from an English example he had seen.
A LIST OF BOOK-PLATES SIGNED BY DAWKINS.
Gerard Bancker Chippendale.
John Burnet, 1754 Chippendale.
Francis Child Chippendale.
James Duane Chippendale.
Francis Hopkinson,}
Joseph Hopkinson, } one copper Chippendale.
Whitehead Hicks Chippendale.
Archibald Hunter
Samuel Jones Chippendale.
Benjamin Kissam Chippendale.
John Cooke Ludlow Chippendale.
Gab. Willm. Ludlow Chippendale.
Jacob Roome Chippendale.
John L. C. Roome Chippendale.
James Samuels Chippendale.
Samuel Stringer Chippendale.
William Sword Chippendale.
John Tomlinson Chippendale.
Unidentified Chippendale.
Josias Short Vavasour Chippendale.
W ---- Whitebread Chippendale.
Peter W. Yates Chippendale.
The plates of _Cornelius Low_ and _Lambert Moore_, although not signed,
are attributed to Dawkins.
* * * * *
NATHANIEL DEARBORN was born in 1786, and was the son of Benjamin
Dearborn, a man of attainments in science. Nathaniel was one of the
first wood-engravers in Boston, and was associated with Abel Bowen for a
time.
The only armorial book-plate signed by Dearborn is the _Charles Beck_,
which is a peculiar design, following no particular style, but making a
pretty plate.
A second plate signed by Dearborn is the simple engraved verse for
_Isaac Child_.
* * * * *
AMOS DOOLITTLE, who was born in 1754, was one of the first engravers of
historical scenes in America. In Barber’s “History and Antiquities of
New Haven,” published in 1831, is an advertisement of “four different
views of the Battle of Lexington, Concord, etc. on the 19 April 1775.” A
list of the plates follows, and it is remarked that they were “neatly
engraved on copper from original paintings taken on the spot.” In a note
which follows, it is further remarked that the pictures were first drawn
by Mr. Earl, who was a portrait painter, and who with Mr. Doolittle was
a member of the Governor’s Guard which went to Cambridge and the scene
of action under the command of Arnold.
[Illustration: George Goodwin]
[Illustration: Social Library. Stepney Society Wethersfield]
As a maker of book-plates, Doolittle was fond of the allegorical style.
He made two plates for the _Societies of Yale College_, and one for the
village library of _Wethersfield_. The latter is an ornamental label
only, but the former are quite elaborate examples of the allegorical.
The plates of _Benjamin S. Brooks_, in the Ribbon and Wreath style, and
_Charles H. Wetmore_, which is a copy of one of Maverick’s favorite
designs, complete the number of his signed examples. The _Guilford
Library_ and _George Goodwin_ plates, which have some features in common
with the _Wethersfield Library_, are confidently attributed to him.
Benjamin S. Brooks Ribbon and Wreath.
Brothers in Unity Allegorical.
Linonian Library Allegorical.
Social Library, Wethersfield Literary.
Charles H. Wetmore Ribbon and Wreath.
* * * * *
GIDEON FAIRMAN, whose signature is on one of the plates of _Henry
McMurtrie_ and one of the _Linonian Society of Yale College_, was born
in Connecticut in 1774. He showed an early fondness for engraving, and
made rude attempts which showed undoubted talent. In 1810, having made
himself a master of his art, he went into partnership with Murray,
Draper, and others, in Philadelphia. He made considerable money, and
went over to England with Jacob Perkins, where, with Charles Heath for a
third partner, they were successful but for a short time, the
extravagance of Murray proving their ruin.
* * * * *
JOHN MASON FURNASS was the nephew of Hurd, to whom the latter left his
engraving tools by will, as the young man showed so much ability in the
art practised by his widely known uncle.
He was also a painter of portraits, and he had a studio in Boston, which
was also used by Trumbull.
The only plate signed by this engraver, which the present writer has
seen, is the _Eli Forbes_. This plate shows but few traces of the
influence of Hurd. It is a Chippendale design, but
[Illustration: Eli Forbes.]
is not in either of the characteristic modes of Hurd. It is an ambitious
plate, and was meant to be very fine, evidently. It is full of
flourishes, and the little spiral flourish at the lower right-hand side
is wholly out of place; the robin picking rose leaves at the side is an
innovation. The scrolls under the name are somewhat in the manner of
Hurd. The heraldic drawing is poor, and the bunch of arrows between the
shield and the crest must be in allusion to the occupation of the owner,
who was a missionary to the Indians.
[Illustration: John Chambers Esq^{r}.]
There is said to be a plate by Furnass owned in Boston, by the name of
_Foster_, but no definite knowledge of it has been obtained.
* * * * *
E. GALLAUDET, who signed the plate for the _New York Society Library_
and the plate of _John Chambers_, was one Elisha Gallaudet, who
practised his art in New York City towards the end of the last century.
EDWARD GALLAUDET, a relative of the above, was superior to him as an
engraver, and the _Gallaudet_ plate mentioned in the List is by him. He
was of the present century.
* * * * *
ABRAHAM GODWIN was born in New Jersey in 1763. He was intended for the
profession of the law, and was placed in the office of his brother, at
Fishkill, in New York state. Both men joined the army, however; and when
Abraham returned to his home, it was to take up the art of engraving,
towards which he had had an inclination from boyhood, when he made his
first attempts on the silver plate of his friends, with a graver made by
a blacksmith.
The only example of his book-plate work is a plate fully described under
the heading, “Unidentified,” in the List. Most unfortunately, the only
example known has the family name torn out. The first name is _John_.
The plate is rather rudely engraved, but is quite ambitious, showing the
interior of a large room, which might be either a school-room or a
library.
* * * * *
S. HARRIS, who engraved the pictorial plates of _Henry Andrews_ and the
anonymous _Williams_, was a New England engraver, who was in Boston
about 1798.
CHARLES P. HARRISON, who signed the plain armorial book-plates of
_William Betts_ and _David Paul Brown_, was a son of William Harrison,
an English engraver, who came to New York in 1794, and was for a time an
instructor of Peter Maverick the second.
* * * * *
SAMUEL HILL was a copper-plate engraver in Boston, about 1790, and his
work consisted mostly of portraits and book work.
The following are examples of his work:--
Willm. P. & L. Blake’s
Circulating Library
at the Boston Book Store Ornamented label.
Charles Pierpont Ribbon and Wreath.
William Winthrop Ribbon and Wreath.
Also the plate of _Saml. Hill_, which is of a literary flavor, is
probably the engraver’s own plate.
* * * * *
S. S. JOCELYN, of New Haven, who made a very handsome plate for the
_Brothers in Unity_ of Yale College, became an engraver of vignettes for
bank-notes.
* * * * *
THOMAS JOHNSON was born in Boston in 1708. He was buried in King’s
Chapel Burying-ground, May 8, 1767. He engraved Psalm Tune plates
[Illustration: EDMUND H. GARRETT]
for the Tate and Brady edition of 1760, and did some commendable work as
a herald painter. In the inventory of his estate, fifteen copper plates
are appraised at 40_s._
Only one specimen of his book-plate work is authenticated, and that is
the _Joseph Tyler_, which is signed in full,--_Johnson_.
* * * * *
THOMAS JOHNSTON signs the very beautiful Jacobean plate of _William P.
Smith, A.M._, and the rougher Chippendale of _Samuel Willis_. Whether
this is the same engraver as the above is uncertain; the difference in
the spelling of the name would not disprove the claim, as in those days
such differences were frequent. The _Willis_ plate bears strong
resemblance to the work and designs of Hurd. If this is the same
engraver as the above, these two plates are likely to be the earliest
signed plates by an American, as Johnson was born some twenty years
before Hurd. The _Willis_ plate is quite inferior to the _Smith_, which
latter is a striking example of the Jacobean style.
* * * * *
FRANCIS KEARNEY, who signs the plate of _Henry McMurtrie_ and _Hector
Coffin_, was born in 1780. He was a pupil of Peter R. Maverick, who
received two hundred and fifty dollars for instructing him for three
years. The advantage was all with Maverick. Soon after the opening of
the century, he was engaged with Anderson, the younger Maverick, Boyd,
and others, in engraving plates for a quarto Bible published by Mr.
Collins, of New York.
In 1810 he removed to Philadelphia, as that city was far ahead of New
York in the publishing of books, etc. He was in that city for over
twenty years. His greatest work is the engraving of Leonardo da Vinci’s
picture of the “Last Supper.”
* * * * *
PETER RUSHTON MAVERICK was born in England, April 11, 1755, and came to
America about 1774. He was originally a silversmith, and came of a
family whose members were for several generations well known as
engravers, and who made the art their occupation. He was an energetic
worker, getting most of his practical knowledge by his own endeavors. He
was the teacher of William Dunlap and of Francis Kearney, as well as of
his own son, who ultimately became a more proficient engraver than his
father, and, who after instructing A. B. Durand for five years, took him
into partnership.
Peter R. Maverick died in New York, about 1807, and his son Peter whose
partnership with Durand resulted disastrously, died in 1831.
As a designer and engraver of book-plates, Maverick was the most
prolific of all the early engravers. It is presumed that all the plates
signed either P. R. Maverick, or simply Maverick, were by the same hand,
as a large collection of
[Illustration]
_Weigh well each thought, each sentence freely scan,
In Reason’s balance try the works of man:
Be bias’d not by those who praise or blame.
Nor, Servile, Yield opinion to a Name._
proofs from his plates which furnishes examples of both ways of signing
is now in the possession of the New York Historical Society, and the
librarian informs me that all of the plates in that collection were done
in 1789 by the elder Maverick. This collection consists of sixty-five
plates, of which thirty-eight different ones are signed by Maverick.
There are also others which are undoubtedly his work, although not
signed, and there are examples by Dawkins, Hutt, and Child. Quite a
number of the plates are duplicated, too. This very interesting
collection of proofs, kept by Maverick himself, and sewed together
roughly, was in the library of his friend, John Allan. By far the
greater part of Maverick’s plates are of the Ribbon and Wreath style,
but he made a few Jacobeans, a few Chippendales, and one or two
pictorial and allegorical designs. He used the same features over and
over in his plates, and seems to have been a rapid worker. The plates in
the following list marked * are by the younger Maverick.
A LIST OF BOOK-PLATES SIGNED BY MAVERICK.
Anonymous Plain armorial.
Anonymous (Jacob Brown) Pictorial.
Flamen Ball Ribbon and Wreath.
Abraham Bancker Pictorial.
Absalom Blackley Ribbon and Wreath.
Philip Brasher Ribbon and Wreath.
*Epaphroditus Champion, Jr. Plain armorial.
De Witt Clinton Ribbon and Wreath.
William Cock Ribbon and Wreath.
James S. Cutting Ribbon and Wreath.
William Cutting Ribbon and Wreath.
John Cuyler Ribbon and Wreath.
Frederick De Peyster Plain armorial.
Barnard Elliott Plain armorial.
Erasmus Hall Library Allegorical.
Ebenezer Foot Ribbon and Wreath.
[Illustration: Abraham Bancker]
Andrew J. Fraunces Plain armorial.
James Gibs
James Giles Military.
*Elias Hicks Plain armorial.
Philip L. Hoffmann Ribbon and Wreath.
Horanian Society Library Allegorical.
William J. Hunter Ribbon and Wreath.
John I. Johnson Pictorial.
John Johnston Ribbon and Wreath.
Thomas Johnston Ribbon and Wreath.
Benjamin S. Judah Ribbon and Wreath.
John Keese Ribbon and Wreath.
John Keese Ornamental label.
Rufus King Ribbon and Wreath.
Isaac L. Kip Ribbon and Wreath.
Edward Livingston Landscape.
Maturin Livingston Ribbon and Wreath.
William Smith Livingston Ribbon and Wreath.
Hugh McLean Ribbon and Wreath.
Peter Masterton Ribbon and Wreath.
---- Maxwell Ribbon and Wreath.
*Nathaniel F. Moore Ribbon and Wreath.
New York Society Library Allegorical.
New York Society Library Allegorical.
*Lewis Morris Ogden Ribbon and Wreath.
Francis Panton, Jr. Landscape.
W. Paulding
William L. Pierce Ribbon and Wreath.
John Pintard Ribbon and Wreath.
William Popham Ribbon and Wreath.
Halcott B. Pride Ribbon and Wreath.
Samuel Provoost Ribbon and Wreath.
William Seton Ribbon and Wreath.
John Sitgreaves Ribbon and Wreath.
James Scott Smith Ribbon and Wreath.
Thomas Smith, Jr. Ribbon and Wreath.
Thomas J. Smith
William Smith Ribbon and Wreath.
William Taylor Ribbon and Wreath.
*James Thompson Plain armorial.
Thomas Tillotson Ribbon and Wreath.
P. I. Van Berkel Plain armorial.
K. K. Van Rensselaer Ribbon and Wreath.
Prosper Wetmore Ribbon and Wreath.
Polydore B. Wisner Ribbon and Wreath.
A LIST OF PLATES ATTRIBUTED TO MAVERICK, ALTHOUGH NOT SIGNED.
James Agnew, Esq. Chippendale.
Boudinet Ribbon and Wreath.
Charles Bridgen Plain armorial.
Willm. Duer Ribbon and Wreath.
John Goelet Jacobean.
Herbert Chippendale.
Morgan Lewis, Esq. Ribbon and Wreath.
Rob’t R. Livingston, Esq., of Cleremont Ribbon and Wreath.
Walter Livingston Chippendale.
Jonathan Meredith, Jr. Ribbon and Wreath.
Joseph Murray Chippendale.
William Pasley Ribbon and Wreath.
Saml. Provoost. Coll. Pet. Cant. Chippendale.
William Stephens Jacobean.
John C. Ten Broeck Ribbon and Wreath.
Stephen Van Rensselaer Plain armorial.
* * * * *
OLIVER PELTON, who engraved a plate for the _Brothers in Unity_, at Yale
College, was born in Portland, Conn., in 1799, and learned his trade
with Abner Read, a bank-note engraver, of Hartford. He was an assiduous
worker, and was taken into partnership after two years’ work, with Mr.
Read and one Samuel Stiles. Samuel G. Goodrich (Peter Parley) soon
induced him to go to Boston with him, to engage in the engraving of
plates for his works. This enterprise was successful, and in 1863 Pelton
formed a partnership with William D. Terry, which was the foundation of
the New England Bank-Note Company of Boston. The plate mentioned is the
only example of his work on book-plates.
R. RAWDON, who signs the plate of _William L. Stone_, which is a very
handsome steel-plate design, was born in Tolland, Conn., and was
associated with his brother in Albany. The brother subsequently moved to
New York.
[Illustration: Gardiner Chandler]
PAUL REVERE, the Revolutionary patriot whose “midnight ride” is known
the world over, was born in Boston, January 1, 1735, and died there on
the 10th of May, 1818, after a life of great usefulness, leaving a name
never to be forgotten.
He came of a Huguenot family, who spelled the name Rivoire originally.
[Illustration: William Wetmore]
He was self-instructed in the art of engraving on copper, although
brought up by his father to the business of a goldsmith. He went on the
Crown Point expedition, 1756, and after his return, married, and settled
down to the business he had already learned. He was naturally fond of
mechanics, and made himself master of its general principles. One of his
earliest attempts on copper was the portrait of his friend, Dr. Mayhew.
He also engraved several caricatures which were popular, and some
historical pictures which are valuable now to the collector.
[Illustration: Paul Revere]
Not many book-plates have come down to us by this celebrated patriot,
and the following list comprises all that are signed.
Gardiner Chandler Chippendale.
David Greene Chippendale.
Epes Sargent Chippendale.
William Wetmore Ribbon and Wreath.
Revere’s plates do not have the compact appearance of Hurd’s, and are
not so well designed or so well engraved as the latter’s. Presumably
this branch of work was not very profitable to him, or very much
cultivated.
The accompanying design was undoubtedly a book-plate, and beyond
question is the work of Revere. It is a very rare plate.
* * * * *
WILLIAM ROLLINSON was born in England, in the year 1760. He was in youth
brought up to the trade of ornamenting buttons; and, upon coming to New
York, made the gilt buttons which decorated the coat worn by Washington
at his inauguration as President. He did this without remuneration, so
thoroughly sympathizing with the country of his adoption as to feel the
honor of this service for Washington a full compensation. He was,
through the friendship of Messrs. Elias Hicks and John C. Ludlow,
recommended to the publishers of Brown’s Family Bible, for which he made
several plates. Previous to this, he found work in the shops of
different silversmiths, and had taught himself the art of engraving on
copper. At the beginning of the century, Archibald Robertson painted a
portrait of Alexander Hamilton, which Rollinson boldly undertook to make
a large engraving from. He did not understand all the processes of
engraving, and invented such as he was compelled to use, as he went on.
The duel in which Hamilton lost his life occurred before the portrait
was fully engraved. Indeed, it had been undertaken more as an experiment
than with the idea of sale; but the friends of the dead statesman urged
him to complete it, which he did, and the print found a good sale.
Later, Rollinson invented a machine for ruling waved lines, which was of
vast importance in the manufacture of bank-notes.
As an engraver of book-plates, he adopted the Ribbon and Wreath style
naturally, as it was the style in vogue when he took up the work. He
made one or two plain armorials, and for the _New York College of
Pharmacy_ one of more ambitious design. His plates, all neat in design,
are clear, skilful engraving. His work and that of Callender, in the
same style, resemble each other.
The following plates are signed by Rollinson:--
Richard Harrison Plain armorial.
Elias Hicks Ribbon and Wreath.
George Ludlow Ribbon and Wreath.
W. T. McCoun Plain armorial.
Horatio Shepheard Moat Ribbon and Wreath.
New York College of Pharmacy Ornamented label.
James Adam Smith Plain armorial.
Thomas N. Stanforth Ribbon and Wreath.
Teachers’ Union, St. George’s Church Engraved label.
John W. Watkins, A.M. Ribbon and Wreath.
Charles Wilkes Plain armorial.
Azarias Williams Ribbon and Wreath.
* * * * *
J. SMITHERS, an Englishman, originally a gun-engraver employed in the
Tower of London, came to Philadelphia in the year 1773.
[Illustration: H. E. Deats.]
He had a good name as a man and as an engraver, and made the blocks for
the Continental money. A large plan of the city of Philadelphia on three
plates, which was his work, was subsequently purchased, when copper was
scarce, for thirty dollars, and cut up into smaller pieces. Among his
pupils was Trenchard, of whose work we have a few examples.
The following plates are signed by Smithers:--
John Day Plain armorial.
Fenwick Chippendale.
Henry Hale Graham Plain armorial.
John Magill Chippendale.
Henry McMurtrie Pictorial.
He sometimes signed with the final _s_, and sometimes without it. His
book-plates are not especially brilliant in any way, but are good, and
in the pure style. His finest attempt is the landscape plate for _Dr.
McMurtrie_ of Philadelphia.
* * * * *
T. SPARROW was an obscure engraver on wood, who worked at his trade in
Annapolis from 1765 to about 1780, and who did considerable work for
“Ann Catherine Green & Son, Printers,” of that town, on title-pages,
tail-pieces, etc. He engraved on copper the title-page for the “Deputy
Commissary’s Guide of Maryland,” published by the above firm in 1774,
and which is a creditable piece of work. All the book-plates known at
present are on wood, and they are but two in number: the _Richard
Sprigg_ and the _Gabriel Duvall_, both of whom were men of prominence in
the colonial times, in Maryland.
* * * * *
WILLIAM D. TERRY, who was mentioned as the founder, with Pelton, of the
Bank-Note Company, in Boston, engraved a plate for the _Redwood
Library_, of Newport. This is a large representation of the library, and
is a fine piece of work.
* * * * *
JAMES THACKARA was a partner of John Vallance, in the engraving
business, and they were together for a good many years. Thackara was
inferior to his partner as an engraver, according to Dunlap, and was for
a long time the keeper of the Pennsylvania Academy of Fine Arts.
We know but one example of his book-plate work, and that is the
_Lenthall_ plate, which is a large and very interesting example of the
Ribbon and Wreath style. It is an excellent piece of engraving, full of
style, and graceful in design.
* * * * *
JAMES TRENCHARD was born in Cumberland County, New Jersey, about 1746.
He was a pupil of Smithers, and engraved in Philadelphia,
[Illustration: JOHN LENTHALL]
about 1785. Among his pupils were Thackara, Vallance, and his nephew,
Edward Trenchard, who became an officer in the United States Navy, and
served in the War of 1812.
Trenchard was one of the owners of the “Columbian Magazine,” published
in Philadelphia from 1786 to 1792, and he engraved many plates for its
pages.
[Illustration: Bloomfield]
One signed book-plate of his is known,--the _Bloomfield_. This is a
Chippendale plate of no striking features. The _Luther Martin_ plate is
so similar to this as to leave hardly any doubt that it too was by
Trenchard.
* * * * *
[Illustration: Luther Martin A M]
JAMES TURNER is another of the early American artists of whom very
little is known now. He was at one time in Boston, but later removed to
Philadelphia. He did some portrait and some music work. Of his
book-plate work we have but three signed specimens. By far the most
interesting and valuable of these is the extremely rare plate of _John
Franklin of Boston in New England_. This is very fully described in the
List of Early American Book-plates. The other plates are the _Sir John
St. Clair_, and the plate for _Isaac Norris_, of the family of the
Quaker Chief Justice of Pennsylvania.
[Illustration: John Franklin
Boston New England]
The plate of _James Hall_, although not signed, is also attributed to
him.
* * * * *
JOHN VALLANCE, whose name is connected with that of Thackara, engraved
with him many plates for Dobson’s Encyclopædia. He made heads of
Franklin and Howard, which were pronounced successful, and he had a high
reputation as an engraver.
[Illustration: Bloomfield Maine.]
One authenticated example of his book-plate work is known, the _Joseph
Wiseman_, in the Ribbon and Wreath style; and the _David Brearly_,
although not signed, is attributed to him.
* * * * *
Of the other engravers whose names appear on but one or two plates, no
information has been obtained. There were probably many who had but a
local fame, and who made but a few plates. Their names are remembered
now in a way not expected at the time of signing them, undoubtedly.
* * * * *
In a recent article on COUNT RUMFORD, in the “New England Magazine,” it
is said that, when a youth, he designed book-plates. No authentic
examples of his work are known, and no information can be obtained
concerning any.
* * * * *
JACOB HURD, the father of Nathaniel, was a goldsmith of Boston, and his
name is on pieces of plate in the First and Second churches in Boston,
and the First Church, and Christ Church, in Dorchester. He very probably
made book-plates, though no signed work is known. He died in 1758. He
appears in the list of subscribers to “Prince’s Chronological History of
New England,” as taking six copies.
In the “Boston Evening Post,” for March 4, 1745, the following
advertisement appears:--
“FRANCIS GARDEN, Engraver from London, engraves in the newest
Manner and at the cheapest Rates, Coats-of-Arms, Crests or Cyphers
on Gold, Silver, Pewter or Copper. To be heard of at Mr.
Caverley’s, Distiller, at the South End of Boston. N.B. He will
wait on any Person in Town or Country, to do their Work at their
own House, if desired: also copper-plate printing perform’d by
him.”