The Portraiture of the
American 'Revolu
tionary War

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390 [REVOLUTIONARY PORTRAITS.]
Essav on the Portraiture of the American
'Revolutionary War. 1896. With plates
reproducing 20 rare engravings. One : ot
185 copies on hand made paper. With
long bibliographical inscription by the
author Wm. Loring Andrews on front
end leaf. ff *17-50

AN ESSAY ON THE PORTRAITURE
OF THE AMERICAN REVO
LUTIONARY WAR

Of this book there have been made one
hundred and eighty-five copies on hand
made paper, and fifteen copies on Imperial
Japan paper, the printing of which was
completed in the month of April, 1896.

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A N
ESSAY ON
THE PORTRAITURE OF
THE AMERICAN REV
OLUTIONARY WAR
BEING
An Account of a number of the Engraved
Portraits connected therewith, re
markable for their rarity or
otherwise interesting
BY
WILLIAM LORING ANDREWS
To which is added an
APPENDIX
containing lists of Portraits of Revolution
ary characters to be found in various
ENGLISH and AMERICAN pub
lications of the eighteenth and the
early part of the nineteenth century
ILLUSTRATED
with reproductions by the Photogravure Process
of twenty of the ORIGINAL ENGRAVINGS
NEW YORK
Printed by Gilliss Brothers for the Author
and sold by Dodd, Mead & Co.
MDCCCXCVI

Copyright, 1896
By William Loring Andrews

PROEM

PROEM

FOR many years, so many, in fact, that I
no longer go out of my way to reckon
them, I have had a fondness for old prints,
especially for those which illustrate American
History. This essay is the outcome of this
mania which has led me to devote a portion
of my leisure time during the past winter to an
examination of engravings in my own posses
sion and others to which I have had access,
which relate particularly to the Portraiture
of the Revolutionary War.
A lover and collector of books of wide expe
rience, to whom I confided my intention to
print the results of these inquiries, stamped
the project with his approval, but suggested
that the article should be extended so as to in
clude "Views " which illustrate or profess to

Proem
illustrate incidents in Revolutionary history.
Upon the taste and judgment in matters bibli
ographical of this friend and mentor of mine I
place great reliance, but in this instance I
rejected his advice. True, before me lay in
all the glory of its Marshall frontispiece that
multum in parvo, " Abbott's Briefe Description
of the Whole World," a book which, despite
its weighty title, every collector of early Eng
lish literature knows can be carried off hidden
in one's waistcoat pocket. Inspiring as was
the sight of this little duodecimo, I recoiled
from an attempt to follow in the wake of a
Primate of all England, and deemed it the
part of prudence to confine this present cruise
to the narrow placid waters of one of the
sheltered bays which, to the great comfort of
inexperienced navigators like myself, here and
there indent the shores of the vast and tumult
uous sea of human knowledge.
A book upon the subject I have chosen calls
for pictorial treatment, and in my selection of
prints wherewith to adorn my text I have
been guided largely by the rarity or beauty of
the engravings. Fortunately, both these qual-

Proem
ities are frequently found combined in one and
the same print, so that this portion of my task
has not been attended with difficulty.
I am obliged here to confess that, gray-
headed collector as I am, there are Revolution
ary portraits still known to me only by repute,
and as to which I have only hearsay evidence
to offer in these pages. Among these prints
are several curious ones, that I greatly desired
to secure for purposes of reproduction, but was
unable to obtain. Still, I venture to believe
that the group of twenty pictures which, by
means of forced levies upon the treasures of
friends and acquaintances, I have succeeded in
forming, will prove fairly illustrative of the text
they accompany, and materially assist in the
elucidation of the subject.
I do not claim that the list of portraits con
tained in various Magazines catalogued in the
Appendix are in all cases complete. I have
tabulated the prints I found in the particular
copies of these periodicals that I have been
able to consult, but it is quite impossible to
vouch for the perfect condition of all old Mag
azines, no matter how high may be the stand-

Proem
ing of the Public or Private Library of which
they form a part.
In conclusion, I beg to acknowledge my in
debtedness to all those who by word or deed
have kindly aided and abetted me in this effort
to throw a few additional gleams of light upon
a topic of interest, not only to the American
Bibliophile and print collector, but to every
patriotic citizen of this Republic.
William Loring Andrews.

LIST OF PLATES
with sizes of the original
engravings

Washington, by Chas. W. Peale,
Officers of the British Army
in New York
Col. Benjamin Church and Mr
C. Churchill (each)
Philip King, of Mount Hope
Benjamin Franklin
Diedrich Knickerbocker
The Boston Massacre
Washington, by Campbell
Charles Lee, Esq^ .
Marquis de la Fayette .
Brockholst Livingston .
Washington, by Savage* .
Lady Ackland
Lieut.-Col. Tarleton* .
Colonel Arnold
Washington, by Buxton .
John Jay
Mr Samuel Adams and the Hon
John Hancock, Esq. (each)
*The small engraving

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AN ESSAY ON THE PORTRAITURE
OF THE AMERICAN REVO
LUTIONARY WAR

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AN ESSAY ON THE PORTRAITURE
OF THE AMERICAN REVOLU
TIONARY WAR

THE victim of that incurable malady — a
love of old prints — who turns to the
ensuing pages with the expectation of finding
in them a full, accurate and erudite account
of all the portraits relating to the Revolution
ary War that it has ever entered into the way
ward heart of man to conceive, is doomed to
disappointment. On the contrary, the author,
with malice prepense, has avoided long drawn
out lists of names and a categorical array of
dusty facts and prosy figures. For painstak
ing clerical minutiae he frankly admits he has
little gusto, and is fully conscious of the fact
that the patient inquiring spirit of the Cen
sus-taker forms no component part of his
mental equipment. Consequently, although
a select assortment of names throws a seemly

The Portraiture of the
air of research over the appendix (to which
as far as possible, unavoidable details have
been relegated), the body of our text will be
found deficient in plain unvarnished facts —
the dry bones which form the skeleton of all
legitimately constructed descriptive writing.
With the distinct understanding, therefore, that
this dissertation is put forth simply as a bird's-
eye view of the field in which the collector of
American Revolutionary portraits manoeuvres
his forces, and not as a military map thereof,
drawn to a scale, let us proceed to the consid
eration of our subject.
A collection of contemporary prints illus
trating the war which left the people of the
United States a free and independent nation,
serves a double purpose. While it supplies an
object lesson in the impressive chapter with
which the history of the American Republic
opens, it, at the same time, affords an oppor
tunity for the study of the practice of the art
of engraving. The prints which line the port
folio of the patriotic American collector will
be found to run the gamut, from the finished
work of a master hand down to the semi-bar
barous production of the veriest tyro in the
Art. Prints of the baser sort — artistically
speaking — of course predominate. Many of

American Revolutionary War
the early portraits which illustrate this crucial
period of our history are so coarse and crude
in design and execution that by means of
their very grotesqueness they exercise a cer
tain weird fascination over the collector. Like
as a mother bestows more than its share of af
fection upon a deformed or weakly member of
her little flock, so the possessor of these un
couth, half-finished graven effigies cherishes
them more fondly for their faults and frailties.
Moreover, a print may be so exceedingly rare
that a second thought is never given to its
technical defects. The passion for the odd
and antique renders the collector purblind to
pictorial merits or demerits, and indifferent to
captious criticism founded upon the lack of
artistic quality in the heterogeneous assem
blage of old prints, which, with infinite pains,
he has gathered from the four quarters of the
globe. In the New York Magazine, published from
1790 to 1797, there is a poorly executed por
trait of General Wayne. It may bear a remote
resemblance to " Mad Anthony," or it may be
an altogether apocryphal portrait. In the
" National Portrait Gallery of Distinguished
Americans," — the best and largest collection
of American portraits that exists — there is also

The Portraiture of the
a picture of General Wayne, well engraved by
Prudhomme, which is an authentic portrait of
the Hero of Stony Point, for it is taken from
a sketch by Colonel Trumbull. Now mark
the natural perversity of the collector's mind.
The latter print he may secure at a trifling
cost, for the book which contains it is still in
the market, although it is rapidly disappearing
before the onslaughts of the " extra illustrator."
This satisfactory engraving and genuine like
ness the hardened and depraved collector passes
by disdainfully and awaits, with what patience
he may, an opportunity to give in exchange
for the poorer print twenty times as much good
coin of the commonwealth.
A just and reasonable doubt as to the authen
ticity of the fearfully and wonderfully construct
ed " effigies " he from time to time secures
never disturbs for a moment the stoical com
posure of the print collector. He is perfectly
prepared to admit that they may be — probably
are — made out of whole cloth ; filmy, tangled
fabrics woven from the tissue of the artist's
teeming brain. If it be a rare view which the
amateur brings forth from his cabinet and exult-
ingly spreads before you, such incongruities as
castellated buildings, with mediaeval portcullised
drawbridges casting their sombre shadows a-

American Revolutionary War
thwart the streets of colonial New York, and
stately palms lifting their fronded heads above
the tropical vegetation of its suburbs, never
ruffle his complacency an iota. Palpable evi
dences such as these that the artist had never
been within thousands of miles of the scenes he
attempted to depict, and drew ad libitum upon
his imagination for the sundry unrelated parts
of his composition, call forth no explanatory
or apologetic remarks, or lessen to an appre
ciable extent the happy owner's pride and joy
in his possessions.
We may judge by the following conspicuous
instance with what facility portraits of our dis
tinguished forbears have been made to order
out of hand. In an edition of that author
itative narration, Church's " King Philip's
War," published at Newport, R. I., in 1772,
there is an alleged portrait of Colonel Benjamin
Church, engraved by the noted Paul Revere.
For the sake of comparison we have placed in
juxtaposition to it a portrait of Mr. C. Churchill,
taken from Smollett's History of England,
1758-65. The only difference between the two
portraits that can be detected is that the en
graving is transposed and the stalwart Puritan
captain has a powder-horn suspended from his
neck. The prints are of exactly the same size,

The Portraiture of the
and in all other respects they are identical.
The reversed position of the portrait may be
accepted as an additional proof that one was
copied from the other. Here seemingly is
prima facie evidence that, there being no true
portrait of Colonel Church in existence, Mr.
Churchill was pressed into service as his sub
stitute by the ingenious Captain Paul Revere.
A modern engraver appears to have accepted
this print without hesitation as a genuine like
ness of Colonel Church, and carefully re-en
graved it in line on steel, thus giving still
wider currency and a longer lease of life to a
picture which, while the circumstantial evidence
in the case remains unrefuted, we feel justified
in regarding with extreme suspicion.
This same rare edition of Church's history
contains a portrait of " Philip, King of Mount
Hope," engraved by Revere, which most as
suredly was evolved entirely from his own inner
consciousness. Any one who has ever cast eyes
upon this fantastic creation will at once admit
that it reflects infinite credit upon the artist's
inventive faculties. If childhood could be
brought to mend the error of its ways through
fear of hobgoblins, a judicious use of this cari
cature certainly would have turned all the little
men and maidens of New England forthwith

HIIJlP. KING of Mount Hope.

American Revolutionary War
into models of prim propriety, albeit they were
as irrepressible as some of their descendants,
against whose flow of animal spirits it was
deemed necessary to take the precautionary
measure we find announced in the Boston
Columbian Centtnel of Saturday, February
2id, Anno Domini 1800:
Columbian Museum.
MR. BOWEN refpectfully informs
the Public that the Mufeum will be opened THIS
DAY, Feb. 221I from 3 o'clock in the afternoon till eight
in the evening, with Solemn Music on the Organ.
The elegant MONUMENT erected
to the memory of the late President of the United Stales
will be illuminated with Sixteen candles for this evening on
ly, in a circle round the URN.
U^*" No children will be admitted, as the folemnity of the
occafion requires as much filence as possible. Tickets as usual.
This picture of the noted Indian chief was
re-engraved at a later period, with the full title
of Philip, alias Metacomet of Pokanoket, and
given to the world hedged about with this care
fully guarded statement : " Engraved from the
original as published by Church."
Quite as dexterous a feat of artistic legerde
main as the one which transformed the civilian
Churchill into the soldier Church was that
which, in the twinkling of an eye, turned Sir
William de la More into General Washing
ton.

The Portraiture of the
This portrait is thus described by Mr. W. S.
Baker, in his work, " The Engraved Portraits
of Washington," No. 426:
The True Portraiture of his Excellency,
George Washington, Esq^,
in the roman dress,
as ordered by Congress for the Monument to
be erected in Philadelphia to perpetuate
to Posterity the man who com
manded the American forces
through the late glori
ous Revolution.
This print is copied from one of Sir Wil
liam de la More in full coat of mail, which was
published in Guillim's Display of Heraldry,
Fifth Edition, London, 1679. For the follow
ing careful comparison of the two prints I am
indebted to the Honorable James T. Mitchell,
of Philadelphia :
Washington in Roman Dress. Copied
from plate of Sir William de la More, but dif
fers in small points throughout.
Washington, plate mark, 12^ x 7^3 inches.
More, plate mark, n^ x jy& inches.
Washington, engraved surface, 9 3-16 x 71^
inches.
More, engraved surface, 9^x7 inches.

American Revolutionary War
Washington has no flag on the staff, the
head is turned to left and the shoulders slightly
in same direction, while in More the head and
figure are turned to right. The legs of Wash
ington are thinner and straighter than More's.
The shading of the sky is different and Wash
ington has no birds flying, while More has six.
The battle in right background is much less
finished than in More. On main points, how
ever, the copy is close throughout.
As faithful presentments of the faces and
figures they feign to portray, many, probably
most of these early prints are of little value.
Of few of them may it be said with truth that
" The sculptor's part is done, the features hitt."
This criticism applies with special force to en
gravings in which the eighteenth century Teu
ton* had a hand, and with his burin in rest
went cavorting wildly amid sight and scenes
that he had never met with except in dreams.
Quite as unreliable are the pieces put forth by
our own engravers in those early days, when
Art had few devotees among us, and only a
dozen at the most of self-instructed carvers
of copper plates, mostly recruits, like Paul
*Especially to the enterprising picture makers of the town of
Augsburg, in Bavaria, noted, in the last century, for the excellent trade
done in printing, engraving and bookbinding.

The Portraiture of the
Revere, from the ranks of the silversmiths,
(as was the great Hogarth, for that matter,)
worked merrily away with none to molest
or make them afraid of taking liberties
with the faces of their distinguished contem
poraries. As time passed on, however, there
arose a school of competent and skillful engrav
ers, long led by the late Asher B. Durand, ably
seconded by Paradise, Longacre, and Prud
homme, and for a period lamentably circum
scribed, pure and legitimate steel and copper
plate engraving flourished in the land.
From the engravers in line, stipple and
mezzotint of both England and France we
have had from an early period fine examples
of graphic art in prints which illustrate Ameri
can history. Of the redoubtable Captain John
Smith, for example, there is an engraving, as
fine as it is rare, by Simon de Passe, which is a
" veritable presentment " of the father of the
colony of Virginia,* if we can believe the eulo
gistic lines which we find inscribed beneath it,
after the fashion of those days of " portrait
verses," when the poet was called upon to sup
plement the work of the artist, and performed
*This portrait appears in the upper left hand corner of the Map of
New England in Smith's Description of New England. Printed at
London, by Humfrey Lownes, for Robert Clerke, 1616.

American Revolutionary War
his allotted part with such delightful quaintness
and originality.
" Thefe are the Lines that mew thy Face ; but thofe
That shew thy Grace and Glory, brighter bee
Thy .FtfjVv-Difcoueries and .Fflw/tf-Overthrowes
Of Salvages much Civiliz'd by thee.
Beft shew thy Spirit ; and to it Glory Wyn
So, thou art Brafse without but Golde within

If fo in Brafse, (too foft smiths Acts to beare)
I fix thy Fame, to make Brafse Steele outweare
Thine as thou art Virtues."
John Dauies, Heref.
There are a number of fine engravings and
trustworthy likenesses of the Quaker, William
Penn,* without — but more often with — the hat
which he refused to doff even in the august
presence of his King. Of Cecil Calvert, Lord
Baltimore, there is a good folio, three-quarter
length, by Blotling; of James II., when Duke
of York, one by Loggan ; and of courtly Sir
Walter Raleigh, the " honorable and learned
* An oftavo portrait of Penn, engraved in stipple by Edwin from a
bust by Sylvanus Bevan, is a scarce and high-priced print. There are
better portraits of Penn of English execution that are less expensive, but it
must be borne in mind that an eighteenth century American engraving
always takes precedence in the estimation of the collector over one of
the same period executed abroad.

The Portraiture of the
knight," and of his royal mistress, the Virgin
Queen, there are portraits galore in all shapes
and sizes, executed by such clever wielders of
the graver as Rogers, the Passes, Vaughn, Cross
and Marshall. These and others we might
mention were, it is true, simply proprietors and
not sons of the soil ; but the American citizen,
native born, had not yet had time or oppor
tunity to make for himself a world-wide repu
tation. As we pass on to revolutionary times,
it would appear that he speedily began to gain
notoriety and attract attention in foreign parts,
if the portraits of our worthies which the best
artists of Europe then produced are allowed in
evidence. Portraits of Washington and Franklin, es
pecially the latter, engraved in France and
England are, as would naturally be expected,
the most numerous. Mr. Elias Dexter, the
old print-seller of our younger days, collected
several hundred different portraits of Franklin,
and I do not believe he considered his col
lection complete. Many of these engravings —
all the finest — are French. The heart of the
French nation went out to the struggling young
republic across the sea, and when the American
Commissioner, in his plain attire of " garments
grey," appeared at the gilded court of Ver-

American Revolutionary War
sailles, that gay and brilliant company made
him the idol of the hour and paid him the sin-
cerest form of flattery by aping the simple fash
ion of his dress. The foremost painters and
sculptors of France vied with each other in
depicting on paper, canvas and ivory, in bronze,
marble, bisque and porcelain, the curled and
powdered wig, fur cap and spectacles of Frank
lin, until the wise, benevolent, kindly face of the
Philadelphia printer became known throughout
the length and breadth of the kingdom. The
flattering lines which appear at the foot of a
beautifully engraved octavo portrait of Frank
lin by Le Beau attest the admiration of the
French people for the character and genius of
the transatlantic statesman, philosopher and
sage, who for more than eight years sojourned
among them :
" Sa Vertu, son Courage et sa Simplicite,
De Sparte ont retrace le Caractere Antique
Et cher a la raison, cher a l'Humanite
II Eclaira l'Europe et sauva l'Amerique."
The most beautiful of the small portraits of
Franklin is the duodecimo we have reproduced,
engraved by Alexandre Tardieu after the paint
ing by Duplessis. It is a gem of copper-plate
engraving of the very first water, such as only
13

The Portraiture of the
the best of the French " Graveurs du dix-
huitieme siecle " were capable of producing.
Next to the Washingtons and Franklins in
point of number, as well as in the quality of
the engravings that are procurable, are portraits
of the Marquis de Lafayette. After passing
" on Fame's eternal beadroll " this name, so
affectionately regarded by all Americans, we
have less freedom of selection in completing our
galaxy of Revolutionary celebrities, but of
almost every individual at all distinguished in
the annals of those days some picture is to be
had, good, bad or indifferent. It may be a
speaking likeness or it may be a transparent
fraud. A few names, however, are wanting in
the series of Icones Heroum Americanorum
which we greatly miss. We may take our
choice of a number of good pictures of the
" Unfortunate Major Andre," but of the " mar
tyr spy," Captain Nathan Hale, who came to
the same pitiable ending of a brave career,
there is no engraved portrait.
A scarce and curious octavo print, to which
attention may be drawn in this connection, is
conjectured to be a portrait of the executioner
of Nathan Hale, one William Cunningham, a
riding master in this city before the Revolution
and a Loyalist of the most obnoxious type.
14

American Revolutionary War
During the British occupancy he was made
Provost Marshal and placed at the head of the
police of the city. While this picture can
not be positively authenticated, the coarse,
brutal face which glares at the beholder from
this engraving answers perfectly to the char
acter which history ascribes to the cruel Cun
ningham. The inscription at the bottom of the
plate strengthens the belief that it is a genuine
likeness of the notorious Provost. It reads
thus : "This portrait was taken by an artist of
eminence and stuck up in the English Coffee
House at Dunkirk and was greatly admired
there as a good, characteristic likeness."
There is a colored engraving by A. H.
Ritchie, after a design by F. O. C. Darley, en
titled "Last Words of Captain Nathan Hale,
the Hero Martyr of the American Revolu
tion," published some thirty or forty years ago,
in which the face of Cunningham appears, and
bears quite a strong resemblance to the portrait
"stuck up in the English Coffee House at
Dunkirk," but it may be a mere coincidence,
as it is doubtful if Mr. Darley ever saw the
engraving above described. The scene he
portrays is, of course, purely imaginary. The
story of the last moments of Nathan Hale,
which has been perpetuated for all time by a
'5

The Portraiture of the
statue on the spot where he suffered martyr
dom is told effectively in the stirring martial
lyric by Francis M. French, three verses of
which we quote :
" To drum-beat and heart-beat,
A soldier marches by ;
There is color in his cheek,
There is courage in his eye,
Yet to drum-beat and heart-beat
In a moment he must die."

" 'Neath the blue morn, the sunny morn,
He dies upon the tree ;
And he mourns that he can lose
But one life for liberty ;
And in the blue morn, the sunny morn,
His spirit wings are free."

" From Fame-leaf and Angel-leaf
From monument and urn,
The sad of Earth, the glad of Heaven
His tragic fate shall learn ;
And on Fame-leaf and Angel leaf
The name of Hale shall burn ! "
We have at least five early engravings of
Major John Andre, all of an octavo size, be-
16

American Revolutionary War
sides the engraving in Barnard's History* of
England, London, 1782, which depicts his ex
ecution. The light-hearted banter in the clos
ing verse of Andre's well-known ballad, " The
Cow Chace," has a different sound when it is
read under the shadow of his scaffold.
" And now I've closed my epic strain,
I tremble as I show it,
Lest this same warrior-drover Wayne
Should ever catch the Poet."
The last canto of this epic was published in
Rivington's Gazette on the day when Andre
was captured. The original copy is, it is said,
still in existence and has the following endorse
ment upon it, beneath the signature of Major
Andre :
" When the epic strain was sung
The poet by the neck was hung
And to his cost he finds too late
The dung born tribe decides his fate."
The Articles of War were strictly enforced
in both the American and British camps, and
*This folio volume and another similar work by Raymond, pub
lished about the same time, supply a number of Revolutionary and pre-
Revolutionary scenes of a more or less fabulous character, among them
" Braddock's Defeat," " Burning of Charlestown," " Capture of Gene
ral Lee " and "The Surrender of Cornwallis."
17

The Portraiture of the
the captured spy received a long rope and short
shrift, as witness General Putnam's sententious
reply to Governor Tryon, who had demanded
the release of Lieutenant Palmer, an English
officer, detected as a spy in Putnam's camp :
" Sir : Nathan Palmer, a lieutenant in your
King's service, was taken in my camp as a spy ;
he was condemned as a spy, and he shall be
hanged as a spy. P. S. Afternoon. He is
hanged." Of the unfortunate Andre, whose career,
up to the time of the Arnold conspiracy, as a
social leader in New York and Philadelphia,
where he was the organizer and leading figure
in the famous Meschianza, had been so bril
liant, and whose tragic end affected so wide a
circle of friends, the portraits are as follows :
First. The one which appears in Joshua
Hett Smith's "Authentic Narrative." To
which is added : " A Monody on the Death
of Major Andre, by Miss Seward." London,
1808. This book also contains a print of
Andre's Tomb in Westminster Abbey. The
portrait is in an ornamental frame, which en
closes at the bottom a female figure weeping
at a tomb.
Second. " Major John Andre. Late
Adjutant General to the British Army in

American Revolutionary War
North America." Full length. Dodd, delin.
Cook, sculp. Engraved for Raymond's His
tory of England.
Third. " The Unfortunate Major An
dre." Bust in an oval, above an emblematic
female figure of Truth, in clouds with sun
burst, all within a rectangle. I am unable to
trace the origin of this print.
Fourth. " Major John Andre, Adjutant
General to his Majesty's Forces in North
America, under the command of Sir Henry
Clinton." Bust in an oval in square, with
tablet. Engraved by D. Berger.
Fifth. " Major Andre." Whole length,
published in Walker's Hibernian Magazine,
Dublin, 1771-1811.
The " Hibernian " is an excessively scarce
periodical. The British Museum possesses
only a very imperfect copy, wanting portions
of even the text and with " the plates very
deficient throughout."
A more modern print of Major Andre is a
small plain oval. Engraved by J. K. Sherwin,
after a painting by Major Andre.
In passing, it may be interesting to mention
the fact that the original pen and ink drawing
of himself, made by Andre the night before
19

The Portraiture of the
his execution, is now in the collections of Yale
College. The engraving by Jean Borait Winckler,
hitherto presumed by collectors to contain a
picture of Major Andre, presents an interest
ing study of the various phases through which
a print may be made to pass by means of a
little simple manipulation by an unscrupulous
hand. This engraving, which we reproduce, was
printed for Carrington Bowles, in St. Paul's
Churchyard, London, and is entitled " Les
Royalists ou les Officiers du premier Rang de
l'Armee Engloise et des Trouppes auxilieures
a Novelle Yorck " (title repeated in German).
Three officers in the center of the room are ex
amining a map. It has been innocently surmised
that the seated figure holding the map repre
sented Sir Henry Clinton, and the one stand
ing, with a long-stemmed pipe in his mouth,
Lord Howe, while the figure of a young man in
a cocked hat, writing at a side table, has passed
for Major Andre. See plate facing page i.
Except in size and the omission of the
seal with arms from the lower margin, this
engraving is no more nor less than a copy of a
finer and larger engraving (17^ x 13^3 inches)
by J. Houbraken, after a painting by Cor
nelius Troost — known as the Dutch Hogarth,

Uicdench Knukerhcter rcorrdwptfie q/riOarU acUms owl achieve
ments of the c/uvalrcc Feier StiLyrtsajil

American Revolutionary War
— which bears the following inscription (re
peated in Dutch) :
Second Corps de Garde d'Officiers Hollandois
Dedie a Monsieur Dionis Muilman
Conseiller de la Ville d' Amsterdam
par son tres humble Serviteur
P. Fouquet, junior.
Tire du Cabinet de Monsieur Dionis Muilman*
de la meme grandeur que 1' Original
A Amsterdam chez P. Fouquet junior 1760.
It would seem as though this composition,
by Troost, having performed such efficient ser
vice, ought not in fairness be asked to take
part in still another role. But lo and behold,
after the better part of a century of repose
the busy scrivener in his cosy corner is neatly
excised from the surrounding engraving and
appears again in Valentine's Manual of the
Corporation of the City of New York, for the
year 1851, as our renowned local historian,
" Diedrich Knickerbocker," vide the reproduc
tion on the opposite page for ocular demonstra
tion of the truth of this statement.
The portraits by J. Normanf of General
and Mrs. Washington, published in Boston,
*This collection was sold in 1773, and the picture of " The Dutch
Guard" brought 186 florins.
¦(¦Inscription on this engraving : " B. Blyth, del. J. Norman,
Sculp. His Excellency, George Washington, Esq., General and Com
mander in Chief of the Allied Armies supporting the Independence of

The Portraiture of the
March 26th, 1782, by John Coles (called large,
in contradistinction to the " Washington " by
the same artist in the " Impartial History"),
stand pre-eminent among rare Revolutionary
prints. Only a very few copies of these two
prints are known to exist. As atrociously bad
engravings they rival the set of four Doolittle
prints* of the battles of Lexington and Con
cord (claimed to be the first historical engrav
ings executed in this country), which were
published at four shillings plain and six shil
lings colored. The Lenox Library recently
paid five hundred dollars for a set of the
Doolittle prints. These and the Norman
Washingtons when offered for sale tempt more
dollars from the collector's purse than any
other Revolutionary prints, except it might
be the original Boston Massacre, by Paul
Revere, but a perfect copy of this engraving is
now simply not to be had for love or money.
Almost as difficult to find as any of
America." Taken from an original picture in possession of his Excel
lency Gov. Hancock, published by John Coles, Boston, Mch. 26th,
1782. *Barber, in his "History and Antiquities of New Haven," states
that these prints were engraved on copper in 1775, by Amos Doolittle,
from original paintings taken on the spot by Mr. Earl, a portrait
painter. They were Mr. Doolittle's first attempt at the art which he
pursued for more than half a century. (Where are the results ?) Mr.
Doolittle was still living and practicing his art as late as 1831.

American Revolutionary War
the above-mentioned prints is the " Pater
Patriae " portrait of Washington (described by
W. S. Baker, No. 403) painted by John Coles,
Jun., engraved by E. G. Gridley, Boston, 1800,
a very small portrait with a mass of symbolical
surroundings. The earlier American engrav
ers were fond of giving their " effigies " elabo
rate borders, some of which display considera
ble ingenuity, and not a little artistic feeling.
Perhaps they caught the pretty trick from some
old silvery and elaborately bordered print by
Marshall or Deleram that fell in their way ; not
that the ornamental surroundings we find on
American prints are Marshallesque in character;
they would rather, I judge, be classed by Ex-
Libris authorities — the priests of the last new
cult among collectors in the order of Chippen
dales. For some — to the lay mind — occult
reason, borders of any kind are engraved only
in line or stipple. At least, I cannot recall
having seen a mezzotinted border to a print.
If a mezzotint has a border at all — which is
rarely the case — it is engraved in line or stipple.
A number of contemporaneously engraved
" heads " in octavo — that convenient size for
the " extra illustrator " — are supplied by our
own eighteenth century magazines : The
Royal American, The New York, The Colum-
23

The Portraiture of the
bian, The Massachusetts, and The Monthly
Military Repository ; by "Andrews'," " Rus
sell's" and "Murray's" (English) "Histories
of the War ; " by The London, The Universal,
The Political,* The Westminster/)- The Lot
tery, and The European magazines, and by
the "Impartial History," that book so greatly
coveted by the collector, which contains a dozen
alleged portraits of prominent Revolutionary
characters, including an extraordinary picture,
or, more properly speaking, unintentional carica
ture, of General Washington. There were two
editions of this work, one printed in Carlisle
and London by R. Faulder, 1780, and the
other in Boston by Nathaniel Coverly and
Robert Hodge, 1781-82, both in octavo.
The last named, with the plates engraved by
J. Norman, is by far the rarer, and from the
standpoint of a print collector on this side the
sea, altogether the more desirable. They are
not the best engravings but they are the most
singular and original looking prints, and, be
sides, are of home manufacture, and supply us
with specimens of American engravings in the
*The Political Magazine, London, 1780, five volumes (octavo),
contains portraits of Andre, Burgoyne, Carleton, etc., and others.
¦(-Westminster Magazine, London, 1773-1785. Thirteen volumes
(octavo), contains portraits of Washington, Henry Laurens, Benedict
Arnold, Colonel Tarleton, Lord Rawdon and others.
^4

American Revolutionary War
eighteenth century which are not always to be
had for the asking. It is important for the col
lector to secure both editions of the " Impar
tial History," as the same individuals are not
portrayed in each. Only five appear in both :
Namely, those of Franklin, Adams, Gates,
Washington and Hancock. The remaining
seven portraits in the two editions compare
as follows :

ENGLISH

AMERICAN

Arnold

Knox

Wooster

Wayne

Putnam

Lincoln
Lee
Montgomery
Commodore
Hopkins
Warren
Lord Howe
Greene
Sir William
Howe
Lafayette
In the English edition the twelve portraits
are all whole lengths, except the Franklin,
which is a three-quarter length. Adams, Frank
lin and Hancock are seated, all the others are
standing. In the American edition Knox,
Wayne, Lincoln, Franklin and Gates are busts
in ovals, Montgomery, Warren and Washing
ton are whole lengths standing. Hancock is a
whole length seated. Greene is a bust in oval
with base on which is depicted a battle scene.
Lafayette is a bust in an oval with a wreathed
25
The Portraiture of the
frame. Adams is a bust in an oval in a square
on a base adorned with emblematical figures.
In addition to the portraits the American edi
tion contains " A View of the town of Fal
mouth (Portland), burnt by Capt. Moet, Oct.
1 8th, 1775, and a plan of the Town of Bos
ton, with the Attack on Bunker Hill in the
Peninsula of Charlestown, the 17th of June,
1775." These plates are offset in the English
edition by a print called The American Rifle
man, and a new map of North America (a
large folding plate).
It will be seen by a glance at the foregoing
lists that the portraits in the Boston edition
which are not common to both imprints are
richer prizes for the American collector than the
prints which replace them in the London edi
tion. Especially is this true of Joseph Warren
and Richard Montgomery, pictures of whom
are scarce and continually in demand, while
Commodore Hopkins and Admiral Howe are
comparatively unimportant prints. These men
of the sea, distinguished for their valor as they
were, are not for a moment to be considered a
fair exchange for the two hero martyrs whose
places they usurp.
The following scathing and amusing criticism
upon the illustrations in the Boston edition of
26

American Revolutionary War
the " Impartial History " is copied verbatim
from the " Freeman's Journal," of Philadelphia,
January 26, 1795. ^ shows that even one
hundred years ago the aesthetic sense of this
community could not be trampled upon with
impunity :
" A new American history of the late war,
says a literary correspondent, seems to be much
wanting ; one in which impartiality, strict truth,
elegance and precision shall be united. Such a
one cannot fail of being acceptable to every class
of readers. The expense of copper plates, how
ever, might be spared, unless they could be
executed in a different stile from those in the
history of the American War, printed at Boston
in 178 1 and 82. There gen Knox and Sam
Adams, are represented more frightful than lord
Blackney on a London ale house sign, and gen
Greene the exact resemblance of Jonathan wild,
in the frontispiece of a two penny history.
Surely such extraordinary figures are not in
tended to give the rising generation an improved
taste in the arts of designing and sculpture."
It is curious to note the duplication of prints
relating to our Revolutionary history on the
two sides of the Atlantic Ocean, at a period
when it formed a much broader line of phy
sical division than it does in this age of steam
27

The Portraiture of the
and electricity. It furnishes an indication of
the lively interest taken at the time in the
mother country in the affairs of her rebellious
colonies — an interest which it is very plain and
not a little entertaining to see abated rapidly
after the happy termination of the family feud
in 1783.
We may select as an example of this repro
duction of engravings the famous print of the
" Boston Massacre," by Paul Revere, of which
there are extant at least four engraved copies
and, I believe, a lithographic fac-simile. First,
an octavo print prefixed to " A Short Narrative
of the Horrid Massacre in Boston," published
by Edes & Gill in 1770, by order of the town
of Boston. Second, a large folding plate in
tended, presumably, to be of the size of the
original by Paul Revere, which appears as a
Frontispiece in an English reprint of the above-
mentioned edition, published the same year by
W. Bingley. Third, an octavo plate which
is the Frontispiece to still another reprint of
the "Narrative," issued in 1770 by E. & C.
Dilly, London. Fourth, an octavo print ex
ecuted in England probably in the same year.
In this copy the dog which appears in the fore
ground of all the other pictures is omitted.
With this exception the different engravings
28

&i&tHlttt(o<n».t*<,t y«BM

»'?

"if f;

kjl

4S

Rare Broadside — The Boston Massacre, March 5, 1770.
By Paul Revere

Patrick Chrr, were fa//eal,**uc ot&eiw ivvundeel, (hv of mem ?wrla/ly .

American Revolutionary War
are as faithful transcripts one of the other as
the unequal talents of the artists enabled them
to make.
In the Bagley reprint the engraving appears
sometimes with and sometimes without the
lengthy caption, and the verses and scriptural
quotations at the foot of the plate, which are
here transcribed. Many of the titles on these
earlier Revolutionary prints are so voluminous
that an arrangement of them in chronological
order would result in an abridged, but, it must
be admitted, not thoroughly reliable history of
the War. THE FRUITS OF
Arbitrary Power ; or the BLOODY MASSACRE
perpetrated in King-ftreet, Bofton, by
a party of the XXIXth Regt.
In which Meffrs. Sam. Gray, Sam. Maverick, James
Caldwell, Crispus Attucks, Patrick Carr, were
killed. Six others were wounded, two of
them [Christopher Monk and
John Clark] mortally.

" Unhappy Bofton ! fee thy Sons deplore,
Thy hallo w'd walks besmear'dwith guiltlefs Gore;
While faithlefs Preston, and his favage Bands,
With murd'rous Rancour stretch their bloody Hands;
Like fierce Barbarians grinning o'er their Prey,
Approve the Carnage and enjoy the day.
If fcalding Drops, from Rage, from Anguifh wrung,
29

The Portraiture of the
If fpeechless Sorrows lab'ring for a Tongue
Or if a Weeping World can aught appeafe
The plaintive Ghofts of Victims fuch as thefe ;
The Patriot's copious Tear for each are fhed,
A glorious Tribute which embalms the dead.
But know, Fate fummons to that awful Goal,
Where Juftice ftrips the murd'rer of his Soul ;
Should venal Courts, the fcandal of the Land,
Snatch the relentlefs villian from her Hand,
Keen Execrations on this Plate infcrib'd
Shall reach a Judge who never can be brib'd."

"How long (hall they utter "They (lay the Widow and the
and fpeak hard things? and all the Stranger and murder the
Workers of Iniquity boast them- Fatherlefs. Yet they fay,
selves ? They break in pieces The Lord ftiall not fee.
thy People, O Lord, and afflict Neither lhall the God of Jacob
thine Heritage." regard it
Ps. xciv. 4. 5. Ps. xciv." 6. 7.
Copies of this engraving were apparently
sold separately from the book for 6d. each.
Another instance of a re-engraved plate to
which it is well to draw the attention of the
print collector, is that of the very curious octavo
portrait of
George Washington
Commander in Chief of yc Armies of yc
United States of America
in an oval surmounted by a coiled snake and a
liberty cap, above which we read the significant

American Revolutionary War
legend, " Don't tread on me." This print was
engraved by Brunton as a Frontispiece to " A
Poetical Epistle to Washington," printed at
Providence, R. I., in 178 1, which is of the
greatest rarity. The portrait is a copy of
one engraved by W. Sharp, which appeared
in a prior edition of the " Poetical Epistle " re
printed, London, 1780 from the original An
napolis, Md., edition of 1779. This engraving
by Sharp, Mr. Baker states, was subsequently
prefixed to " The Constitutions of the several
Independent States of America, etc.," by the
Revd. William Jackson, London, 1783. The
date in the address on the print was altered to
1783 and the words, "by J. Stockdale, Picca
dilly," were added.
Still another copy (in reverse) of this por
trait, but without the legend " Don't tread on
me," in the upper border was engraved by N.
Pruneau with the title :
George Washington, Commandant en
Chef des Armees des Etats Unis de l'Amer-
ique. Thus we have of this portrait — the original
source of which, by the way, appears to be
in doubt — three different engravings, with one
of them in two states. This is assuming that
no portrait was contained in the Annapolis edi-
3'

The Portraiture of the
tion of " A Poetical Epistle to his Excellency
George Washington, Esq., from an Inhabitant
of the State of Maryland."
A further illustration of the case in point is
afforded by the folio equestrian portrait in
mezzotint of Washington, published by C.
Shepherd, London, 1775. Two distinct copies
of this portrait, but much smaller in size, and
engraved in line, were made in Germany about
three years later. The backgrounds differ in
all three prints, and in one the tail of the horse is
cropped, but the figure is the same in each case.
Another small folio mezzotint, a three-
quarter length portrait of Washington in mil
itary dress, was issued by C. Shepherd in 1775,
which, as well as the prints just referred to, was,
according to the inscription on the plate,
" done from an c original ' drawn from the
life," by Alex. Campbell, of Williamsburgh,
Va. The following terse and not over-flattering
paragraph in Dunlap's Arts of Design (which
is all the notice he vouchsafed to the Artist
Campbell) apparently refers to the equestrian
portrait above mentioned and its clever origin
ator :
"In a letter from General Washington to
Colonel Joseph Reed he thanks him for a
picture sent by him to Mrs. Washington, and
31

id K OiRG E W" \SHJN <G TON, Efqf

American Revolutionary War
meant as a portrait of the General, which was
painted by a Mr. Campbell, who Washington
says he never saw." The letter is dated from
Cambridge in 1776. The writer says the painter
has " made a very formidable figure of the Com
mander-in-Chief."* If this be historical truth,
Mr. Campbell must have plumed himself
mightily upon his creative genius when he saw
his likeness drawn from the life copied and re-
copied and scattered broadcast on the continent
of Europe as a true picture of " George Wash
ington, General und Commandeur en Chef bey
der Provincial-Armee in America."
Of the colored portraits of Washington,
which are with few exceptions wretched speci
mens of engraving, the following are among
the rarest and most curious :
G. Washington in his last illness attended
by Drs. Craik and Brown. Square folio.
George Washington (in civilian dress), late
President of the United States, published by
I. Hinton, London, 1801, folio. Whole length.
General Washington, Late President of
*" Mrs. Washington desires I will thank you for the picture sent
her. Mr. Campbell, whom I never saw to my knowledge, has made
a very formidable figure of the Commander-in-Chief, giving him a suf
ficient portion of terror in his countenance." — Washington to Joseph
Reed, Jan. j/st, 1776. 33

The Portraiture of the
the American Congress. Painted by R.
Wright of Philadelphia. P. Dawe, Sculpt.
London, published by D. Gaily. Colored
mezzotint (issued also uncolored), size, 19^ x
13^, three-quarter length. This is a fine print.
Le Celebre G. Was[h] ington, General des
Anglos Ameriquains. Paris, Ches. Basset, 1778
date (in MS.). Folio. Colored line engraving.
A curious rendering of the Trumbull portrait
reversed. George Washington, Esq., General and
Commander-in-Chief of the Continental Army
in America. With the inscription repeated in
French, and in addition the words " nomme
dictateur par la Congres en Fevrier, 1777."
Small folio. Bust in rectangle.
The folio pictures of Putnam and "Charles
Lee, Esq.," "Major Generals of the Conti
nental Army of America," engraved by one
Johan Michael Probst,* are truly exhaustive
efforts of the artist's imagination. We repro
duce the one of Lee. The full rounded face
bears some resemblance to the one in the coarse
German series to which reference will be made
further on, otherwise this entire picture, from the
uplifted hoof of the General's war horse to the
*There is also, I am informed, a picture of Washington by this
artist. 34

AS Jttrk Prohtr fu" fi

Charles Her , Ffqr

. UitfiM! 3>rrhit- txe.+A.V.

flit/iV (i(jncrif/ of 'the Cimhtietittif - .Ji-mu in . ///.

American Revolutionary War
rosette which cocks his hat, we are forced to
conclude, came directly out of Probst's fertile
brain, but it and the "Putnam" are exceedingly
rare and therefore highly prized Revolutionary
prints. The lines at the foot of this picture of Gen
eral Lee, which are also repeated in German,
read as follows:
" Seulement les Esclaves se rendent volontere-
ment a la Tyrannie,
mais nous cherchons d'acquerer la liberte,
en rompent par force les fers que nous lient
parceque notre Symbole dit, victoriset ou mourir."
A curious whole-length in octavo of Lee in
civilian's dress, after a painting by B. Rush-
brooke, appears in a work by Thomas Girdle-
stone, published in London in 1 8 13, in which
he attempts to prove that General Lee was the
author of Junius. It is claimed that this por
trait was drawn from the life, although it has
all the appearance of a caricature. The book
which contains this picture has become quite
scarce, and the print has been re-engraved by
A. H. Ritchie for the "Treason of Lee," by
Dr. George H. Moore.
The inscription beneath a small folio colored
portrait, three-quarter length (with border), of
this erratic and high-strung officer of the Con-
35

The Portraiture of the
tinental Army emphasizes an historical fact in
his career. It is entitled " Charles Lee, Major
General de 1' Armee Continental. Presentment
prisonnier a la Nouvelle Yorck."
Among the helps to illustrators of Ameri
can Revolutionary History, which date back
to the last century, are the set of octavo
portraits on quarto paper of soldiers and
civilians (thirteen in number) " drawn from
the life " by Du Simitiere, Painter and Mem
ber of the Philosophical Society of Philadel
phia, and engraved by B. L. Prevost, and
two curious and exceedingly rare series of
line engravings in octavo, executed in Ger
many, of " Generals bey der Americanischen
Armee." In one of these sets the engraving
is very coarse and crude ; in the other it is
quite a respectable essay in graphic art. I have
a record of twelve different portraits belonging
to the first series, namely, those of Generals
Greene, Lee, Washington and Sullivan, Richard
Lord Howe, Commodore Hopkins, Generals
Arnold and Wooster, Sir William Howe, Major
Robert Rogers, Hon. John Hancock and Dr.
Benjamin Franklin ; and of six appertaining to
the last named set, viz. : Rogers, Hopkins,
Wooster, Washington, Sullivan and Arnold.
In both collections the portraits have landscape
36

American Revolutionary War
backgrounds, with the exception of that of
Hopkins, which presents a sea view, and that
of Hancock, which displays an interior. A
number of sets of six prints (stitched together)
comprising portraits of Charles Lee, Put
nam, Franklin, Rogers, Arnold and Hopkins,
of the same size and general character as those
just mentioned, and which may have proceeded
from the same source, were unearthed in Ger
many some years ago. Copies in aquatint of
these six prints have been made in Paris within
the last three years, and are now on sale.
The Du Simitiere engravings appear to have
been in demand in England, although by com
mon consent of the collectors of to-day they
are adjudged poor portraits, even if they were
" taken from the life." A set of these por
traits without the borders and printed in red
ink was published by W. Richardson, Lon
don, May ioth, 1783, and announced with this
mild flourish of trumpets : "American Legis
lators, Patriots and Soldiers, who have distin
guished themselves in rendering the country
independent." Still another edition, which has
the appearance of being a rival publication to
the above, bears the imprint of R. Wilkinson,
London, and the plates are marked B. B. E.
(Ellis ?) in the lower right hand corner. Ac-
37

The Portraiture of the
cording to the date on these prints, they were
issued only five days later than the ones by
Richardson. The portraits in this series have
square engraved borders and were printed in
black, red and also in colors. In the original
French set the portraits have square borders,
and the heads are enclosed in circular medal
lions, so that all the copies differ in this re
spect. The portraits in these various editions
are faced about, now to the right and now to
the left. The original French engravings are
much the finest and most to be desired.
The finest of Revolutionary portraits, in
point of execution, were for the most part, as
far as I can learn, separate publications or
served as Frontispieces. Among them are
the folio and quarto engravings published here
and in England, of Washington, after the paint
ings by Savage, Trumbull, Peale and Wright,
and the French small quarto and octavo por
traits* of Washington, Franklin, Gates, "Le
Celebre " Hancock, Sir Henry Clinton, Roch-
ambeau, D'Estaing, Comte de Vergennes,
Montcalm and others, set in borders composed
of military emblems, the D'Estaing and
*Very close copies of a number of these rare French prints have
lately appeared for sale, some of which bear, but they all do not, the
following explanation of their origin : " D'apres le physionotrace de
Quenedey. Ed. Gosselin, Sculpt., 1893."
38

si Tar i. > c/tez. ///en <///<?*;• nw < ' 'e> lArrt/u

American Revolutionary War
Montcalm, by Barbie, here referred to, are
veritable masterpieces of the art of engraving.*
They are surpassed in exquisite finish only by
the series of remarkable prints by J. B. Grata-
loup, the secret of whose unique process of
engraving died with him and has never been
disclosed. A number of these choice French
engravings were engraved by Dupin and pub
lished by Esnauts et Rapilly, viz.: those of
Hopkins, Lord Rodney, John Paul Jones,
General Reed, Hancock, Gates, Arnold, Charles
Lee, and Cornwallis, while others, including
H. Wme. Greene, Rochambeau, Lafayette and
Sir Charles Hardy bear the imprint of Mond-
hare. The last named print is the rarest of this
series. The Count de Rochambeau appears to have
received little attention from French engravers
of this period, and his picture is one of the
scarcest of Revolutionary portraits.
With the exception of the print referred to
in the foregoing list, a poor onef in colors (small
folio), and two outline prints in the Versailles
Gallery, I know of only one other fine por-
*Another fine portrait of Charles Henri Comte d'Estaing, with a
border composed of implements of war, was engraved by Coulet
d'Haisone. ¦fC F. Comte de Rochambeau Lieutenant General des Armees
du Roi, Commandant 1' Armee Francaise en Amerique. — a Pans ches
Basset Rue St. Jaques. whole length, colored.
39

The Portraiture of the
trait of this gallant gentleman of France, our
" gracious ally," a small oval stipple engraving
by Trettie, Vienna, 1797.
There are a few miscellaneous European eigh
teenth century publications which furnish fair
poaching grounds for the American collector.
Among them the "Essais Historiques et Poli-
tiques sur les Anglo-Americaines, par M. Hill-
iard d'Auberteuil, Brussels, 17 81," in which we
find, in addition to very fair portraits of Han
cock, Pitt and Franklin, the fine engraving by
Leroy of the full-length Washington by Trum
bull, which is one of the choicest of all prints
among the smaller pictures of the Father of
His Country.
In the extensive collection of miniature por
traits uniform in size, made by St. Memin, a
remarkably prolific French artist, who began
to draw and engrave miniatures in New
York, Philadelphia, and as far south as
Charleston soon after the close of the Revolu
tionary War, we find a few of the names which
figured conspicuously in that great drama,
but by far the larger number of them are
family portraits of highly respectable nobodies
in particular, chiefly residents of the City of
Brotherly Love.
The more recent publications in which por-
40

American Revolutionary War
traits of Revolutionary characters are to be
found, are:
The New Universal Biographical Dictionary, by
James Hardie. Four volumes, octavo. New
York, 1805.
The Portfolio. Forty-seven volumes, octavo (four
series). Philadelphia, 1801-1827, contains a
number of Revolutionary portraits, which are
the only ones obtainable of these individuals.
The best of these portraits are those en
graved by David Edwin.
The Polyanthos. Eleven volumes ; seven in sixteen
mo, and four in octavo. Boston, 1806— 18 14.
The Analeptic Magazine and Naval Chronicle.
Sixteen volumes, octavo. Philadelphia, 18 13-
1820.
Deleplaine's Repository of the Lives and Portraits
of distinguished American characters. Three
parts, eighteen portraits, quarto. Philadelphia,
1815-1818.
Sanderson's Biography of the Signers to the Dec
laration of Independence. Nine volumes, oc
tavo. Philadelphia, 1820-1827. With plates
drawn and engraved by J. B. Longacre, after
paintings by Stuart, Benjamin West, Copley,
Pine, Earle, Martin, Vanderlyn, and others.
The National Portrait Gallery of Distinguished
Americans. Four volumes, quarto. Phila
delphia, 1834— 1839. The plates are engraved
41

The Portraiture of the
by J. B. Longacre, E. Prudhomme, E. Mac
kenzie, J. W. Paradise, T. B. Welsh, and
Asher B. Durand.
A series of original portraits and caricature etch
ings by the late John Kay. Two volumes,
quarto. Edinburgh, 1838. These prints,
which are etched and stippled in a hard,
painstaking manner, were executed some fifty
years before the date of this publication.
This work contains about a dozen portraits
which relate more or less remotely to Ameri
can Revolutionary History.
From the " Columbiad " of Joel Barlow,
published in 1806, the "extra illustrator" may
abstract a fine portrait of the author, provided
he has no compunctions of conscience in de
stroying a book which at the time it was issued
was claimed to be the most splendid volume
that had ever emanated from the American
press. The engraving is by A. S. Smith, after
the painting by Robert Fulton, to whom the
volume is inscribed. The original copper of
the Barlow portrait is now in possession of
Marshall C. Lefferts, Esq., of this City — and
is still in good condition.
The following portraits, which are note
worthy on account of their rarity or their su
perior quality as engravings, I am not able to
trace to any original bibliographic source, and
4*

American Revolutionary War
am therefore constrained to regard the most of
them as independent creations, homeless wan
derers through the realm of prints :
Comte de Vergennes. Folio. By C. Bor-
vic d'apres nature. A fine line engraving.
Alexander Hamilton. Folio. Painted
by Walter Robertson, engraved by George
Graham for James Rivington, New York,
1796. Gilbert de Mottier de La Fayette.
Quarto. Pitou sculp. Fine engraving in pure
stipple. Published by Le Vachez, Paris.
His Excellency Elbridge Gerry, LL.D.,
Governor of Massachusetts. Folio. Mezzo
tint. Boston. Engraved by J. R. Smith and
published July 4th, 1 8 1 1 .
General Gates. Large quarto, in oval.
Engraved by Tiebout after Gilbert Stuart.
Sir Henry Clinton. Small oval, printed
in red ink. Engraved by F. Bartolozzi after
J. Smart.
Charles Asgill. Capitaine des Gardes du
Roi d'Angleterre. Large octavo. Line en
graving. Loraine del. Chevillet sculp.
Lafayette. Quarto. Published by B. Tan
ner, 14 South 8 th Street, Phila. Engraved by
B. Tanner from a lithographic print published
in Paris, 1818. 43

The Portraiture of the
Sir Guy Carleton, a fine steel engraving,
octavo (oval), in an ornamental frame, pub
lished by I. Bew, Paternoster Row, London,
1782. There is another good portrait of Carle-
ton, a small oval in square, published by J.
Walker, London, 1783.
The Honorable Timothy Pickering, a
small quarto print, engraved by J. B. Long-
acre from a miniature by G. Catlin. A
small square picture within a very elaborately
engraved border. The portrait is engraved in
stipple and the border in line.
The Honorable Brockholst Livingston.
This is a beautiful octavo print, drawn by Mar
tin and engraved by Prudhomme. The oval
portrait is set in a richly engraved miniature
frame, which rests on a pile of rocks and is sur
mounted by an eagle holding the scales of
Justice and a crossed sword and pike bearing
a liberty cap. I have met with but a single
copy of this print, which was published by J.
Martin, 19 Warren Street, New York, prob
ably shortly after Livingston's death in 1823.
Nathaniel Greene, Major General in the
American Armies. A patriot, a hero and a
friend. Peale, pinxit Philadelphia. Chevillet
Sculpsit. A folio print in pure line. The head of
44

American Revolutionary War
Greene is in a small oval medallion supported
on the shaft of a monument by figures which
symbolize War and Religion, over the first of
which waves the palm tree of victory and over
the other extends the olive branch of peace.
This is as good an example as could be selected
to represent a class of Revolutionary portraits
whose painters delighted in imagery and de
voted more space to it upon their canvases than
to the portrait itself.
John Paul Jones. A small square por
trait published in 1782. Engraved by J. M.
Moreau le Jeune, one of the masters of his art
in France. There are a number of fine por
traits of the Commander of the " Bon Homme
Richard," among them a folio mezzotint sup
posed to be engraved by R. Brookshaw, bears
the following title :
John Paul Jones,
Commander of a Squadron in the Service of the
Thirteen United States of North America, 1779.
The best known of all the portraits of Paul
Jones is the large quarto line engraving with
border which represents him on the deck of his
battered vessel during the engagement of the
" Bon Homme Richard " with Her Majesty's
Ship of War " Serapis," Captain Pierson,
45

The Portraiture of the
September 22d, 1779. " Defsine par C. Vic
Notte " and " Grave par Carl Guttenburg."
Of Joseph Brandt, or Thandanega, the
Mohawk Chief and British ally, to whom has
been ascribed the massacre of the inhabitants
and destruction of the beautiful village, " on
Susquehanna's side fair Wyoming," embalmed
in song by the poet Campbell, there exists a
fine and rare folio mezzotint after Romney.
Of his contemporary among the aborigines,
Red Jacket, alias Sagryuwhahad, or Keeper-
awake, Chief of the Seneca Indians, there is,
as far as I am aware, only a modern engraving.
A portrait of Brandt in the London Magazine,
1776, is described as being from an original in
the possession of James Boswell, Esq., which
is rather an unsuspected ownership for a picture
of an American Indian. The orthography of
his polysyllabic name appears to have varied
with each picture that was made of this noted
chieftain. Upon this one of Boswell's it
reads " Thayendaneken," while upon the Rom
ney picture the title runneth in this wise,
" Tayadaneega." Of the larger prints relating to the Amer
ican Revolution, the Washington Family, by
Savage, is widely known. Not so familiar to
46

American Revolutionary War
the collector (for they have long been scarce
prints) are the noble, whole-length mezzo
tint portraits in folio by Valentine Green of
Henry Laurens, Esq.,* first President of the
American Congress, and of General Wash
ington, after the painting by J. Trumbull, Esq.,
of Connecticut, 1780, from the original picture
in the possession of M. de Neufville of Am
sterdam. There are a number of mezzotint
engravings of a size suitable for framing, of
which these are prototypes — well worthy, as
fine examples of graphic art as well as for their
historical interest, to hang upon the library
wall of an American bibliophile. Conspicuous
among them are the mezzotints by Valentine
Green of his namesake, General Greene, and of
Hugh Earl Percy, he of
" the high born race "
who " Fought for King George at Lexington
A Major of Dragoons "
and the exceeding rare mezzotint by Charles
Willson Peale, after his own picture of Wash-
inscription upon the plate: " Henry Laurens, Esq., President of
the American Congress, 1778. Published Oct. 1, 1782 by F. Stock-
dale, Bookseller, Picadilly, London. Painted by J. F. Copley, R.A.
Engraved by V. Green, mezzotint engraver to his Majesty and to the
Elector Palatine." Size, iT.yz x 16 (upright).
47

The Portraiture of the
ington,* at Princeton, which I have taken for
a frontispiece mainly for the reason that, ac
cording to Mr. Baker, it is the first authentic
portrait engraved from an original picture of
the man who was " first in war, first in peace,
and first in the hearts of his countrymen." The
publication price of this print was two dollars.
The soft and beautiful mezzotint by Savage,
engraved from his own portrait of Washington,
painted at the request of the corporation of the
University of Cambridge, in Mass. (size 17^
x 14), is a charming and desirable picture. A
badly executed mezzotint copy (in reverse) of
this engraving was made by William Hamlin,
of Providence, R. I. This plate, according
to Baker, is still in use, although worn to the
quick. Dunlap states that these engrav
ings, although inscribed with Savage's name as
engraver, were really engraved by David Ed
win, who was his apprentice, as was also John
Wesley Jarvis. Mr. Baker contradicts this state
ment of Dunlap and adduces quite conclusive
proof that Edwin was not the engraver. As far
*This picture, a full length, was painted in 1779, when Washing
ton was in the 47th year of his age. It " was placed in the Council
Chamber in the State House at Phila. , where it remained until Sept.,
1781, when it was totally destroyed by some persons who broke into
the building, whether from malice or a mere spirit of destruction does not
appear." — W. S. Baker, in " The history of a rare Washington print."
48

/atsUa) Jt' JTritptru, ct> 7-// A >i(fft/pr
G H 01? <G "V, W A SHINGT O N ESQ r'
iVesident of llic United States of /VmL'irica .
¦ '¦'/'V/. /faz ''i'/'/r/u/./ //.r/t/ //< ¦_'<//. ///tic/ ,/ /i //*//> y(y /^
/'/, ¦//,>/;./. /,/,;_>/ ['/raw/,','/ ,,/ //,r / ¦'„ , ,vrs ,/r/ , ¦/ / '!y,n / ',
IN MASSArHI'SBTTS.

:/„.:

American Revolutionary War
as my knowledge extends there are no other
engravings in existence, which are claimed to
be by Savage, besides the Washington Family
and the large and small portraits in stipple of
Washington, except a portrait of General Knox,
LL.D. An oval, 5 1-16x4 3-16, stipple, with
remarkably close dotting in the face, signed
E. Savage, pinxt. and sculpt. Dunlap states
emphatically that Savage could not handle the
graver's tool. A copy in octavo size of the
Savage mezzotint Washington was engraved in
line by I. Scoles, and appears in some of the
copies of the American edition of W. Winter-
botham's "View of the United States of Amer
ica," New York, 1796.
This book of Winterbotham's, like many
of its kind and degree, would have no saleable
value whatever but for its portraits, especially
the Washington, which belongs in the first
volume. It is a fairly good engraving by one
of America's early engravers, after a popular
painting, and therefore could not hope to es
cape the eagle eye of the Grangerite, conse
quently Winterbotham's America in perfect
condition has become of late years a very
scarce book. In my hunt for it I found the
copies in two of our great city libraries im
perfect. In one the first volume had been
49

The Portraiture of the
supplied from the English edition, which con
tains an entirely different and comparatively
worthless print. In the other all four volumes
bore the New York imprint, but lo ! the salt
had lost its savor, and the portrait belonging to
the first volume was lacking ! This case is
selected as a typical one of the hazards of ex
istence to which a multitude of books of an
historical or biographical character are hourly
exposed. The gems or semi-precious stones of
engraving with which their pages are bedecked
are liable to prove their early ruin. Let us not,
however, censure too harshly the iconophile
who lifts his ruthless hand against these books
"adorned with sculptures." In cases not a
few he saves from destruction all that there
is in them worth preserving — and the moral
of it is that Art, even in its cruder manifesta
tions, may be long, though the life of the book
which harbors it be so short that we are forced
to inscribe upon its tombstone the melancholy
line : " Surely thy thread of life was but a
thrumme." Since the above was penned one of the in
stitutions above referred to has secured a copy
of Winterbotham's " View." Printed by Tie-
bout and O'Brien for John Reid, Bookseller
and Stationer, New York, 1796 — which has an
5°

Jia:ut AeiiAflxj

Enoruved k ."..rnu-l C^lni 1826

American Revolutionary War
entirely different portrait of Washington in the
first volume — an oval, with the figure in mil
itary dress — engraved by Rollinson. The en
graving by Scoles, that had led me such a merry
dance around the city, was again conspicuous
by its absence. I am glad to be able to say
that I finally cornered this elusive print in one
of the alcoves of The Society Library,
One William Rollinson, whom I presume
to have been the engraver above named, is
mentioned by Dunlap, and a fact in his history
is given which certainly confers a unique dis
tinction upon the name of this artist. He was
employed by General Knox, first Secretary of
War under the Federal Government, to chase
the arms of the United States upon a set of
gilt buttons for the coat worn by General
Washington on the day of his inauguration as
President. The beautiful mezzotint (size 14^x11^)
of Lady Ackland and her children, engraved by
Samuel Cousins after a painting by Sir Thomas
Lawrence, is probably the portrait of a descend
ant of the Lady Ackland, and not the lady
herself, whose name is linked with that of the
Baroness Riedesel in our Revolutionary Annals.
These women furnish two conspicuous ex
amples of the pathetic fact that in those long
51

The Portraiture of the
years of fiery trial that tested the fortitude
and patience of the men of the nation, the
difficulties and dangers of the hour were un
complainingly shared by gently nurtured self-
sacrificing women.
The story of war and conjugal devotion
which hangs upon the picture of " Harriett
Strangways Lady Ackland " contains enough
elements of romance to fill half a dozen
novels. This lady accompanied her husband
to Canada in the year 1776 and followed
him through two campaigns, " during which,"
writes General Burgoyne, " she underwent
such fatigue and distress as female fortitude
was thought incapable of enduring." An
incident in her experience during the war is
commemorated by a large oblong mezzotint,
engraved by Robert Pollard, and published in
London in 1784, which is, as might be sup
posed, an entirely imaginary composition.
Major Ackland had been wounded and taken
prisoner in the action between Burgoyne and
Gates, near Stillwater-on-the-Hudson, Octo
ber 7, 1777, and his wife, so runs the inscrip
tion on the Pollard plate, "desirous of attending
him in his captivity, with a letter from Gen
eral Burgoyne to General Gates, accompanied
by the Rev. Mr. Brudenell (Chaplain to the

American Revolutionary War
British artillery), who carried a flag of truce, a
female servant and her husband's valet, rowed
down the Hudson in an open boat to the
American camp, but night coming on before
she reached their outposts, the guards on duty
refused to allow her and her company to land,
and they were kept all through the night on
the water." In the morning she was received
by General Gates and restored to her husband
with, says General Burgoyne, " that politeness
and humanity her sex, quality and virtues so
justly merited." The romance of the story
does not end here. After his return to Eng
land Major Ackland, in a dispute with Lieu
tenant Lloyd, defended the Americans against
the charge of cowardice, and, says the historian,
gave him the lie direct. A duel followed, in
which Major Ackland was shot through the
head. Lady Harriett in consequence lost her
reason for two years. She afterwards, however,
married Mr. Brudenell, her escort in her peril
ous pursuit of her husband.
There is a fine portrait of this lady, one
of Major Ackland, and one of Mr. Brudenell,
painted by Sir Joshua Reynolds, of which
there are small mezzotint engravings by S. W.
Reynolds. The spirited pictures of Colonel
Tarleton and Lord Amherst, by the same en-
53

The Portraiture of the
graver, after the same great painter, are nat
urally associated with the three prints above
mentioned, as they are all to be found in the
published collection of engravings after paint
ings by Sir Joshua Reynolds. As there have
been several editions of this work, ordinary and
partly worn-out impressions of these plates
are still readily obtainable.
The original painting by Sir Joshua Rey
nolds of Colonel Tarleton hangs in the British
Museum and is considered one of this artist's
best works. A copy delicately printed in
colors of the large (20^ x 15^) mezzotint
after this picture, engraved and published by
J. R. Smith, London, October 11, 1782, for
merly in the possession of the late Evert A.
Duyckinck, is now the property of a connection
of the family in this city. Plain impressions
of this engraving are of uncommon occurrence,
and in this state this copy may be unique.
A fitting pendant to this picture is the mez
zotint of about the same size and colored in
the same artistic manner of the Marquis de la
Fayette, "Commandant General de la Garde
Nationalle Parisienne — Dedie aux Citoyens
Soldats — Peint et Grave par PL. De Bucourt,
Peintre du Roy — F 1790."
I mention these two prints as exception-
54

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n*llF
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;y^w53>SWr. •* /"'^^.^"JJ^HPJH
"f.'rir; -cr-.r' rcirjiir,,. ir.&.lEiiMT'OAr
American Revolutionary War
ally desirable pictures. They are fine works of
art as well as historically important engravings.
Of Brigadier-General Simon Fraser, who fell
at the head of an advanced corps of the British
Army, October 7, 1777, in the same action in
which Major Ackland was wounded, there is a
good mezzotint engraving by James Watson,
published June 1, 1778, size 13 x 10^ inches.
Mezzotinto engraving appears to have been
in vogue at this period. A number of por
traits of our Revolutionary officers, some of
which are colored, were issued by London pub
lishers between the years 1775 and 1778. They
include the following personages :

General Washington.

C. Shepherd

1775

General Charles Lee.

C. Shepherd

1775

John Hancock (oval).

C. Shepherd

1775

John Hancock (square).

C. Shepherd

'775

General Israel Putnam.

C. Shepherd

1775

Colonel Arnold.

Thomas Hart

1776

Commodore Hopkins.

Thomas Hart

1776

Admiral Hopkins.

Thomas Hart

1776

Maior Robert Rogers.

Thomas Hart

1776

General John Sullivan.

Thomas Hart

1776

General David Worcester.

Thomas Hart

1776

General Horatio Gates.

John Morris

1778

Sir William Howe.

John Morris

1778

Richard Lord Howe.

John Morris

1778

and probably others that have not come under
my observation. All these prints are of folio
55

The Portraiture of the
size except those of Admiral Hopkins and
Richard Lord Howe, which are quarto. The
full titles of these prints will be found in the
Appendix. The companion pictures of Washington,
Franklin and Lafayette, size 13^ x 10 inches,
from the Gallerie d'Hommes Illustre Vivans,
engraved in pure line and enclosed in rich bor
ders, are prints worthy to be framed. The por
trait of Washington was engraved by Chevillet
from a design by Bonnieu after a picture fur
nished by M. le Marquis de la Fayette. That
of Franklin is by the same engraver, after a
drawing by Bonnieu after the bust by M.
Houdon. The bust of Franklin by Houdon
and the painting by Duplessis* appear to have
been the favorite French models for heads of
Franklin. The portrait of Lafayette above re
ferred to was also drawn by Bonnieu, " after
a miniature." The most interesting of the portraits of
Washington to a New York collector is the
full-length figure standing on a pedestal in front
of Bowling Green, with a view of the lower
part of Broadway, the old fort and the bay as
a background, engraved by Cornelius Tiebout.
*One of the numerous portraits of Franklin by Duplessis now hangs
in the Lenox Library. It is the property of the Hon. John Bigelow,
who secured it in France in 1867. 56

American Revolutionary War
It is thus described by Mr. W. S. Baker, No.
407: Washington. Tiebout. Full figure in uniform
upon a pedestal in the middle distance of the design.
In the right hand an open scroll inscribed " Friends
and Fellow Citizens " ; the left, [hand rests] upon a
sword at his side. Army and navy emblems on each
side of the pedestal, upon which is the title. In the
immediate foreground, in front of the statue, a large
funeral urn upon a pedestal, on which, in a tablet,
" Sacred to Patriotism." In the background, a view
of Bowling Green, New York. Hght., i6l£ inch,
width, iofj- inch. Designed and drawn by Charles
Buxton. Tiebout, sculp.
To this description of the portrait we add
the following of the border, furnished by a col
lector who is so fortunate as to possess a perfecl
copy of this exceedingly rare print :
An arch supported by a fluted column on each
side, and in front and exterior to each column an
obelisk, the right having the word " Independence " on
the base, and in an oval medallion, about midway, a
standing figure of Britannia, leaning on an anchor and
holding a British flag, lowered, while opposite her is a
winged boy, nude, holding up an American flag. On
the left obelisk, at the base, is the word " Liberty,"
and in a medallion, opposite the other, a female, seated
and holding an American flag.
57

The Portraiture of the
Under the top of the arch in the tympanum (or the
space between the arc and the chord) an eagle holds
in its beak the ends of a belt, on the front of which
are sixteen plates, with the names of the first six
teen States, down to Tennessee, inclusive.
Whole heighth, 24^ inches.
width, 21^ 
Underneath :
" This Plate is with due Respect Inscribed to the
Congress of the United States by Chas. Smith."
New York. Published by C. Smith, 1798.
The only known copy of this print on satin,
the one from which our reproduction has been
made, is owned by Mrs. Charles C. Worthing-
ton, of New York, and is of peculiar interest.
It formerly was included among the treasures
of Arlington, the well-known mansion of the
Lee family of Virginia. The intimate relation
ship between the Lee, Custis and Washington
families renders it almost certain that this satin
impression was a special copy presented to
Washington himself.
During the late war, while Arlington was
occupied by the United States troops, the con
tents of the house became the spoils of war.
Several relics, including this print, came into
the possession of the late Edward L. Hedden,
Collector of the Port of New York. At the
58

(<¦¦'¦ -'-

American Revolutionary War
close of the war Mr. Hedden returned these
articles to General Robert E. Lee, expressing a
wish to have the Washington print, provided
General Lee would consent to part with it.
He received in reply the following courteous
letter : Lexington, Va. 23 March 1866.
My dear Sir :
The three articles taken from Arlington during the
occupancy by the U. S. soldiers, which accompanied
your note of the 10th inst., have been rec'd.
I am much obliged to you for restoring them to me.
As you express a desire to possess the picture of
Washington, printed on satin in 1 798, 1 take pleasure
in presenting it to you.
Very respt. your obedient,
R. E. LEE.
Mr. Edw'd L. Hedden.
On the death of Mr. Hedden the print and
letter came into the possession of his daughter,
Mrs. Charles C. Worthington.
In 1795 Tiebout engraved in stipple a fine
head of John Jay after a painting by Gilbert
Stuart, which was published in London, whither
Tiebout had gone. According to Dunlap, he was
the first American to study engraving abroad.
A more attractive embellishment to the clos-
59

The Portraiture of the
ing lines of this essay cannot be selected than
this portrait by Tiebout of the Chief Justice of
the United States.
A review of the foregoing pages would
doubtless reveal the fact that prints of impor
tance have been overlooked, but, as distinctly
stated at the outset, I did not undertake to con
struct a complete Hand-book of Revolution
ary Portraits. I trust, however, that enough
has been set down, and in proper order, to con
vey a general idea of the subject, and to acquaint
the novice in American print collecting with a
class of engravings which is certain to attract
more and more of his attention as year after
year the body of it obtainable by him grows
small by degrees and beautifully less.
That man is to be envied who, if covetous
of future remembrance, chanced to live in an
age that produced one of the great artists of all
time, and was so fortunate as to be immortal
ized by the brush or the graver of a Holbein,
a Vandyke, a Rembrandt, or a Sir Joshua Rey
nolds. The world would have willingly let die
in a few short years — nay, months — the name
of Burgomaster Six if the needle of the great
Dutch artist had not written it with such pre
cision in characters that will last as long as art
endures. 60

American Revolutionary War
From this aesthetic point of view our Revolu
tionary heroes were far more fortunate than
those of the Civil War. With the exception
of the large engraved portraits by Marshall, and
a few etchings by various hands, the collector of
engravings illustrating the Rebellion period will
look in vain for prints of any artistic value
whatever, for the good and sufficient reason
that copper and steel plate engraving, pure and
simple, was by that time fast becoming a lost
and unpracticed art. The mechanical repro
ductive processes, whose name is now legion,
had already, by the middle of this century,
begun to exercise their demoralizing influence.
The few competent engravers of the old school
that were left (with only here and there a stray
exception) were absorbed by and engaged in
perfunctory work side by side with the turning
lathe in the shops of the bank-note engraving
companies. Aside from a limited number of
wood engravings, there is nothing so devoid of
artistic feeling and utterly commonplace as the
graphic work of this period, and there are as yet
unhappily no signs of a genuine revival. There
still lingers on a corporal's guard of this little
band of veterans whose hands have not lost
their cunning, but I doubt exceedingly if, with
in the confines of this broad land to-day
there is an artist capable of producing engrav-
61

The Portraiture of the
ings which will compare favorably with the
" Ariadne " or " Musidora " of Durand, the
numerous portraits by the same master, or
those by David Edwin, Peter Maverick, Prud
homme, Burt, and their fellows.
A word in conclusion in reference to a few
of the early American engravers may not be
out of place.
Nathaniel Hurd. Boston, 1730-1777.
Mr. Dunlap asserts that Hurd was the first
engraver . in this country. This statement
should, I think, be qualified by the addition
of the words of portraits. This self-instructed
engraver executed a miniature likeness of the
Rev. Dr. Sewall, minister of the Old South
Church in Boston, " in the linear style," in
1764. A few other examples of his work on
copper are in existence, besides the numerous
book-plates he designed and engraved. Of
these Mr. Charles Dexter Allen furnishes a list
of thirty plates signed by Hurd and of four
teen unsigned, but attributed to his hand.
A portrait of Jonathan Mayhew, D.D.,
Pastor of the West Church in Boston (12 x
9^), Richard Jennys, Jun., pinxit et fecit,
" printed and sold by Nat Hurd, Engraver on
yc Exchange," is one of the earliest examples
62

American Revolutionary War
of mezzotinto engraving in this country — if
I am not mistaken in the supposition that Jen
nys was an Englishman who visited Boston
about the middle of the last century, and was
for a time in Hurd's employ.
Paul Revere. Boston, 1734-1818. One
of his earliest copper-plate engravings was a
portrait of his friend, the identical Dr. May-
hew referred to above. Considering the paucity
of native artistic productions so early in the
seventeenth century, this repetition is an indi
cation of marked significance, of the promi
nence and popularity of this New England
divine. In addition to the famous engravings to
which reference has already been made, Revere
produced the following political caricatures,
which appeared in The Royal American Mag
azine :
" The Able Doctor, or, America Swallowing
the Bitter Draught."
"The Mitred Minuet" (on title-page, "The
Dancing Bishops").
" America in Distress — or, a Certain Cabinet
Junto."*
The remaining prints of special interest
*These are probably two titles of the same print, but these may
have been two plates. 63

The Portraiture of the
among the twenty-two engraved by Paul Revere
and J. Callender in The Royal American Mag
azine are " A View of the Town of Boston
with several Ships of War in the Harbour,"
"A conference held between some Indian Chiefs
and Colonel Bouquet in the Year 1764," "An
Indian Gazette," and last, but not least, the
portraits of the two prominent individuals who
were exempted by General Gage in his pro
clamation offering pardon to the rebels — John
Hancock and Samuel Adams.
I am without information in regard to J.
Callender, Revere's collaborateur in the embel
lishment of this pioneer magazine. That he
was an engraver of at least as much ability as
Paul Revere the pages of The Royal Ameri
can Magazine enable us to judge for ourselves.
Revere engraved the plates, made the press
and printed the paper money ordered by the
Provincial Congress of Massachusetts.
There are four book-plates known which
bear Revere's coveted signature (besides his
own " ex libris," which is unsigned,) namely,
those of Gardiner Chandler, David Greene,
Epes Sargent and William Wetmore.
David Edwin. Philadelphia. Born at Bath,
England, in 1776. Son of John Edwin, the
comedian. It is now, I believe, generally ad-
64

American Revolutionary War
mitted that he was one of the best engravers
of his time, but the times were against him,
and he was unsuccessful pecuniarily as an artist.
It is said that he would have died in poverty
but for the generosity of the actress, Mrs.
Francis. Dunlap pronounced Edwin the first
good engraver of the human countenance that
appeared in this country. His last work, ac
cording to the same authority, was a head of
his friend and patron, Gilbert Stuart, painted
by Mr. John Neagle.
Scoles, I. New York, circa 1790. An en
graver of little skill, nevertheless quite the
equal of many of his contemporaries. Produc
tions of his graver, which are extremely valuable
historically, though not as works of art, are to
be found in The New York Magazine ; other
specimens, which, unfortunately, lack this re
deeming quality, appear in various publications
of the same period.
Trenchard. Philadelphia, circa 1785. A
poor designer and engraver of copper plates for
the Columbian and other late eighteenth cen
tury American publications. He also engraved
a few book-plates of fair execution.
Cornelius Tiebout. New York, died
1 8 14. Began his career as a silversmith's ap
prentice in New York about 1790. In 1796
65

The Portraiture of the
he went, as already stated, to London for in
struction and worked under the eminent en
graver, James Heath. Examples of Tiebout's
skill in book illustration are to be found in a
number of Scotch and English publications.
On his return he selected Philadelphia as his
place of residence, and worked for Matthew
Cary and other publishers of books. " After,"
says Dunlap, " accumulating property he en
gaged in a speculation for the manufacture of
blacking and was ruined."
B. Tanner, New York, 1795. A pupil
of Tiebout. He did much work for publish
ers and engraved maps.
Peter Maverick. New York, 1780-1831.
Taught by his father, Peter R. Maverick,
whom he greatly surpassed as an artist. He
was largely employed in bank-note engraving.
A. B. Durand was his pupil, " and in him," as
William Dunlap truly asserts, " the arts owe
to Mr. Maverick unbounded gratitude."
William Hamlin. Providence, R. I., 1772-
186 — . The name of this engraver does not
appear in the Index to Dunlap's " Arts of De
sign " ; neither do I find it in the list which he
gives of painters and engravers, " of whom his
limits will not permit a more detailed notice, or
who have refused information, or, lastly, have
66

American Revolutionary War
passed into obscurity." I copy the following
note from a sale catalogue of prints, dated
New York, 1868, which was prepared by the
late T. H. Morrell : " Hamlin was one of
our earliest American engravers and is still liv
ing, comparatively unknown, at a very advanced
age (ninety-six years old), in Providence, R. I."
Samuel Harris. Boston, 17 83-1 8 10. Ex
amples of this artist's work are to be found in
that rare and curious little magazine, " The
Polyanthos," Boston, 1806-18 14, in the sixth
volume of which appears a brief sketch of his
life, extracted from the " Harvard Lyceum,"
prefaced by the editors of the magazine with
the following remarks : " Our readers will re
quire no apology that we commence this new
series of our work with a notice of the late
lamented Samuel Harris when they recollect
that to his genius and industry the ' Polyan
thos,' in its infancy, was indebted for its graphic
embellishments." Mr. Harris was drowned
on the 7th of July, 18 10, while bathing in
Charles River. The last engravings from his
hand in the " Polyanthos " show a marked im
provement over those which first appeared,
and had he not met with an untimely death
Mr. Harris would doubtless have become an
adept in his art. 67

The American Revolutionary War
Messrs. Snyder, J. R. Smith, A. Reed and
D. Edwin succeeded Samuel Harris as engravers
to the publishers of the " Polyanthos." With
the exception of Edwin, whose work is the most
artistic, the productions of these engravers, in
this magazine, display almost an equal degree
of facility in the use of the graver.

68

NOTES

NOTES

Page 17. Andre's Poem of the Cow Chace.
" In the year 1780 Major Andre amused himself and
his friends by writing this satirical poem of 72 stanzas
in 3 cantos. It was originally published in ' The
Royal Gazette ' by James Rivington, at the time
printer to his Brittanic Majesty in New York."
Page 18. The Meschianza. A medley (as the
name implies) of regatta, procession, tournament and
ball. This fete champetre was given in honor of
General Howe, on the eve of his departure for Eng
land, after resigning command of the army. It took
place in Philadelphia, on Monday, May 18th, 1778,
at the Wharton House and Walnut Grove, where
Fifth and Wharton Streets now intersect. A full ac
count of this famous entertainment — a splendid folly,
as it has been called — will be found in the History of
Philadelphia, by Thomas Scharf and Thompson.
Westcott, Philadelphia, 1884.
Page 21. Valentine's Manuals. The first
Manual of the Common Council of the City of New
York was published by Samuel J. Willis, for the years
1841—42. From 1842 to 1866 they were issued by
71

Notes
David T. Valentine, Clerk of the Corporation. There
was no Manual for 1867. In 1868 the work was
revived by James Shannon, but was discontinued after
three years, the Manual for 1870 being the last that
appeared. These year books of the Common Council contain
a great number of lithographic prints illustrative of
New York City in ancient and modern times, and
also much valuable historical information. A large
proportion of the printed matter in many of the vol
umes is devoted to New York local history.
Page 22. Titles of the Doolittle Prints.
Plate I. The Battle of Lexington, April 1 9, 1775.
II. A View of the Town of Concord.
III. The Engagement at the North Bridge
in Concord.
IV. A View of the South Part of Lexington.
These prints vary slightly in size, but are about
12)^ x %V2 inches.

7i

APPENDIX

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to

o ¦
3

©

©
3 •
C o

v5

k
V ^

LIST OF PORTRAITS
IN BOOKS AND PERIODICALS PUBLISHED IN AMERICA
CONTAINING PORTRAITS RELATING TO
THE REVOLUTIONARY WAR

THE first Illustrated Magazine which
made its appearance in this, or, as far as
I am aware, in any other part of the Western
hemisphere was I'he Royal American, published
by Isaiah Thomas and Joseph Greenleaf in
" the distressed town "* of Boston, 1774-1775.
It contains only two portraits, engraved by
Paul Revere, and reproduced on opposite page.
Mr. Samuel Adams.
Honble. John Hancock, Esq.
Portraits in the New York Magazine.
Eight volumes, octavo. 1 790-1 797.
General Greene. Tisdale, sculp. 1794. Lau-
reated oval in square.
General Wayne. Tanner, sculp. 1797. Plain
oval.
* The bill blockading the Port of Boston took effect June 1st of
this year. 75

Appendix
Massachusetts Magazine. Eight volumes,
octavo. Boston, 1789-1796.
Hon. James Bowdoin M. Necker
Dr. Franklin George Washington
Lafayette Benjamin West
I am doubtful in regard to this list, although
it comes from a collection supposed to possess
a perfect copy of the book.
This magazine contains a number of views
of interest to Bostonians, among them Har
vard College, the Boston State House, the
Hancock House, Faneuil Hall and Boston
Common. Nearly all these views were " delin
eated and engraved " by S. Hill, as were also
several of the portraits.
Columbian Magazine. Three volumes, oc
tavo. Philadelphia, 1787-1789.
Franklin (profile in white).
Greene, engraved by J. Trenchard.
Washington, engraved by J. Trenchard.
Washington (profile in black).
Monthly Military Repository. Two vol
umes, octavo. New York, 1796.
General Greene General Wayne
General Washington
The Greene and Wayne portraits are copies
76

Appendix
(except that the ornamental border on the
Greene is omitted,) of the engravings of the
same generals in the New York Magazine.
The Greene and Washington are engraved by
Tisdale ; the Wayne by J. G. Warner.
In the copy of this magazine belonging to
the New York Historical Society there are
three additional prints, viz., Sir Guy Carleton,
Charles Henri Count D'Estaing and Lord Vis
count Howe, all taken from prior publications
of Fielding & Walker, London. Whether
these prints pertain to the book as published
or were subsequently inserted in this particular
copy I am unable to say.
A History of the Revolutionary War by
Charles Smith, which appeared in the Monthly
Military Repository in serial form, was after
wards published separately. This history, like
the magazine, has become a rare book, and is
much in request on account of the portraits
and a number of plans and views which it
contains. The American Universal Magazine. Four
volumes, octavo. Philadelphia, 1797-1798.
John Adams Wm. Penn
Franklin David Rittenhouse
M. de Lafayette Dr. Benjamin Rush
Washington 77

Appendix
Literary Magazine and American Register.
Eight volumes, octavo. Philadelphia, 1804-
1808. ^
John Adams John Jay
Benjamin Franklin Thomas Jefferson
Alexander Hamilton George Washington
Engravers of the above : B. Tanner, Allar-
dice, W. Hooker and Tiebout.
The New Universal Biographical Dictionary,
by James Hardie. Four volumes, octavo.
New York, 1805.
John Adams Thomas Jefferson
Joel Barlow James Madison
Ann Eliza Bleecker Dr. S. L. Mitchell
Joseph Bloomfield Gen. William Moultrie
Aaron Burr William Penn
George Clinton Rev. Thomas F. Sargent
Cadwallader Colden Edward Shippen
Franklin John Trumbull
General Greene* Commodore Truxton
(Engraved by Tisdale) General Wayne*
Alexander Hamilton (Engraved by Tanner)
Washington
Among the engravers employed by Hardie
upon this work we find the names of Scoles,
*The portraits of Greene and Wayne are evidently impressions
from the same plates that were used ten years before in the New York
Magazine, and show decided signs of wear.

Appendix

Tiebout, Tisdale, Anderson and Rollinson.
The portrait of Alexander Hamilton by Rol
linson, an oval in an ornamental border within a
rectangle, is perhaps the most desirable small
picture of Hamilton that is to be procured.
The Polyanthos. Five volumes, i6mo.
Boston, 1 806-1 807. Two volumes, i6mo.
Boston, 1 8 12. Four volumes, octavo. Bos
ton, 1812-1814.

Samuel Adams, Esq.
Wm. Bainbridge, Esq.
Rev. J. Belknap
Mr. John Bernard
Hon. James Bowdoin
Rev. Mather Byles
Hon. David Cobb
Mr. T. A. Cooper
Mrs. Darley
Mr. Duff
Gen. William Eaton
Rev. Wm. Emerson
Mr. Fennel
Benjamin Franklin
Samuel Harris
Hon. William Heath
Captain Isaac Hull

Wm. Ingalls, M.D.
Rev.J.Lathrop,D.D.
John Locke
Suliman Melimelni
G. R. Minot
James Otis
Rev. E. Parrish, D.D.
Hon. J. Philips, LL.D.
Commodore Preble
David Rittenhouse
Commodore Rogers
Hon. Theodore Sedgwick
Mrs. Stanley
Rev. Sam'l Stillman, D.D.
C. Strong, Esq., LL.D.*
Rev. P. Thacher, D.D.
Isaiah Thomas
Mr. Twaits

Col. D. Humphreys
?There are two portraits of Caleb Strong
79

Appendix
Gen. Joseph Warren John Winthrop
Mr. Joseph Walker General Wayne
B.Waterhouse,M.D. Rev. E. Wheelock, D.D.
I have taken the foregoing list from Sabin's
Dictionary of Books relating to America, as I
have been unable to find a perfect copy of this
magazine. My own copy lacks one volume
and several of the portraits.
The engravings in these eleven volumes, es
pecially in the first seven, possess exceptional
attractions for collectors of Revolutionary and
Dramatic prints. For the delectation of the
former there are the portraits of Heath, War
ren, Humphreys and Wayne, and for the latter
T. A. Cooper, Messrs. Duff and Twaits and
Mrs. Darley, all rare and important prints.
In October, 1814, the "Polyanthos" was
merged into The New England Magazine.
The Portfolio. Three series. Forty-seven
volumes, octavo and quarto. Philadelphia,
1801-1827. Portraits of the Revolutionary period only
included. James Abercrombie Sir S. Auchmuty, Kt.
Fisher Ames Benj. S.Barton, M.D.
John Andrews, D.D. Comd're. John Barry

Appendix

Capt. Nicholas Biddle
Wm. Bradford (lawyer)
Benjamin Chew
Capt. Richard Dale
Oliver Ellsworth
Dr. Franklin
General Knox (2)
Henry Laurens
Philip Livingston
John Marshall
Gen. Thomas Miflin
James Monroe
Bishop Benj. Moore
General D. Morgan

Robert Morris
Comd're. Alex. Murray
William Pinkney
General Putnam
John Randolph
James Ross
Count Rumford
Benjamin Rush, M.D.
Philip Schuyler
Edward Shippen
Isaac Smith
Samuel S. Smith
Gen. Anthony Wayne
Bishop William White

Hugh Williamson, M.D., LL.D.
Many of these portraits were engraved by
Edwin.

Analectic Magazine and Naval Chronicle.
Two series. Sixteen volumes, octavo. Phil
adelphia, 1 8 13-1820.
Revolutionary portraits only included.

Fisher Ames
Joel Barlow
Alex. James Dallas
Rev. Timothy Dwight
Oliver Ellsworth
Benjamin Franklin
Patrick Henry

Chief Justice Marshall
Hon. Theophilus Parsons
David Ramsay, M.D.
John Randolph
Benjamin Rush
Gen. Jonathan Williams
Caspar Wistar, M.D.

81

Appendix

The last two volumes of this magazine are
ornamented with landscapes which are inter
esting as early examples of the art of color
printing in this country.
Deleplaine's Repository. Three parts. Quar
to. Philadelphia, 1815-1818.

Samuel Adams
Fisher Ames
De Witt Clinton
George Clinton
Columbus
Benjamin Franklin
Robert Fulton
Alexander Hamilton
Francis Hopkinson

John Jay
Thomas Jefferson
Rufus King
Henry Laurens
Robert Morris
Peyton Randolph
Dr. Benjamin Rush
Vespucius Washington

A fourth part was begun, and three plates
engraved (Harrison, Wistar and Helmuth),
when the work was discontinued.
Portraits of thirty-one of the " Signers " in
Sanderson's Biography. Of the remaining
twenty-five he furnishes no engravings. Nine
volumes, octavo. Philadelphia, 1 820-1 827.

John Adams
Samuel Adams
Samuel Chase
Charles Carroll, of
Carrollton

George Clymer
William Floyd
Benjamim Franklin
Elbridge Gerry
John Hancock

8z

Appendix

Thomas Heyward
Francis Hopkinson
Joseph Hewes
Thomas Jefferson
Richard Henry Lee
Francis Lewis
Philip Livingston
Thomas Lynch, Jr.
Thomas McKean
Arthur Middleton
Robert Morris

William Paca
Robt. Treat Paine
George Read
Benjamin Rush
Edward Rutledge
Roger Sherman
Thomas Stone
Oliver Wolcott
James Wilson
John Witherspoon
George Wythe

83

LIST OF PORTRAITS
ENGLISH BOOKS AND PERIODICALS CONTAINING
PORTRAITS RELATING TO THE AMERICAN
REVOLUTION

ALL the magazines and histories which
follow, except Russell's, are of octavo
size. Only the portraits which they contain
illustrative of the American Revolutionary War
are included in the following tables.
The Universal Magazine. London, 1747.
Lord Amherst Franklin
Arnold Lord Hood
Sir Sam'l Auchmuty Earl Moira
Cornwallis William Pitt
Charles James Fox Washington (2)
The monument of Major Andre
The London Magazine, 1732.
Lord Amherst Comte de Grasse
Colonel Barre Lord Hillsborough
Marquis Cornwallis Rt. Hon. Lord North
Hon. Charles J. Fox Admiral Hyde Parker
Lord Geo. Germaine Tarleton
84

Appendix
During the years 1 774-1 776 a number or
caricatures relating to American politics were
published in this magazine. Two of these cari
catures, the " Able Doctor, or, America Swal
lowing the bitter Draught," and " The Mitred
Minuet," and perhaps one other, were copied
by Paul Revere in the Royal American Maga
zine, in which they appeared a few months after
their publication in The London Magazine.
The European Magazine. London, 1782.
John Adams Earl of Harrington
General Arnold General Harris
Mr. Eden Ld. Auck- John Hancock
land Lord Howe
Earl of Carlisle Jefferson
Cornwallis Sir Peter Parker
Silas Deane Lord Rawdon
Dr. Franklin Count Rumford
Comte de Grasse Comte de Vergennes
Sir Charles Grey Washington
The Sentimental and Masonic Magazine.
Five volumes. Dublin, 179 2-1 794.
Gen. Sir Chas. Grey Rt. Hon. R. Earl Howe
Earl of Moira
A copy of this magazine, said to have come
from the library at Mount Vernon, and with
85

Appendix
the autograph of George Washington on the
title-page of each volume, has recently been
offered for sale in this city at the extremely
modest price of $150 per volume.
James Murray's History of the Present
War in America. Three volumes. Newcastle-
upon-Tyne, 1780.
-General Arnold -Comd're. Hopkins
General Burgoyne - General Howe
.Admiral Byron -Lord Howe
General Carleton 'Admiral Keppel
-General Clinton -General Lee
Benjamin Franklin -General Montgomery
-General Gage ^Rev. James Murray
-General Gates Lord North
.-George III. -Hugh Earl Percy
Lord Geo. Germaine -General Putnam
-General Grey Sir Geo. Bridges Rodney
,,John Hancock -General Sullivan
<-General Washington
These prints are framed ovals. Those in
Andrews's History which follow are circles
and ovals in rectangles.
John Andrews's History of the War. Four
volumes. London, 1785-1786.
"General Burgoyne Sir Roger Curtis
-Sir Henry Clinton De Crillon
86

Appendix
'D'Estaing -General Howe
.-De Grasse Admiral Hughes
De Suffrein Admiral Kempenfelt
General Eliot -La Fayette
«-Franklin Lord Keppel
George III. -Admiral Parker
-General Greene "Hugh Earl Percy
Lord Hood Lord Rodney
-Washington
"The Senator." London, 1790-1792.
Lord Amherst Chas. Earl Cornwallis
Sir Henry Clinton Samuel Lord Howe
Lord Rawdon
These portraits are plain ovals.
William Russell's " History of America,
from its discovery by Columbus to the conclu
sion of the late war." Two volumes, quarto.
Fifty-one maps and plates. London, 1788.
The first volume contains portraits of
Columbus, Pizarro, and of a number of un
important Spanish Dons. Volume II. contains
the following portraits, all of which are ovals
in rectangles within ornamented borders.
Edmund Burke Dr. Franklin
Earl of Chatham Hugh Earl Percy
Sir Henry Clinton Sir Walter Raleigh
General George Washington
87

Appendix
Among the large number of views in this
book are two of value, viz.: "A View of Que
bec from the Bason," and a " South-west View
of Fort George with the City of New York."
Collection of portraits by Du Simitiere.
Engraved by B. Reading. Quarto. Pub
lished London, May 10, 1783, by W. Rich
ardson. General Arnold John Jay
W. H. Drayton Henry Laurens
Silas Deane Govenor Morris*
J. Dickinson General Reed
General Gates Baron Steuben
S. Huntington Charles Thompson
General Washington

memorandum note

Cowley's History of England — a book of the
same size and probably contemporary with
" Raymond's " and " Barnard's " Histories —
contains " Views " and possibly a few Portraits
relating to our Revolutionary War. My search
for a copy of this History, or even for a cata
logue containing its title, has proved un
availing. ^Should be Gouverneur.

MEZZOTINT PORTRAITS

THE following list gives the full titles of
the folio and quarto mezzotint engrav
ings referred to on page 55, except the Wash
ington which is described on page 32 :
Col. Arnold who Commanded the Provincial
Troops sent against Quebec through the Wilderness
of Canada and was Wounded in Storming that City
under General Montgomery.
London, published as the Act directs, 26 March,
1776, by Thomas Hart.
Three-quarter length. Folio.
The Hon. John Hancock of Boston in New
England, President of the American Congress.
Done from an original picture painted by Little-
ford. London, published as the Act directs, 25th Octo
ber, 1775, by C. Shepherd.
Three-quarter length. Folio.
The Honorable John Hancock, etc.
Same inscription as above and issued by the same
89

Appendix
publisher, but an entirely different picture, being a
bust in an oval. Folio.
Admiral Hopkins, Commander en chef de la
Flotte Americaine des xiii. Provinces unies.
Se vend a Londres chez Thomas Hart.
Oval in square. Three-quarter length. Small
quarto. Commodore Hopkins, Commander in Chief of
the American Fleet.
London, published as the Act directs, 22d August,
1776, by Thomas Hart.
Three-quarter length. Folio.
The Honorable Sir William Howe, Knight
of the Bath & Commander in Chief of His Majesty's
Forces in America. London, published, as the Act
directs, 10th May, 1778, by John Morris.
Corbutt del.
Se vend chez J. M. Wille a Augsburg.
Three-quarter length. Folio.
The Right Honorable Richard Lord Howe
Commander in Chief of His Majesty's Fleets in
America.
London, published as the Act directs, 10th No
vember, 1777, by John Morris, Rathbone Place,
Se vend chez J. M. Wille a Augsburg.
Oval in square. Three-quarter length. Quarto.
Horatio Gates, Esq. Major General of the
American Forces. 90

Appendix
London, published as the Act directs, 10th May,
1778, by John Morris. Se vend chez J. M. Wille
a Augsburg. Three-quarter length. Folio.
Charles Lee, Eso. Major General of the
Continental Army in America.
Thomlinson Pinx.
London, published as the Act directs, 31st October,
1775, by C Shepherd.
Three-quarter length. Folio.
Israel Putnam, Esc^, Major General of the
Connecticut Forces and Commander in Chief at the
Engagement on Buncker's Hill near Boston, 17th
June, 1775.
J. Wilkinson Pinx.
London, published as the Act directs, 9th Septem
ber, 1775, by C. Shepherd, London.
Three-quarter length. Folio.
Major Robert Rogers, Commander in Chief of
the Indians in the Back Settlements of America.
London, published as the Act directs, 1st October,
1776, by Thomas Hart.
Three-quarter length. Folio.
Major General John Sullivan. A distin
guished officer in the Continental Army.
London, published as the Act directs, 22nd August,
1776, by Thomas Hart.
Three-quarter length. Folio.
91

Appendix
David Wooster, Esq^, Commander in Chief of
the Provincial Army against Quebec*
London, published as the Act directs, 26th March,
1776, by Thomas Hart.
Three-quarter length. Folio.
The folio portraits in the foregoing list, al
though issued by different publishers and at
various periods, have come to be regarded by
collectors as together forming a series. They
are all rare prints, but common compared with
the Samuel Adams mezzotint published at
Newport, R. I., in 1775. I have never seen
a copy of this print, and have to thank Z. T.
Hollingsworth, Esq., of Boston, for the fol
lowing description:
MR. SAMUEL ADAMS
When haughty North, impres'd with proud Disdain,
Spurn'd at the Virtue, which rejects his chain,
Heard with a Tyrant Scorn our Rights implor'd
And when we su'd for Justice sent the Sword,
Lo ! ADAMS rose in Warfare nobly try'd,
His Country's Saviour, Father, Shield and Guide.
Urg'd by her Wrongs he wag'd ye glorious Strife,
Nor paus'd to waste a coward Thought on Life.
I. Mitchell, pinxt. Sam'l Okey, fecit. Three-quarter
length. 9 Yz x 1 3 ^ within plate marks.
Printed by and for Chas. Reak & Sam'l Okey. Newport,
Rhode Island, April, 1775.
* On page 55 this name appears erroneously as David Worcester.
92

Appendix
This print represents Mr. Adams standing
full front before a table covered with papers.
He points with his left hand to the papers and
holds in his right a roll inscribed "Instructions
from ye town of Boston."

93

Page 21. — Thirteenth line from top of page
insert the word to before the words be asked.
Page 65. — Sixth line from foot of page insert
the word Magazine after the word Columbian.
Pages 84 and 85. — After the dates affixed to
"The Universal," "The London," and
"The European" Magazines, a  should
have been printed to signify the continuance of
these three periodicals.

INDEX

PAGE
Ackland, Lady  51
Ackland, Major  52, 55
Adams, Samuel. .25, 27, 64, 92
Allardice  78
Allen, Charles Dexter  62
American Universal Magazine,
portraits in  77
Amherst, Lord  53
Analeptic Magazine  41
Anale&jc Magazine, portraits
in  81
Anderson (engraver)  79
Andre, Major John. . . 14, 17, 20
Andre, Major John, portraits
of  18
Andrews's History of the War 24
Andrews's History of the War,
portraits in  86
Arnold, Colonel  55, 89
Asgill, Charles  43
Augsburg in Bavaria  9
Baker, W. S  8, 23, 48, 57
Baltimore, Lord  II
Barber, J. W., Antiquities of
New Haven, Conn  22
Barlow's (Joel) Columbiad.. 42

PAGE
Barnard's History of England 17
B. B. E. (Ellis?)  37
"Bon Homme Richard"
Ship of War  45
Bonnieu  56
Bookplates by Nathaniel Hurd 62
Bookplates by Paul Revere. . . 64
Boston " Columbian Cen-
tinel "  7
Boston Common  76
Boston Massacre  22
Boston Massacre, copies of. . . 28
Boston Massacre, inscription
on plate of  29
Boston Edition of "Impartial
History "  24
Boston. Plan of the Town of 26
Boston. State House  76
Boston. View of the Town of 64
Boswell, James  46
Bowles, Carrington  20
Brandt, Joseph  46
British Museum  54
Brudenell, Rev. Mr  52
Bunker Hill, Attack on ... 26
Burgoyne, General  52
Buxton, Charles  57

95

Index

PAGE
Callender, J  64
Carey, Matthew  66
Caricatures. " America in
Distress "  63
Caricatures. " The Able Doc
tor "  63, 85
Caricatures. " The Mitred
Minuet"  63, 85
Carleton, Sir Guy  44
Church's History of King
Philip's War  5, 6
Church, Col. Benjamin  5,6
Churchill, C  5, 6
Clinton, Sir Henry. . .20, 38, 43
Coles, John  22, 23
Concord, Battle of  22
Columbian Magazine  23, 65
Columbian Magazine, por
traits in  76
Conference (A) between some
Indian Chiefs and Col.
Bouquet  64
Cornwallis, Surrender of . . . . 17
Cornwallis, Portrait of  39
Cowley's History of England. 88
Cow Chace, (The) Andre's
poem of  17, 71
Cunningham, Capt. Wm. ... 14
Darley, F. O. C  15
D'Auberteuil, Essais His-
toriques, etc  40
Davies, John  11
D'Estaing, Comte  38
De la More, Sir Wm  8
Deleplaine's Repository  41
Deleplaine's Repository, por
traits in  82
De Neufville of Amsterdam . . 47

PAGE
Dexter, Elias  12
Doolittle, Amos, his prints of
the Battles of Lexington and
Concord  22
Doolittle prints, Titles of . . . . 72
Dunlap's, Wm., Arts of De
sign  32
Dunlap, Wm.,  49, 59,66
Duplessis, Joseph Siffrein. ... 56
Dupin (engraver)  39
Durand, Asher B  10, 66
Du Simitiere, engravings by. 36
Du Simitiere, list of portraits
by  88
Duyckinck, E. A  54
Edwin, David. . . .48, 64, 68, 81
Elizabeth, Queen  12
Esnauts et Rapilly  39
European Magazine  24
European Magazine, portraits
in  85
Falmouth, Town of  26
Faneuil Hall, Boston  76
Francis, Mrs  65
Franklin, Benjamin,
"» *5> rf, 38> 4°, 56
Franklin, Benjamin, portrait
by Le Beau  13
Franklin, Benjamin, portrait
by Alex. Tardieu  13
Franklin, Benjamin, pastel by
Duplessis  56
Fraser, General Simon  55
Freeman's Journal, Phila. ... 27
French, Francis M., his lines
on Nathan Hale  16
Fulton, Robert  42

96

In
PAGE
Gage, General  64
Gates, General,
25, 38, 39. 43. 52> 55. 9°
Gerry, Elbridge  43
Grataloup, J. B  39
Greene, General, 27, 36> 39. 44, 47
Green, Valentine (Engraver) 47
Girdlestone, Thomas  35
Gosselin's, Edward, reproduc
tions of fine French prints
by  3»
Gridley, E. G  23
Guillim's (John) Display of
Heraldry  8
Hale, Captain Nathan. ... 14, 16
Hamilton, Alexander . . . .43, 79
Hamlin, William  48, 66
Hancock, John,
25, 36, 38, 39. 4°, 55, 64, «9
Hancock (The) House  76
Hardy, Sir Charles  39
Hardie *s (James) Biographi
cal Dictionary  41
Hardie's (James) Biographical
Dictionary, portraits in. . . . 78
Harris, Samuel  67
Harvard College  76
Harvard Lyceum  67
Heath, James  66
Hedden, Edward L  58
Hill, S  76
Hogarth  10
Hollingsworth, Z. T  92
Hooker, W. (engraver)  78
Hopkins, Commodore, 25, 26, 36> 39. 55, 9°
Houbraken, J  20

DEX PAGE
Houdon, Jean Antoine  56
Howe, Richard Lord,
20, 26, 36, 55, 90
Howe, Sir William, 36, 55. 7'. 9°
Hurd, Nathaniel  62
Impartial (The) History, 22, 24, 26
Indian (An) Gazette  64
Jarvis, John Wesley  48
Jay, John  59, 60
Jennys, Richard, Jr  62
Jones, John Paul  39, 45
Kay, John, Caricature por
traits by  42
Knox, General. . .25, 27, 49, 51
Knox, General, portrait by
Savage  49
Lafayette  14, 43, 54, 56
Laurens, Henry  47
Lawrence, Sir Thomas  51
Lee, General Charles,
25> 35, 36, 39. 55. 9'
Lee, portrait by Probst  34
LefFerts, Marshall C  42
Lenox Library  22
Lexington, Battle of  22
Literary Magazine, portraits in 78
Livingston, Brockholst  44
Lloyd, Lieutenant  53
London Edition of " Impartial
History "  24
London Magazine  24
London Magazine, portraits in 84
Lottery Magazine  24

97

Index

PAGE
Marshall (William), English
engraver of the seventeenth
century  23
Marshall, William Edgar (en
graver)  61
Magazines, American and Eng
lish, containing Revolution-
arg portraits  23
Massachusetts Magazine  24
Massachusetts Magazine, por
traits in  76
Maverick, Peter  66
Mayhew, D.D., Jonathan ... 62
Meschianza, The  18, 71
Mezzotint Portraits, List of 55
Mitchell, Honorable James T. 8
Montgomery, General.. . .25, 26
Mondhare (publisher)  39
Montcalm, Marquis de  38
Monthly Military Repository 24
Monthly Military Repository,
portraits in  76
Moore, Dr. George H  35
Morrell, T. H  67
Murray's History of the War 24
Murray's History of the War,
portraits in  86
National Portrait Gallery .. 3, 41
Neagle, John  65
New England Magazine  80
New York Magazine  23, 65
New York Magazine, portraits
in  75
New York, Southwest View of
Fort George with the City
of.  88
Norman, J., portraits of Gen
eral and Mrs. Washington 21

PAGE
Norman, J., portraits by, in
American edition of the
" Impartial History " . . . . 25
North America, Map of  26
Palmer, Lieutenant  18
Passe, Simon  10
Peale, C. W  38, 47
Penn, William  n
Percy, Hugh, Earl of  47
Philip, King of Mount
Hope  6, 7
Philadelphia. State House at 48
Pickering, Timothy  44
Pierson, Capt  45
Pitt, William  40
Political Magazine  24
Pollard, Robt  52
Polyanthos, The  41, 67
Polyanthos, The, portraits in 79
Portfolio, The  41
Portfolio, The, portraits in . . . 80
Prevost, B. L. (engraver). . . 36
Putnam, General. . 18, 25, 55, 91
Putnam, General, portrait by
Probst  34
Quebec  88
Raleigh, Sir Walter  11
Raymond's History of Eng
land  17
Reed, A  68
Red Jacket  46
Reed, Col. Joseph  32
Revere, Paul. . . 5, 9, 22, 63, 75
Reynolds, Sir Joshua  53, 54
Reynolds ,S. W  53
Richardson, W. (publisher).. 37

Index

Ritchie, A. H. (engraver). 15, 35
Rivington, James  71
Rivington, James, his f Ga
zette"  17, 71
Rochambeau, Comte de. . . 38, 39
Rodney, Lord  39
Rogers, Major Robt. .36, 55, 91
Rollinson, Wm  51, 79
Royal American Magazine, 23, 63, 64
Royal American Magazine,
portraits in  75
Rushbrooke, B  35
Russell's History of the War. 24
Russell's History of the War,
portraits in  87

PAGE
Snyder (engraver)  68
Society (The) Library  51
St. Memin's Collection of
Portraits  40
Stuart, Gilbert  59, 65
Sullivan, General. .. .36, 55, 91
Tanner, B. (engraver). . . .66, 78
Tarleton, Colonel  53, 54
Tiebout and O'Brien  50
Tiebout, Cornelius  56
Tisdale (engraver)  79
Trenchard, J. (engraver). 65, 76
Troost, Cornelius  20
Trumbull, Colonel ... .4, 38, 47
Tryon, Governor Wm  18

Sabin's, J. F., " Dictionary ".
Sanderson's Biography of the
Signers 
Sanderson's Biography, por
traits in 
Savage, Edward  38,
Sentimental and Masonic Mag
azine, portraits in 
Senator (The) Magazine, por
traits in 
" Serapis," Ship of War. . . .
Scoles, I. (engraver)  49,
Sewall, Rev. Dr 
Shannon, James 
Shepherd, C. (publisher)....
Smith, Chas., History of the
Revolutionary War 
Smith, J. R. (engraver) 
Smith, Captain John, portrait
of 
Smith's, Captain John, Map of
New England 

Universal Magazine (English). 24
Universal Magazine, portraits
41 in  84

82
48 85

Valentine, D. T  72
Valentine's Manuals  21, 71
Vergennes, Comte de  38, 43

87 Warner, J. G. (engraver) ... 77
45 Warren, General  25, 26
65 Wayne, General  3, 4, 25
62 Washington, 12, 22, 24, 25, 32,
72 36, 38> 5', 55. 56, 57
32 Washington, portrait of, in
Roman Dress  8
77 Washington, " Pater Patriae "
68 portrait of  23
Washington, portrait engraved
10 by Brunton  31
Washington, portrait painted
10 by Alex. Campbell  32

99

I

NDEX

PAGE
Washington, portrait painted
by C. W. Peale  47
Washington, portrait engraved
by Pruneau  31
Washington, portrait engraved
by Savage  48
Washington, portrait painted
by Trumbull  40, 47
Washington, Colored portraits
of  33
Washington, Mrs  21
Westminster Magazine  24

PAGE
Wharton House, Philadelphia 71
Winckler, J. B., engraving
by  20
Wilkinson, R  37
Wooster, General. . . .25, 55, 92
Willis, Samuel J  71
Winterbotham's "America ". 49
Worthington, Mrs. Chas. C. 58
Wright, Joseph  38

York, Duke of  11

'¦' '