary club of young 
 women, who with feminine perversity assumed the masculine form of the 
 name, each of whom has an electrotype duplicate inscribed with her name), 
 William Connell, Miss Sabin, the Child Memorial Library of Harvard Uni- 
 versity, the Mark Skinner Library of Manchester, Vermont, Paul Lemperly, 
 H. C. Ranney, E. F. Burke, Miss Lefferts, Mrs. Hartshorne, a second plate 
 for Mr. M. T. Pyne, and the Library of Princeton University. I also en- 
 
 75 
 
THE SOCIETY OF ICONOPHILES 
 
 graved on copper, after the design of G. W. Edwards, the bookplate of the 
 Authors' Club. 
 
 For the Society of Iconophiles I completed the " Reservoir" and " Bowl- 
 ing Green" plates, concluding the first series of twelve plates issued by that 
 Society, and also engraved for Mr. Andrews the copy, after Hill, of Drayton's 
 "View of the Battery and Harbour of New York," used as a frontispiece to 
 his Journey of the Iconophiles. 1 also engraved the head- and tail-pieces 
 and initials for Mr. Andrews' book, New Amsterdam, New Orange and 
 New York, and a copy of the Montanus engraving of Novum Amsterodamum 
 for the New York Chapter of the Colonial Order. Another plate, a view of 
 Harvard University, for a Lowell Bibliography never published, was en- 
 graved by me in 1897. It was during this year that my health began to 
 fail, and I was advised by my physician to spend some time in the Adiron- 
 dacks. I came to Saranac Lake in August (1897), and the following year 
 built my cottage here, which has been my home since that time. 
 
 The list of bookplates engraved by me in 1898 is as follows: Mrs. Samp- 
 son, Abraham Goldsmith, G. A. Armour, A. D. Stratton, Dr. S. W. Lambert, 
 Barrett Wendell, Dr. Cushing, the Vassar College Historical Society, S. S. 
 Sherwood, the Burrill Collection of the New York Bar Association, H. R. 
 Winthrop, J. A. Goldsmith, the Twentieth Century Club of Buffalo, F. W. 
 VanWagenen, Mrs. Harold Brown, J. S. Cox, E. P. Williams, Mrs. Thorne, 
 Mrs. Nimick, J. E. Scripps, Arnold Wood, Dr. C. L. Dana (after design by 
 Kay Womrath) and Mrs. Prescott. I also copied for the New York Chapter 
 of the Colonial Order the engraving of Neu Jorck five Neu Amsterdam from 
 the map of Mathew Seutter. 
 
 In 1899, I engraved bookplates for Prof. S. E. Bradshaw, the Stickney 
 Collection of the Chicago Historical Society, J. F. Talmage, E. C. Gale, Mrs. 
 Wood, Mrs. Moore, H. R. Sedgwick, E. L. Boas, C. D. Allen, G. V. W. Dur- 
 yee, A(rnold) W(ood), Mr. Cushing, J. S. Williams, H(enry) B(lackwell) 
 and Mrs. Mackay. I also engraved a title page for Mr. Andrews' Trio of 
 French Engravers of the Eighteenth Century, and a facsimile from the Popple 
 Map of an engraving of New York in 1733. Much of the time during the 
 early part of this year I was prevented from working by serious illness. 
 The winter of 1899-1900, I spent in the South. 
 
 76 
 
AUTOBIOGRAPHY OF EDWIN DAVIS FRENCH 
 
 In 1900, commencing my work in Atlanta, Ga., continuing it in San An- 
 tonio, Texas, and returning to Saranac Lake in May, I engraved bookplates 
 for Miss Horsford, Henry Blackwell (presentation plate), Miss Messenger, the 
 Treadwell Library of the Massachusetts General Hospital (after design by 
 E. G. Goodhue), an Authors' Autograph plate for Paul Lemperly, the Uni- 
 versity Club, Cleveland, Maj. R. E. Hopkins, Miss Cheney, the Union League 
 Club, New York, C. L. F. Robinson, J. R. Livermore, N. T. Porter, Jr., 
 Silas Wodell, N. Y. Yacht Club, Dr. W. B. James, Miss Salmon, J. H. Buck 
 (design by Miss Marian Buck), Miss Chamberlain, Mrs. Foot, J. W. Loveland, 
 Miss Alexander, J. W. Bullock, and A. W. Little. 
 
 The list continues to the present time: J. B. Lamer, S. W. Woodward, 
 Miss Ruth Adams, two plates after the same design by Thomas Tryon for 
 the Yacht Sovereign, previously mentioned, adapted for M. C. D. Borden, 
 and Mrs. Whitin. For the New York Chapter of the Colonial Order I 
 made a copy of an old engraving representing New York at the time of the 
 Revolutionary War. I also designed and engraved a title page for Arnold 
 Wood's Bibliography of the Complete Angler. A Certificate of Membership 
 plate for the Society of Iconophiles was also commenced and dated in 1900, 
 and completed early the following year. 
 
 Many of the bookplates in the foregoing list are extremely unsatisfactory 
 to me. In the case of two or three there is the excuse that they were un- 
 dertaken for a very low price, which of course explains lack of elaboration, 
 but does not excuse slovenly work. I trust that some improvement has 
 been shown, and hope, if I live and have a reasonable degree of health and 
 strength to accomplish better work in the future. For what improvement 
 I have attained to, I am largely indebted to the encouragement afforded to 
 me by the Society of Iconophiles and its individual members. 
 
 E. D. French. 
 
 Saranac Lake, N. Y., 
 May 26, 1 90 1 . 
 
 77 
 
LIST OF MEMBERS 
 
OFFICERS 
 
 president 
 William Loring Andrews 
 
 secretary and treasurer 
 Richard Hoe Lawrence 
 
 ACTIVE MEMBERS 
 
 Wm. Loring Andrews 
 Beverly Chew 
 Tracy Dows 
 R. T. H. Halsey 
 Wm. F. Havemeyer 
 
 R. H. Lawrence 
 M. C. Lefferts 
 J. S. Morgan 
 Charles A. Munn 
 J. Harsen Purdy 
 
 ASSOCIATE MEMBERS 
 
 Edward D. Adams 
 George A. Armour 
 Collin Armstrong 
 Samuel P. Avery 
 Ezra H. Baker 
 
 Allan C. Bakewell 
 W. K. Bixby 
 W. M. Bullivant 
 William Bunker 
 J. Caldwell 
 81 
 
THE SOCIETY OF ICONOPHILES 
 
 ASSOCIATE MEMBERS— CONTINUED 
 
 H. H. Cammann 
 Charles W. Carpenter 
 J. H. Cohen 
 Harris D. Colt 
 J. C. Davies 
 Carroll Dunham 
 J. W. Ellsworth 
 Amos F. Eno 
 W. B. Osgood Field 
 
 G. S. Goodrich 
 John Gribbel 
 
 H. H. Harper 
 Robert Hartshorne 
 C. A. Herter 
 Richard M. Hoe 
 
 S. V. Hoffman 
 A. M. Hudnut 
 Archer M. Huntington 
 F. W. Jackson 
 Robert Jaffray 
 
 A. H. Joline 
 C. C. Kalbfleisch 
 E. G. Kennedy 
 S. W. Lambert 
 Charles W. McAlpin 
 J. M. Montgomery 
 H.H.Neill 
 N. Y. Historical Soci 
 H. Peirce 
 H. W. Poor 
 James T. Pyle 
 M. Taylor Pyne 
 A. H. Scribner 
 E. W. Sheldon 
 W. G. Shillaber 
 Henry F. Tapley 
 C. H. Taylor, Jr. 
 Roderick Terry 
 John P. Woodbury 
 Samuel Woolverton 
 
 82 
 
INDEX 
 
INDEX 
 
 PAGE PAGE 
 
 Academy of Design . . . 26, 30 Castle Garden . . 33, 55, 56, 58 
 
 Alms House . . . . 55, 56 Castle Williams . . . .55, =57 
 
 "Ambuscade" Frigate . . 44, 51 Century Association . . .13 
 
 Anderson, Alexander, por- City Hall in Park . . .25, 29 
 
 trait 35, 37 City Hall in Wall Street. 43, 44, 49 
 
 Astor Place Opera House . . 34 City Hotel 55, 57 
 
 "Atlantic Neptune" . . .65 City Prison 30 
 
 Banyer, Goldsborough . . .62 Clay, Henry, obsequies . . .62 
 
 Battery 33, 44, 49, 51, 55, 56, 58 Clinton, DeWitt, portrait . 40, 41 
 
 59, 65 Clinton Hall, Astor Place 33, 34, 63 
 
 Bellevue Hospital . . .55, 56 Clinton Hall, Nassau Street. 61, 63 
 
 Belvedere Club House . 13,44, 5° Clubs in New York . . . .13 
 
 Bowling Green . . 26, 31, 63, 65 Colles, Christopher . . . .31 
 
 Bradford Club 15 Columbia College .43, 45, 61, 64 
 
 Broadway, No. 1 .... 41 Custom House . 32, 43, 48, 61, 63 
 
 Broadway, No. 65 . . . .66 Dewey, Admiral, portrait . 40, 41 
 
 Broadway from Bowling Green . 59 Dewey Arch . . . . 40, 42 
 
 Broadway and Grand Street 61, 62 Doolittle, Amos, portrait . 35, 37 
 
 65 Drake, Joseph Rodman, por- 
 
 Broadway above Twenty-third trait 53, 54 
 
 Street 60 Dutch Reformed Church, 
 
 Broadway House . . .62, 65 Kingsbridge Road . . .34 
 
 Brooklyn Ferry. . . .55, 57 Erie Canal Celebration . . 40, 41 
 
 Burr, Aaron . 28, 34, 40, 42, 48 Evacuation of New York . 39, 41 
 
 Burr, Aaron, portrait . . 40, 42 Federal Hall . . .43, 44, 49 
 
 Castle Clinton . . . .515, 58 "Five Points" 34 
 
 85 
 
INDEX 
 
 "Flat Iron" Building 
 
 
 PAGE 
 . DO 
 
 New York, South East Pros- 
 
 1 
 
 'AGE 
 
 Fordham Manor Reformed 
 
 
 
 pect 
 
 61, 
 
 62 
 
 Church . . . 
 
 
 
 2/t 
 
 34 
 
 New York, South West Pros- 
 
 
 
 Fort George 
 
 
 
 4° 
 
 pect 
 
 61, 
 
 63 
 
 Fraunces' Tavern 
 
 
 z l> 
 
 on 
 
 New York from Fulton Street, 
 
 
 
 Fulton Street . 
 
 
 r r 
 
 55> 
 
 57 
 
 Brooklyn . 
 
 55' 
 
 56 
 
 Gaine, Hugh, portrait 
 
 
 35' 
 
 30 
 
 New York Historical Society . 
 
 
 29 
 
 Government House 32 
 
 . 43- 
 
 a8 
 
 4°> 
 
 61 
 
 Oyster Market .... 
 
 
 34 
 
 63, 64 
 
 
 
 
 
 
 59 
 
 Grace Church . 
 
 
 \JZ r 
 
 
 
 
 34 
 
 Grand Street and Broadway . 
 
 6l 
 
 6"? 
 
 Portraits: 
 
 
 
 65 
 
 
 
 
 Anderson, Alexander . 
 
 35' 
 
 37 
 
 Grolier Club 
 
 
 
 '4 
 
 Burr, Aaron . 
 
 40, 
 
 42 
 
 Halleck, Fitz-Greene, 
 
 por- 
 
 
 
 Clinton, DeWitt . 
 
 40, 41 
 
 trait . 
 
 
 
 53 
 
 Dewey, Admiral . 
 
 40, 41 
 
 Halls of Justice . 
 
 
 Z J> 
 
 3 U 
 
 Doolittle, Amos . 
 
 35' 
 
 37 
 
 Hamilton, Alexander, 
 
 por- 
 
 
 
 Drake, Joseph Rodman . 
 
 53' 
 
 54 
 
 trait . 
 
 
 AC\ 
 
 4^ 
 
 Gaine, Hugh . 
 
 35' 
 
 3 fi 
 
 Hamilton Grange . 25, 28, 
 
 ACt 
 
 
 Halleck, Fitz-Greene . 
 
 
 53 
 
 Harlem River . 
 
 
 
 33 
 
 Hamilton, Alexander . 
 
 40, 
 
 42 
 
 High Bridge 
 
 
 
 33 
 
 Lafayette . 
 
 39' 
 
 40 
 
 Hudson Square . 
 
 
 
 3° 
 
 Revere, Paul . 
 
 35' 
 
 36 
 
 Jumel Mansion . 
 
 
 z 7> 
 
 28 
 
 Rivington, James . 
 
 35. 
 
 37 
 
 King's College . 
 
 • 45' 
 
 6l 
 
 6/1 
 
 Thomas, Isaiah . 
 
 35' 
 
 36 
 
 Lafayette, portrait . 
 
 
 2 C\ 
 
 39' 
 
 /in 
 
 Washington . . . . 
 
 39- 
 
 40 
 
 Livingston, John R. 
 
 
 
 66 
 
 Reade Street, No. 11 
 
 33- 
 
 34 
 
 McComb, John . 
 
 . 29, 
 
 3°' 
 
 62 
 
 u 3 
 
 Reservoir on Murray Hill 
 
 26, 
 
 3 1 
 
 Mercantile Library . 
 
 
 34» 
 
 62 
 03 
 
 Revere, Paul, portrait . 
 
 35' 
 
 36 
 
 Middle Dutch Church 
 
 
 43» 
 
 45 
 
 Richmond Hill House 40, 42, 
 
 43' 
 
 47 
 
 Montgomery Monument 
 
 
 
 06 
 
 Rivington, James, portrait . 
 
 35' 
 
 37 
 
 Morningside Park . 
 
 
 
 
 Rutherford House . 
 
 55' 
 
 58 
 
 Morris House 
 
 
 25. 
 
 28 
 
 St. John's Chapel 
 
 26, 30 
 
 Murray Hill Reservoir 
 
 
 26, 
 
 3 1 
 
 St. John's Park . . . . 
 
 
 30 
 
 "Nassau," ferry-boat 
 
 
 56, 
 
 58 
 
 St. Luke's Hospital . 
 
 
 33 
 
 Nassau Street . 
 
 
 
 59 
 
 St. Mark's Church . 
 
 25. 
 
 28 
 
 New Amsterdam about 1 
 
 650 . 
 
 61, 
 
 64 
 
 St. Paul's Chapel 25, 26, 29, 
 
 43' 
 
 48 
 
 New Dutch Church . 
 
 
 43' 
 
 45 
 
 55, 58, 62, 66 
 
 
 
 New York in 1775 . 
 
 
 62, 
 
 65 
 
 
 
 67 
 
 86 
 
INDEX 
 
 PAGE PAGE 
 
 Seals of the Society . 6, 7, 13, 15 Trinity Church . .43, 46, 62, 66 
 
 South Street 34 Union Club 13 
 
 Staffordshire Pottery . . 55, 56 Union League Club . . . .13 
 
 State Street, Nos. 16-19. . 62, 65 Union Square 60 
 
 Stock Exchange . . . .59 United States Branch Bank . . 66 
 
 Strickland, William . . .66, 67 University Club. . . . 13, 14 
 
 Stuyvesant Vault . . . .29 Van Courtlandt Park . . .34 
 
 Thomas, Isaiah, portrait . 35, 36 Washington, portrait . . 39, 40 
 
 "Times" Building . . . .60 Whitney, Stephen . . . .65 
 
 "Tombs" 25, 30 William Street 59 
 
 87