American Book-Plates: A Guide to Their Study with Examples
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Title: American Book-Plates: A Guide to Their Study with Examples
Author: Charles Dexter Allen
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AMERICAN
BOOKPLATES
[Illustration]
AMERICAN BOOK-PLATES
(EX-LIBRIS)
[Illustration]
[Illustration]
American Book-Plates
A Guide to their Study with Examples
By Charles Dexter Allen
Member Ex-Libris Society London · Member Grolier Club New York
Member Connecticut Historical Society Hartford
With a Bibliography by Eben Newell Hewins
Member Ex-Libris Society
Illustrated with many reproductions of rare and interesting book-plates
and in the finer editions with many prints from the original
coppers both old and recent
[Illustration]
New York · Macmillan and Co. · London
Mdcccxciv
COPYRIGHT, 1894,
BY MACMILLAN AND CO.
Norwood Press:
J. S. Cushing & Co.--Berwick & Smith.
Boston, Mass., U.S.A.
PREFACE.
[Illustration: I]n a few years Book-plate literature will have a place
in the catalogues of the Libraries, as it now has in those of the
dealers in books. The works of the Hon. J. Leicester Warren (Lord de
Tabley), Mr. Egerton Castle, and Mr. W. J. Hardy on the English plates,
Mr. Walter Hamilton, M. Henri Bouchot, and M. Poulet-Malassis on the
French, Herr Warnecke on the German, and M. Carlander on the Swedish,
are all the work of master hands, and are recognized as authorities. In
our own country the lists and essays of Mr. Richard C. Lichtenstein and
Mr. Laurence Hutton have long been of invaluable service, and occupy a
position both at home and abroad of undisputed eminence.
A large number of articles has also been contributed to periodical
literature by those well informed upon the subject, and numerous
monographs testify to the growth of interest in this fascinating study,
and by the names of their authors, to the class of scholars and students
of antiquarian lore who deem the humble book-plate worthy of their
attention.
In view of what has been and of what will be written, this present
modest attempt to introduce more fully than has yet been done, the
book-plates of America, needs to be understood as simply a pioneer work;
a great deal of information will reward the patient and painstaking
investigator of the future, which is now inaccessible, and without
doubt, too, much will be found even within the present to supplement
these pages.
This book could not have been undertaken nor carried to completion had
the writer been denied the generous assistance and hearty sympathy of
our collectors, to whom he desires to express his appreciation of the
kindnesses shown him.
Especially to Mr. R. C. Lichtenstein, Mr. E. N. Hewins, and Mr. Fred J.
Libbie of Boston, does he feel under deep obligation for the generous
loan of their splendid collections, for ready advice and counsel, for
cheerful assistance whenever asked for, and for that tangible sympathy
and lively interest which are worth so much to one engaged in such work.
To many others also is he indebted, both for the loan of plates and for
kindly words of encouragement.
To Mr. S. P. Avery, Mr. Beverly Chew, Mr. E. H. Bierstadt, Mr. Henry
Blackwell, Mr. D. McN. Stauffer, Mr. Edward D. Harris, Mr. Laurence
Hutton, and Mr. E. W. Nash, of New York City; to Mr. W. G. Brown of
Washington and Lee University at Lexington, Va.; Mr. H. E. Deats of
Flemington, N.J.; Dr. C. E. Clark of Lynn; Hon. W. A. Courtnay of
Charleston, S.C.; Miss Helen E. Brainerd of the Columbia College
Library; Mr. Pickering Dodge of Washington, D.C.; Mr. Charles T. Martin,
Mr. Frank B. Gay, Mr. A. C. Bates, and Mr. John C. Parsons, of
Hartford; Dr. Henry C. Eno of Saugatuck; Dr. J. H. Dubbs of Lancaster,
Penn., President of Franklin and Marshall College; Mr. D. V. R. Johnston
of the State Library at Albany; Mr. Nathaniel Paine of Worcester; Mr.
Daniel Ravenel of Charleston, S.C.; Mr. Howard Sill of Glendale, Md.;
Mr. R. A. Brock of Richmond, Va.; Mr. Howard Edwards of Philadelphia;
Dr. Swan M. Burnett of Washington, D.C.; Mr. Richard Wijnkoop of
Brooklyn; Mr. Bisbee of Dartmouth College; Mr. William Kelby of the New
York Historical Society; and to Mr. Lyon G. Tyler of Williamsburg, Va.,
President of William and Mary College, does he wish to make
acknowledgment for the favors which have contributed so much to the
value of the work. From over the sea, particularly kind assistance has
come from Rev. T. W. Carson, the veteran collector and eminent authority
of Dublin.
To all others who by letter, gift, or advice have assisted him, the
writer wishes hereby to make suitable and hearty acknowledgment.
The writer’s thanks are also extended to those who have so kindly
permitted him the use of their plates for the illustrating of the book.
A word more is due to Mr. E. N. Hewins, who very kindly, at the writer’s
request, accepted the labor of preparing the excellent Bibliography
which appears in the volume.
CHARLES DEXTER ALLEN.
HARTFORD, CONN., June, 1894.
CONTENTS
PAGE
PREFACE v
A LIST OF THE ILLUSTRATIONS xi
INTRODUCTORY 1
NAME-LABELS AND MOTTOES 16
ARMORIAL BOOK-PLATES 35
PICTORIAL AND ALLEGORICAL BOOK-PLATES AND PLATES
OF COLLEGES, LIBRARIES, AND SOCIETIES 57
BOOK-PLATES OF SPECIAL INTEREST 79
EARLY AMERICAN BOOK-PLATE ENGRAVERS, WITH LISTS
OF THEIR WORK 104
AN ALPHABETICAL LIST OF EARLY AMERICAN BOOK-PLATES 160
A CHRONOLOGICAL LIST OF THE DATED PLATES 313
AN ALPHABETICAL LIST OF THE SIGNED PLATES, SHOWING
THE EXACT MANNER OF SIGNING 314
A LIST OF MOTTOES FOUND UPON THE EARLY PLATES,
WITH TRANSLATIONS 323
A FEW RECENT EXAMPLES 340
THE AMERICAN COLLECTORS AND COLLECTIONS 377
THE EX LIBRIS SOCIETIES 387
BIBLIOGRAPHY (AMERICAN, ENGLISH, AND FRENCH) 389
CONCLUSION 421
INDEX 423
LIST OF ILLUSTRATIONS.
COPPER-PLATES.
CHARLES DEXTER ALLEN, by _E. H. Garrett_ _Title-page_
_To face page_
EDWARD HALE BIERSTADT, by _E. D. French_ 90
OLIVER WENDELL HOLMES 98
ALEXANDER ANDERSON, by _Anderson_ 120
AMERICAN ACADEMY OF ARTS AND SCIENCES, attributed to
_Callender_ 126
GEORGE GOODWIN, attributed to _Doolittle_ 132
MARSHALL C. LEFFERTS, by _E. D. French_ 352
GEORGE DUDLEY SEYMOUR, by _W. F. Hopson_ 370
FRANCIS WILSON, by _E. H. Garrett_ 376
FULL-PAGE REPRODUCTIONS.
JEREH. WADSWORTH 1
MORAL LIBRARY, YALE COLLEGE 6
JAMES EDDY MAURAN 16
EUGENE FIELD 35
JACOB SARGEANT, by _Jacob Sargeant_ 46
PETER MANIGAULT, by _Yates_ 52
JOHN WILLIAMS 54
RICHARD WYNKOOP 56
SOCIAL LAW LIBRARY 66
GEORGE ALEXANDER MACBETH 79
W. F. HOPSON, by _W. F. Hopson_ 104
WILLIAM ASHMEAD COURTENAY 122
EDMUND H. GARRETT, by _E. H. Garrett_ 138
H. E. DEATS 150
RICHARD C. LICHTENSTEIN, by _George Moore_ 160
LOUIS J. HABER 323
GEORGE H. ELLWANGER, by _Sidney L. Smith_ 340
JOHN E. RUSSELL, by _M. T. Callahan_ 357
DEAN SAGE 360
FRED C. SCHLAICK, by _Howard Sill_ 362
ARTHUR ROBINSON STONE, by _George M. White_ 364
F. W. HOYT 366
ILLUSTRATIONS IN THE TEXT.
PAGE
George Lee Tuberville, Virginia 2
Timothy Newell, printed by _Isaiah Thomas_ 3
William Lord, East Haddam 5
Geo. C. M. Roberts, M.D., Baltimore 6
Elijah F. Reed 7
Jared Ingersoll, Esq., of New Haven, Conn. 8
John Walters Gibbs, Charleston, S.C., by _Abernethie_ 9
Peter Middleton, M.D., by _J. Lewis_ 10
Harrison Gray Otis 11
Lieut. E. Trenchard, U. S. Navy 12
Samuel Elam, Rhode Island 13
John Adams 15
Hannah Reynolds 17
E Libris Thomæ Holt 18
John Campbell, Charles County 19
Richard Sprigg, Jr., by _T. Sparrow_ 20
Thomas O. Selfridge, Boston, 1799 22
Worcester Circulating Library 23
Daniel Greenleaf 25
Timothy Mann, Walpole, Oct., 1810 27
A. L. Hollingsworth, Boston, Mass. 29
George Bancroft 31
William Prescott 32
Henry Blackwell, New York City 33
Edward Pennington, Philadelphia 34
Gabriel Jones, Attorney at Law, in Virginia 36
Joseph Dudley, 1754 38
Jer. Dummer, Anglus Americanus 39
Minot, Boston 40
Frederik Philipse, Esq. 42
William P. Smith, A.M., by _Thomas Johnston_ 45
Andrew Tyler, by _Hurd_ 46
John Durand, Esq. 47
Anthony Stewart, Annapolis, Md. 48
Myles Cooper, LL.D., etc. 49
Andrew Oliver, attributed to _Hurd_ 50
Benjamin Kissam, by _Dawkins_ 51
Samuel Vaughan, Esq. 53
W. Jackson 54
De Witt Clinton, by _Maverick_ 55
James Parker 58
Henry Andrews, by _Harris_ 59
New York Society Library, by _Maverick_ 60
New York Society Library, 1789, by _Maverick_ 61
Monthly Library in Farmington, Conn. 63
Village Library, Farmington, Conn. 65
Society for Propagating the Gospel in Foreign Parts 66
Hasty Pudding Library, Harvard College 68
Linonian Library, Yale College 69
Linonian Library (_Yale College_) 70
Arnold Arboretum, 1892, by _Geo. Wharton Edwards_ 72
New York Society Library, by _Elisha Gallaudet_ 74
Phoenix Society 76
Brothers in Unity, Yale College, by _Pelton_ 77
Samuel Hill 78
Stephen Cleveland 80
Columbia College Library, New York, by _Anderson_ 81
Isaiah Thomas 83
Albany Society Library, 1759 84
John Quincy Adams 86
Josiah Quincy 87
Livius 88
Dr. John Jeffries, attributed to _Callender_ 89
Geo. Washington, _genuine_ 91
Geo. Washington, _fraudulent_ 94
Bushrod Washington 96
Daniel Webster 97
Brander Matthews, by _E. A. Abbey_ 99
Edmund Clarence Stedman 100
Laurence Hutton 102
Winfield Scott 103
Robert Hale, Esq., of Beverly, by _Hurd_ 107
John Chandler, Jr., Esq., by _Hurd_ 108
Lewis De Blois, by _Hurd_ 109
Joshua Spooner, by _Hurd_ 110
Harvard College, by _Hurd_ 112
John Vassall, Esq., by _Hurd_ 114
John Lowell, by _Hurd_ 115
Peter A. Browne, by _Akin_ 118
John Pintard, LL.D., by _Anderson_ 120
Apprentices’ Library, New York City, by _Anderson_ 121
Thomas Russell, by _Callender_ 125
Henry D. Gilpin, by _Childs_ 127
Whitehead Hicks, by _Dawkins_ 130
Social Library, Wethersfield, by _Doolittle_ 133
Eli Forbes, by _Furnass_ 135
John Chambers, by Elisha _Gallaudet_ 136
Anonymous, by _Maverick_ 141
Abraham Bancker, by _Maverick_ 143
Gardiner Chandler, by _Revere_ 146
William Wetmore, by _Revere_ 147
Paul Revere, by _Revere_ 148
John Lenthall, by _Thackara_ 153
Bloomfield, by _Trenchard_ 154
Luther Martin, attributed to _Trenchard_ 155
John Franklin, Boston, New Eng., by _Turner_ 156
Bloomfield McIlvaine, by _Seymour_ 157
G. A. Smith 159
Anonymous, by _Maverick_ 161
William Belcher, Savannah 171
Absalom Blackley, by _Maverick_ 173
Hon. William Carmichael, Esq. 181
Col. John Skey Eustace 199
Ewing 201
Andrew G. Fraunces, by _Maverick_ 205
John Goelet, attributed to _Maverick_ 209
Richard Harison 215
Barrack Hays, by _Hutt_ 219
Samuel Farmar Jarvis, D.D. 227
William Jauncey 229
Thomas Johnson, by _Maverick_ 231
Edward Livingston, by _Maverick_ 238
Abraham Lodge 240
Rev. John Murray 253
Francis Panton, Jr., by _Maverick_ 259
Samuel Parker 260
William Penn 263
James Power 270
Samuel Smith 283
J. B. Swett 289
John Tayloe 291
Richard Varick, by _Billings_ 295
Virginia Council Chamber 297
John C. Warren 299
W. Warren 301
William Duer 322
Malvians 339
Thomas Bailey Aldrich 343
Melvin H. Hapgood 344
Joseph Henry Dubbs, D.D. 345
James Phinney Baxter 348
Albert C. Bates 350
George Wharton Edwards 351
John Herbert Corning, by _H. Sandham_ 354
George L. Parmelee 355
Paul Lemperly, by _Bert K. Canfield_ 359
Joseph H. Wheeler 361
Chauncey Lawrence Williams, by _Geo. R. Halm_ 364
Samuel Wesley Marvin 366
Adam Van Allan 367
Marcus Benjamin 369
Henry S. Rowe 376
Julia Dexter Coffin 374
Jeremiah Evarts 386
John Andrew 388
Paul Lemperly, by _E. H. Garrett_ 421
[Illustration: Jere^{h}. Wadsworth.]
AMERICAN BOOK-PLATES.
INTRODUCTORY.
[Illustration: W]e cannot venture to guess which was the first
book-plate made in America, nor to say with absolute certainty whence
came the first plate used in our country; but undoubtedly the latter
came over already pasted into some book of a Dutch or English settler.
The larger part of our books came from England, and very few plates are
found with arms of other nationalities. The colonists who came from
England bringing books, brought also the home ideas concerning books,
and the book-plate was a natural piece of property to acquire. Their
descendants, who continued the connection with the mother-country, used
plates more generally, and the fashion spread naturally. It never became
very general, but was confined to those of gentle birth; the clergy, the
lawyers, and men of education. We shall see that it was not confined to
the men alone, but that the women of literary accomplishments also used
plates.
[Illustration: George Lee Turberville.
Virginia.]
By far the greater part of the plates are cut on copper, but there are
some woodcuts as will be seen in an examination of the list; also, there
are some which look as if cut in silver, which was an easier metal to
work, or perhaps in type-metal. One example is known in which brass was
used, and this old plate is now in the possession of the writer. The
steel engravings are of rather recent date; and while there are a number
of these, the new plates are mostly on copper. The simple labels are
printed from type.
The larger part of our early plates are armorial in character; and while
heraldry forms so prominent and important a feature, it is left
practically untouched in the present volume. The number interested in
the science is small, the authorities on coats-of-arms and on blazoning
differ, and the present writer had not the time to make the thorough
investigation necessary to a satisfactory treatment of this interesting
branch. Upon consultation with other collectors, and with their advice,
it was decided to leave this subject for a future volume should any call
for it arise.
[Illustration: Timothy Newell.]
A decided difference is noticed between the book-plates of the Northern
and the Southern Colonies. In the South, to which came men of wealth and
leisure with cultivated tastes, we would expect to find the little
superfluities and niceties of daily life sooner in vogue and more
generally used. Bringing books and musical instruments with them,
retaining their connection with the far-away home by correspondence and
visits, sending their sons to the great Universities to be educated, and
to the Law Schools for a finishing course, and ordering their clothes,
books, furniture, and all of the luxuries of life from England, they
would naturally be the first to use the book-plate. Very few of the
Southern plates were engraved by American engravers. They were nearly
all done in London, when some member of the family was over, or by order
from the Colony; for this reason the Southern plates are better in
heraldry, design, and execution than those of New England and New York.
They were the product of men experienced in such work; they were all
armorial and in the prevailing English mode.
The earliest comers to New England had a prejudice against coats-of-arms
and trinkets of such-like character, which their descendants, however,
soon forgot. Pride of ancestry and love of the display of aristocratic
claims developed when the hard circumstances of the former years had
worn off, and we find the prominent families of the North using
book-plates, and having their arms upon their coaches. In one important
feature, however, these Northern plates differ from the Southern,--they
are mostly the work of our native engravers, very few being done in
England.
The work of these native artisans, who were mostly self-taught in this
art of engraving on copper, is confessedly inferior to that of the
London experts found upon the Southern plates, both in drawing and
execution, but their work is of more value to the collector from this
very fact of their being American work. They furnish examples of native
skill, both in engraving and in copper-plate printing.
The ornamentation of buttons, spoons, tableware, and other articles of
silver was already practised when the demand for the book-plate arose,
so that there were skilful men ready to turn their attention to this new
branch of their art.
[Illustration: WILLIAM LORD]
The War of the Revolution naturally affected the native production of
book-plates, but a few years after its close, when Boston, New York, and
Philadelphia were active in publishing books, the engraver found work
more plenty, and very many who were employed upon the plates for the
illustration of books also produced book-plates.
Nathaniel Hurd was the principal engraver of book-plates in the North
before the war, though Thomas Johnson, who was born before him and who
also died before he did, made some plates, while Turner and Paul Revere
were also working at this period.
Henry Dawkins, in Philadelphia, came over from England, and so did the
elder Maverick, who made so many plates for the New Yorkers.
[Illustration: George C. M. Roberts, M.D.]
The literary plates are smaller in number than we could wish, and they
do not show a wide range of ideas either. Very probably some of the
designs were borrowed from English plates, and were produced over again
for different customers, or were freely copied by other engravers who
liked, or who found customers who liked, the design of others. The plate
used by _George Goodwin_ is one of four of this same design. The shelf
of books is also seen in the plate of _G. C. M. Roberts, M.D._, _Thomas
Robbins_, and the
[Illustration: MORAL LIBRARY
YALE COLLEGE]
_Elijah F. Reed_, which is a direct reproduction of the _Robbins_. Piles
of books, but not the regulation “Book-pile,” are seen in the _Brown_
and _Lewis_ plates, while the only real library interiors are the
_Tayloe_ plate, the _Moral Library_ and the _Village Library_
(Farmington, Conn.). John Allan, the old-book lover of New York, used a
plate with an open book against an anchor, and the plate of _Edmund
Penn_ shows a love for books in the dainty volumes disposed about the
frame.
[Illustration: Elijah F. Reed’s]
The patriotism of our book-lovers is shown in very many designs, which
use the American flag or the eagle. The thirteen stars also, the motto
of the United States, and various private mottoes of a very patriotic
nature, are frequently used.
It is noticeable that as compared with the Southern plates there are but
few of the Northern examples which give the address or residence of the
owner; that is, speaking of the armorial plates, the printed name
labels give these particulars quite often.
[Illustration: Jared Ingersoll Esq^{r}.
of New Haven Connecticut.]
The _Jared Ingersoll_ plate gives _New Haven_ as the residence of the
owner, while _Rhode Island_ follows the name on the plate of _Samuel
Elam_. Other Northern plates which are so engraved are the _Colonel
Eustace of New York_, _Comptroller Elliston_ also _of New York_, _Lenox
of Philadelphia_, _Atlee of Lancaster_, _John Franklin, Boston, New
England_, and _Robert Hale of Beverly_. Of the Southern plates,
_Wormeley_, _Waller_, _Tuberville_, _Tazewell_, _Skelton_, _Randolph_,
and _Ludwell_
[Illustration: John Walters Gibbs.]
give _Virginia_ as their residence; _Drayton_ names _South Carolina_,
the _Dr. Cabell_ plate names _Richmond_, and the _John Walters Gibbs_
names _Charleston, S.C._ The plates used in the West Indies also show
the residence quite often. There, too, as well as in the Southern
colonies, the profession or position of the owner, as well as the London
law school in which he was educated, are often given. Thus we have
_William Blanc, Middle Temple, Dominica_; _Chas. Pinfold, LL.D.,
Governor of Barbadoes_; _Peyton Randolph of the Middle Temple, London_;
_Francis Page of the Inner Temple Esqr._; _William Assheton of Gray’s
Inn_. In the Northern examples we find _John Gardiner of the Inner
Temple_, and _Jonathan Belcher, E Societate Medij Templi_.
[Illustration: PETER MIDDLETON. M.D.]
We note also in running through the List that the occupations most often
noted on the book-plates are those of the medical and the legal
profession. Barristers, lawyers, and attorneys are often so named, and
the initials _M.D._, or the full word _Doctor_, are seen.
The abbreviations of other degrees are found also, and the plates of
clergymen are not uncommon.
Several plates remain unnoticed in the following pages, which are
probably American, but which, for lack of positive information, it is
thought best not to include. Among these is an early Dutch plate which,
if it could be accurately traced to its original owner, might prove to
be one of the earliest plates used in America.
[Illustration: Harrison Gray Otis.]
It seems that a word is needed in defence of the perfectly legitimate
and gentle pursuit of collecting book-plates. A great deal of sarcasm
and indignation have found their way into the columns of periodical
literature, particularly in England, the especial purpose of which is to
trouble the humble collector, and to discredit him in the eyes of the
world. He is pointed out as a destroyer of valuable books, as an animal
so greedy in the pursuit of his insignificant prey as to ruin elegant
bindings that he may secure worthless bits of paper, and as actually so
devoid of good sense as to remove such of these as are interesting--for
it is reluctantly admitted that some interest does attach to the plates
used by certain men of fame in historical annals--from their rightful
place within the covers of the very books read and handled by these
illustrious owners.
[Illustration: Lieut. E. Trenchard]
Let it be remembered that but a small part of the many books published
have a permanent value, and that a book once eagerly sought may outlive
its usefulness, and come to have a commercial value of so much a pound
as old paper, instead of so much a copy in different styles of binding.
Surely, no one can quarrel with the collector who removes the
book-plate, found within it, from such a worn-out specimen, even if the
removal necessitates the ruin of the cover. But to remove a book-plate
does not necessarily mean to ruin the cover; it requires some skill and
considerable patience to remove a valuable plate without injury to
either itself or the cover upon which it was pasted, but it is done
daily. Surely no one can find fault with this--a skilful operation
resulting satisfactorily to the plate-collector and to the book-owner.
[Illustration: Samuel Elam.]
Again, no intelligent book-plate collector will separate the plate of a
famous man from the book which has been its home for years, and which
was once handled and read by its famous owner. Even a worthless book
will thus be saved by the collector, which was fit but for the fire or
the ash-heap, and which would have gone thither, plate and all, save for
his discriminating eye, while a valuable book no one would think of
despoiling. Would an intelligent collector, having a book from the
library of George Washington, with his plate upon the cover and his
autograph in its accustomed place, think of soaking off the plate and
cutting out the signature? Not at all; no matter how worthless the book
might chance to be, the fact that it was Washington’s is sufficient to
insure it from any harm, while the presence of the autograph and the
book-plate but adds to the value as establishing beyond peradventure the
original ownership.
The book-plate collector is naturally a book-lover. He must not be
accused or suspected of crimes against his own kith and kin. He is a
harmless and useful specimen of the _genus_ collector, who with
assiduity, perseverance, and intelligence seeks to preserve these
memorials of past days, which in the rage for indiscriminate collecting
were overlooked, and are but now beginning to receive the attention they
are worthy of.
It is, however, to be admitted that at first glance, the general reader
who has not developed a special liking for the things of the past in
history, art, or biography, may see no especial interest in book-plates.
But let him examine a collection of good plates with their intelligent
owner, who can point out to him the facts worthy of note; let him once
understand that celebrated artists like Albrecht Durer, Jost Amman,
William Hogarth, William Marshall, George Vertue, Bewick, Bartolozzi,
and even Raphael Morghen were willing to devote time and taste to the
designing or engraving of the book-plate; let him handle some of their
work, and reflect upon the effort the master considered so small a
design worthy of; let him see the plates of some of the noted names in
history, art, letters, medicine, the sciences, and the professions; let
him take in his hands the plates of William Penn, the friend of the
Indian and benefactor of his race, of Laurence Sterne, of David Garrick,
of Horace Walpole, of Samuel Rogers, of Charles Dickens, or of George
Washington, of John Adams, and Charles Carroll, signers of the
Declaration; let him see a plate engraved by Paul Revere whose services
in the Revolution he has known of from his schooldays;--let him see
these and scores more of similar interest, and he cannot fail to respond
to the enthusiasm of their owner. But indeed it is a pursuit, the
delights of which are discernible to those only who bring to it the
capacity for such pleasures.
[Illustration: _John Adams._]
NAME-LABELS AND MOTTOES.
[Illustration: O]f all forms of book-plates the simplest possible is the
printed name of the owner, unaccompanied by either motto, device, or
ornamentation of any kind. Such a plate had _Philip Hone_, one of the
founders of the Mercantile Library, and in the early twenties a mayor of
the city of New York. His plate is merely a bit of paper with his name
in bold script printed upon it from an engraved copper-plate.
This style of plate is not chronologically the earliest, but is taken as
our starting-point because of its unrelieved simplicity; this fulfils
the mission of the book-plate,--it proclaims the ownership of the book
in which it is seen; not in delicate language, to be sure, not with any
invitation to dip into the volume in hand, not with any evidence of the
owner’s taste in reading, but with a directness not to be misunderstood.
The essential part of the book-plate is the name of the owner; and while
this is sufficient of itself, it is found profitable and pleasant to
accompany it with an apt quotation from a favorite author, with a
caution against the improper
[Illustration: James Eddy Mauran.]
handling of books, with a warning of the sad result of declining
Wisdom’s guidance, or with an invitation to enjoy the beauties of
literature and to share the benefits of careful reading. In addition to
these mere typographical adjuncts an opportunity is offered for the
display of those more decorative garnishments which have led to the
development of the handsomer styles of plates.
[Illustration: _Hannah Reynolds._]
_Alexander Stedman’s: Thomas Thaxter’s, 1791: William W. Potter’s Book:
Aaron Woolworth’s, Ex Dono Rev. S. Buell, D.D._ These plates use the
possessive case, are embellished with borders of ornamental type, and
supply some further information by showing the date of their being used,
or by naming the giver of the volumes. Other styles of expressing
book-ownership are afforded by the following: _Nicolas Pike His Book
1768_: _Hannah Adams, Medfield 179-_: _The Property of John Clap,
Roxbury 1791_: _Davidis Dickinson Liber, A.D. 1796_: _Lieut. E.
Trenchard, U. S. Navy_: _Simeon Baldwin, Owner_: _Ex Libris I. G.
Thomas_: _Library T. W. Curtis, No._: _Belonging to the Library of
Thomas Forrest Betton, Germantown Pa._: _The Property of John Weld
native of Pomfret, Conn. Resident of Pomfret, Bo’t of Mr. James Steele
of Hartford, January 12, 1796_: _W. Lewis, Ejus Liber_: _Johann
Christoph Kunze, Prediger in Philadelphia_: _Emmanuel Jones e Coll; Gul;
et Ma: 1756_.
[Illustration: THOMÆ HOLT.]
These old type-set labels with their quaint borders of ornamental
type,--scrolls, flourishes, stars, vines, and even grammatical
signs,--are usually found to be printed on good white handmade paper,
which was seldom trimmed with care; occasionally a tinted paper is
found,--yellow more often than any other, but sometimes a blue or green;
these served the less pretentious of our ancestors in lieu of the
coats-of-arms and family mottoes of those of higher lineage, and are
found in quantities throughout the New England and Middle States: even
farther south they are not uncommon, but are not so numerous.
[Illustration: JOHN CAMPBELL,
Charles County.]
In making up these ornamental borders the type was usually set in the
form of a parallelogram, occasionally in a square, oval, circle, or
diamond, and seldom in fanciful shapes. The most ambitious plate of this
kind which has come under my observation is that which once graced the
books of Mary McGinley; this is a rather large plate, and the type is
set in the form of an urn, within the lines of which are given the motto
and the owner’s name.
A step in advance of these wholly typographical examples are those which
employ a woodcut border to surround the name, and instances can be
given of such a border enclosing the name printed from type; festoons of
flowers or of cord, and draperies of cloth, were also used as a simple
setting for the owner’s name. In this connection mention may be made of
the work of T. Sparrow, an obscure engraver of Maryland; no heraldic or
pictorial examples of his workmanship have been identified, and he
probably confined himself to the simple woodcut designs of which but a
small number are known. Always using a border of floriated scrolls, he
never omitted an original contrivance which is the characteristic mark
of his work,--a group of thirteen stars surrounded often by a wreath.
This is always found in a prominent place, and is an indication of his
patriotism as well as that of the owner of the plate.
[Illustration: RICHARD SPRIGG, jun.]
It must not be supposed that the heraldic book-plate was an outgrowth or
development of the name-label: not at all; they were contemporaneous
and were both used in England long before they were here.
Coming now to the subject of mottoes, we find a wide field to travel
over, many languages to read, many quotations to recognize, with hints
and warnings, and even threatenings, by the score, from jealous
book-lovers. Mottoes readily fall into two classes: those which are
chosen by the owner for some personal reason, and those which are family
mottoes, and which are used without thought because they are a family
inheritance, or with a commendable pride in such legacies from an
honorable ancestry. Latin is the language most often used probably,
though English is a strong rival, while German, French, Greek, and even
Hebrew and Welsh are also found upon our book-plates. Sentiments
opposing the habit of book-borrowing are of frequent occurrence, and in
some instances are of such severity as to leave no doubt of their
effectiveness. For brevity and pointedness the following example can
hardly be exceeded:--
_This book was bought and paid for by_
_D. C. Colesworthy._
_Borrowing neighbors are recommended_
_to supply themselves in the same manner._
_Price seventy-five cents._
On the book-plate of _D. W. Jayne_ the following verse from the Bible is
used:--
_Go ye rather to them that sell and buy for yourselves. Matt. Chap.
xxv. ver. 9._
[Illustration: Thomas O. Selfridge,
_BOSTON_,
1799.]
Verses from Holy Writ are quite frequently used on plates, and the style
of expression found in the Psalms and Proverbs is borrowed as adding an
authoritative emphasis to the words of caution and advice,--
_The wicked borrow, and returneth not: do thou not like unto them._
_Return what thou borroweth with the most sacred punctuality, and
withhold it not._
On the plate of a book-lover in Charleston, S.C.,--
_And ye shall keep me until the fourteenth day. And it shall be
when thou hast made an end of reading this book. Send me away unto
my master. Ex. xii. 6: Jer. li. 63: Gen. xxiv. 54._
[Illustration: THE PROPERTY OF THE
Worcester Circulating Library Company.]
Every one has suffered from book-borrowers, even from school-day times,
when the rude doggerel,--
_Steal not this book for fear of shame,_
_For here you see the owner’s name_,
or its variant,
_Steal not this book for fear of strife,_
_For its owner carries a huge jack-knife_,
was printed in coarse letters across the cover of the books most likely
to go astray. How irritating it is to find the very volume one needs at
the moment, missing from its accustomed place on the shelf; if anything
is lacking to complete the torment of the discovery, let it be
impossible to find out who has taken the desired volume, or to get any
clew as to when it went or where!
_Private Library of J. N. Candee Cole, This book is not loaned.
Matt. xxv. 9._
_Read not books alone: but men, and be careful to read thyself. The
property of John Lambert, South Reading._
_To Borrowers of Books._
YOU _remember, my friend, I freely comply’d
With the favour you asked me, and fully relied
On a favour from you, which, tho’ promised, I find,
As it hasn’t been granted, is out of your mind,
To return in due time what I’ve wanted to see,
The Book, which ’tis long since you borrow’d of me.
Another I now with reluctance implore,
’Tis only to ask that you borrow no more._
_Stolen from J. W. Houx_,
_Book-keeping taught in three words,
Never lend them._
The would-be borrower who finds these sentiments in the book he was
about to ask for will scarcely be encouraged to do so, and for
directness they are exceeded by only one example, in which the owner’s
name is followed by the simple declaration, _He does not lend books_.
The motto on the plate of the late _George Ticknor_--_Suum cuique, To
every man his own_--was also calculated to discourage the borrower.
But some people do lend books, and have them returned too,--in good
second-hand condition. And so it comes about that the proper use of
books is made the subject of another class of mottoes.
_My Friend! Should you this book peruse,_
_Please to protect it from abuse:_
_Nor soil, nor stain, nor mark its page,_
_Nor give it premature old age:_
_And, when it has effected all,_
_Please to return it ere I call._
[Illustration: Daniel Greenleaf]
The following verse is common property and is found on several plates:--
_If thou art borrowed by a friend,_
_Right welcome shall he be_
_To read, to study, not to lend,_
_And to return to me._
_Not that imparted learning doth_
_Diminish learning’s store,_
_But books, I find, if often lent,_
_Return to me no more._
_Read slowly,_
_Pause frequently,_
_Think seriously,_
_Return duly with the corners of the leaves not turned down._
_Neither blemish this book, nor the leaves double down,_
_Nor lend it to each idle friend in the town:_
_Return it when read,--or if lost please supply_
_Another, as good to the mind and the eye._
_With right and with reason you need but be friends_
_And each book in my study your pleasure attends._
_If through respect or love I lend_
_This book unto my worthy friend,_
_He must not soil, abuse, nor tear,_
_But read with diligence and care;_
_And when its contents you have learned,_
_Remember, it must be_ RETURNED.
On the plate of _Samuel W. Francis_ appear the following lines:--
_Any one may borrow,_
_But a gentleman returns._
* * * * *
_The property_
_of_
_Thomas C. Cowan._
_Borrower,_
_read, mark, and_ AVOID
_the former part_
_of_
_Psalm xxxvii. 21_.
* * * * *
IF _you borrow, freely use it,_
_Take great care and don’t abuse it:_
_Read, but neither lose nor lend it,_
_Then unto the owner send it_.
_Never open a book farther than to bring both sides of the cover on
to the same plane. Never lend a borrowed book, but return it as
soon as you are through with it, so that the owner may not be
deprived of its use. You may think this a strange request, but I
find that although many of my friends are poor arithmeticians, they
are nearly all of them good book-keepers._
[Illustration: TIMOTHY MANN.]
In strong contrast to all the preceding are those mottoes of generous
souls who find no pleasure in withholding their treasures, but who wish
to have it understood that they are for the use of all; not very many
are bold enough to thus advertise their willingness to lend, but a few
do so, and generally by the use of the Latin, _Sibi et amicis_, or _et
amicorum_.
Sentiments in praise of books and reading are not uncommon, and
quotations from classic writers both in prose and poetry do good
service on book-plates. Pope’s well-known lines--
_A little learning is a dangerous thing,_
_Drink deep or taste not the Pierian Spring;_
_Where shallow draughts intoxicate the brain,_
_But drinking largely sobers us again._
are found on an old American plate.
On a recent New York plate,--
_Far more seemly were it for thee to have thy Study full of Books
than thy purse full of money. Lilly._
On a Maine plate,--
_Who learns and learns but does not what he learns,_
_Is one who plows and plows but never sows._
* * * * *
_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._
On a recent Boston plate,--
_Un bon livre est un bon ami._
On a recent Western plate,--
_A jolly goode booke,_
_Whereon to looke,_
_Is better to me than golde._
On a recent Washington plate,--
_A trusty villain, sir, that very oft when I am dull with care and
melancholy lightens my humour._
[Illustration: EX LIBRIS A. L. HOLLINGSWORTH.]
The mottoes on the plates of those who have achieved distinction have a
peculiar interest, especially when chosen by the owners themselves. The
plate of _Henry W. Longfellow_ bears the following line:--
_Non clamor sed amor_,
which is from an unknown author and is found in the following verse:--
_Non vox sed votum,_
_Non chordas sed cor,_
_Non clamor sed amor,_
_Sonat in aure Dei._
_Not voice but vow,_
_Not harp-string, but heart-string,_
_Not loudness but love,_
_Sound in the ear of God._
The motto of _George Washington_,--_Exitus acta probat_, is not given in
the accepted lists as the family motto of his ancestors, but it may have
been such. The meaning of it has brought out criticism recently because
of its Jesuitical sound,--“_The end shows the deed_.” But this may also
be taken as a patriotic utterance in view of the part of the illustrious
owner of this plate in the Revolution.
On the plate of _William Penn_ we see a motto most fitting for the
character he sustained, _Dum clavum rectum teneam_--“_While I hold to
glory, let me hold to right_.” In the plate the third word is omitted,
as the engraver found the motto too long for the space reserved, and
through some
[Illustration: George Bancroft]
blunder the _r_ in _clarum_ is changed to a _v_, which makes no sense at
all.
On the plate of _George Bancroft_, the late historian, a chubby cherub
bears a panel on which is the motto, _Sursum corda_. Another plate was
also used by Mr. Bancroft which was in all respects like the above,
except that the motto was changed to ΕΙΣ ΦΑΟΣ.
The plate of the late _Mr. George W. Childs_ has the following motto
whose appropriateness is evident at once,--_The pen is mightier than the
sword_. Above this a second motto of equal appropriateness is
given,--_Nihil sine labore_.
On the plate of _Dr. Oliver Wendell Holmes_, _Per ampliora ad altiora_
is given upon a ribbon under a beautiful drawing of the “chambered
nautilus.”
[Illustration: WILLIAM PRESCOTT]
Instances of mottoes which are cleverly made to carry some meaning, or
some word, which will be seen at a glance to be taken from the name of
the owner, are found often.
On the plate of _Harold Clarence Ernst_ this motto is given, _Ernst ist
das Leben_.
On the plate of _George Curry, D.D._,--_Sic curre capias_.
On the plate of _Edward Spencer Dix_,--_Quod dixi id feci_.
[Illustration: HENRY BLACKWELL]
In concluding this list of mottoes two from the Welsh can be instanced,
one on the plate of a New York collector of Welshiana, which is _Cared
Doeth Yr Encilic_, meaning, “_The learned love the things of the
past_.” The other is on a Washington plate, and reads thus, _A fynno Dwy
y Fydd_, meaning, “_What God wills, will be_.”
In the list of languages used on book-plates, we must now include the
Volapük, for we have the first instance of its use already in a New York
plate; the motto reading, _Menad bal pukbal_, and meaning, “_One
humanity, one language_.”
[Illustration: Edward Penington.]
[Illustration: Eugene Field.]
ARMORIAL BOOK-PLATES.
[Illustration: B]ook-plates admit of many kinds of extraneous
ornamentation, and wholly apart from the special function of recording
the ownership of books, they serve as expressions of artistic taste;
they lend themselves readily to many forms of design, and have passed
through several changes or “styles” in the three hundred years of their
existence; they can be dignified or flippant, serious or punning, of
artistic beauty or positive deformity; they can express the owner’s
choice of reading and can preserve lines from his favorite authors; can
convey warning or invitation, and can, in short, be made a very personal
affair.
The first book-plates were heraldic. In those early and, in some senses,
good old days, before the schoolmaster was abroad in the land, when
learning was the possession of the aristocrats and the churchmen only,
and consequently when handwriting was not in use among the people,
families were distinguished by emblems which were known of all. These
heraldic devices were painted on their shields, carved upon their
walls, engraved upon their breast-plates, woven upon their banners and
their tapestries, displayed upon their own persons, upon those of their
dependents, and even upon their animals and the furniture and books of
their homes; even the purely ornamental and ephemeral luxuries came to
be adorned with the family coat-of-arms.
[Illustration: Gabriel Jones, Attorney at Law, in Virginia.]
The armorial bearings, stamped upon the back or sides of a book, or
printed upon paper and pasted within the cover, were sufficient, without
a name, to identify the family to which it belonged. Libraries descended
from father to son, and were kept intact for generations; and the
family arms and motto were the most appropriate label possible.
Warren, one of the first to study book-plates and to give to others the
benefit of his researches, has divided the armorial plates into general
classes, and has given them suitable names, which are accepted the world
over. A considerable number of subdivisions has been made; and while
they may be serviceable where book-plates are plentiful, they are
but an incumbrance to the collector of the early plates of America,
for our examples are few in number, and are quite sufficiently
distinguished--for the purpose of the present work, at least--by the
following styles: Early English, Jacobean, Chippendale, Ribbon, and
Wreath. Distinctive, easily remembered characteristics pertain to each
of these, and fairly accurate dates of their adoption and continuance
can be given.
Adopting then the nomenclature of Warren, and following his lead, we
come now to consider the meaning of the different styles and the
diversity of their designs.
The very earliest class is the Early English, in which the shield of
arms is present with all its accessories. In these plates the mantling
is very profuse, and in large full-rounded curves surrounds three, and
often all four, sides of the shield. This is the only ornamentation,
nothing incidental being added as yet; the name of the owner is usually
or often accompanied by a title and address, and quite frequently also
by the date.
[Illustration: Joseph Dudley
1754]
We have but few examples of this style; perhaps the most satisfactory as
an example of the class will be the plate of _Joseph Dudley_, dated
1754. (This plate was really engraved much earlier than this. Hurd
erased the original name, and cut the present one with the date in its
place.) In this the mantling, running out beyond the edges of the
shield, curls both upward and downward, and completely envelops three
sides; the design takes on a strong resemblance to oak leaves, and a
single leaf of this is engraved upon the helmet: the background, or
space enclosed within the scroll-work, is filled in with perpendicular
lines which might be taken for the tincture _gules_; in the
name-bracket, the oak-leaf pattern is again made use of, forming a neat
finish to the ends.
[Illustration: Jer. Dummer
Anglus Americanus]
In the plate of _The Honourable Wm. Carmichael, Esqr._, the mantling is
not so completely transformed into the oak-leaf design, although the
latter is here apparent. The plate of _Jer. Dummer, Anglus Americanus_
is peculiar in that the space enclosed by the scroll-work is lined with
the solid brick wall of the later Jacobean style; in this the
[Illustration: Minot]
mantling is less striking than in the _Dudley_, but it surrounds the
shield well, and curves upward about the crest. In the _Minot_ plate,
which is very peculiar and rather difficult to classify, the mantling is
very unworthy of the name; it does not proceed from the helmet, nor
indeed from anywhere in particular, but in wild and very eccentric
fashion, envelops the crest and most of the shield; the field of the
shield is tinctured _azure_, and it is enclosed within a border or
moulding which nearly surrounds it, but leaves a portion at the base
unprotected; a further peculiarity of this moulding is that it is an
integral part of the helmet, for it curves over at the top of the shield
and actually proceeds from the helmet.
A very fine example of this style is the _Francis Page_ plate.
The next style is the Jacobean, commonly spoken of as existing from
about 1700 to about 1745; the styles overlap naturally, and no
hard-and-fast period can be established within which only one particular
style of plate was used. Examples of the Jacobean plate are found in
England which would date later than 1745, and the style which succeeded
this was used somewhat before the year which begins its accepted period:
the dates of the periods, then, are approximate. The names by which the
different styles are known have all a good reason for their acceptance,
although each one was suggested by differing circumstances.
The style of book-plate in vogue at the time of the last James is
designated as Jacobean; and, while it continued in use long after the
death of the deposed monarch who gave it its name, any change in its
designation would be misleading. The principal features of this style
are its heavy, carved appearance, the evenly balanced proportions, and
the exact coincidence of the two sides of the design. The shield, always
of regular outline, is usually placed upon an ornamental frame whose
background, or lining, is either filled in
[Illustration: _FREDERIK·PHILIPSE ESQ^{r}._]
with a fish-scale pattern, diapered into the lozenge form or built up
solidly with a wall of brick. This lining shows at both sides of the
shield, below, and, less often, above it; its sides are convoluted; they
run out in foldings and scrolls resembling the carving on wood, and are
often worked into elaborate patterns: sometimes, too, the design is
surrounded by a carved moulding which makes a heavy frame of rectangular
form and massive appearance. This style of plate, well-handled, is
exceedingly handsome, and is capable of more repose and dignity than any
other. Very forbidding indeed, and over-solemn, are some examples, but
in the main the purely Jacobean plates are very pleasing. Among the
accessories usually found are a scallop-shell with the concave side
turned towards the observer, and placed either below the shield to
support it, or above it to set it off: this shell is always looked for
in the Jacobean plates, and indeed a shelly motive is apparent
throughout very many examples. The helmet and mantling are conspicuous,
especially the latter, as it is often enlarged and emphasized by being
drawn into the general scheme of decoration; very full, reaching far
down the sides of the shield-frame, and indeed often curiously woven
into the convolutions of the frame itself, it at times loses its
significance: grotesque faces sometimes peer from the ornamentation, and
heads of satyrs and demons are frequently used to rest the base of the
shield upon. In some instances the name is placed upon a bracket similar
to the upper part of the plate in decoration, or, again, it may be seen
upon a small curtain or lambrequin caught up at the ends with string.
Very often, too, no setting is provided for the name, and it is simply
engraved beneath the design. Eagles, lions, termini, cherubs, and
sometimes cornucopiæ of fruit or flowers, angels blowing upon trumpets,
and stiff stalks of flowers are introduced into the ornamentation. But
these do not succeed in enlivening the style of the plate materially,
for it is essentially heavy, conservative, and formal in design and
spirit. No graceful airiness rests upon it, and it provokes no joyous
sentiment, but rather rouses respect and enforces stateliness. The
general appearance of the Jacobean plate is as if carved from wood. We
do not expect old carving to be anything but solid and immobile, and
these characteristics are present in this style of book-plate. Indeed,
Warren, in his chapter on the Jacobean style, says that no antiquary can
fail to note the strong similarity of treatment and design between the
wood-carving preserved in the churches of the time of Charles the Second
and the mouldings on the monuments of the same period, and the
book-plates of the style we have considered. Our finest example of the
Jacobean book-plate is found in the work of Thomas Johnston, who made
the plate of _William P. Smith, A.M._ This is a typical example of the
later Jacobean style, and is worthy of particular study. The Elizabethan
shield is set against a frame which is very elaborately carved and
ornamented; the lining is covered with the fish-scale pattern, and this
extends also to the arms and convolutions upon the sides. At the base of
the shield the scallop-shell is in position as prescribed, and is
surrounded by a little frame of its own; the mantling is very slight
indeed, breaking out from the wreath and also from the lower part of the
helmet, in short and simple spirals. The motto is found on a ribbon
which is gracefully strung upon the scrolls at the bottom of the design.
In the _Spooner_ plate, by Hurd, the shield, also of Elizabethan
pattern, is set against a diapered background; beneath the shield,
within a little frame, the head of a sphinx is seen; term-figures are
placed in the scroll-work at either side, and from their hands depend
bouquets of flowers;
[Illustration: William P Smith AM]
the crest is overarched with a bit of old scallop-shell, and the motto
is given on a plain ribbon which, wholly unsupported, maintains a curved
position under the whole design. In the _Andrew Tyler_ plate, also by
Hurd, a grotesque face supports the shield, the lining is elaborately
diapered, and a festoon of cloth depends from the lower scrolls of the
frame. In the small-sized plate of _John Allen_, the lining is
embellished with the simple lattice-work, in two patterns.
[Illustration: ANDREW TYLER]
[Illustration: Jacob Sargeant.]
[Illustration: John Durand Esq.]
Closely succeeding the Jacobean, and indeed coming into use before the
latter was wholly discarded, the Chippendale style of book-plate may be
regarded as in a way an evolution from the Jacobean. If the parent was
dignified and conservative, the offspring was dainty and progressive;
the Jacobean style maintained its dignity and decorous nicety to the
end, but the Chippendale, which started in with a taking air of modest
and light gracefulness, in strong and pleasing contrast to the solidity
of its predecessor, rapidly assumed a most elaborate and ornate manner,
and finally sank into a wild, riotous, and well-nigh sensuous profusion
of decorative expression, which being too heavy for it to sustain, bore
it down to its end. The character of the Chippendale plate, while
attractive and beautiful in its pure form, had essential elements of
weakness, which, hardly able to resist development, were certain to
cause its downfall.
[Illustration: Anthony Stewart
Annapolis Maryland]
[Illustration: Myles Cooper _LL·D_]
As is natural to suppose, the name was bestowed upon this style because
of its assimilation of the ornate and flowery spirit which the famous T.
Chippendale at this period introduced into wood-carving and upholstery.
As compared with its immediate predecessor, the differences in this
style of plate are seen to be principally the liberating of the
decorative features from the stiffness which thralled them in the
Jacobean. Not now resembling ponderous carvings in oak and mahogany, but
rising free and unrestrained, the rose branches and sprigs seem to be
copied from Nature herself; not arranged with careful nicety and labored
uniformity as formerly, but springing from any convenient niche, they
add grace and delicacy to the whole design. The helmet is seldom
[Illustration: Andrew Oliver]
seen in this style of plate, the mantling is consequently absent, and
the bracket supporting the shield of arms undergoes a transformation;
the convolutions and scrolls on the sides become finer, freer, and less
imposing; the shield is never found of any set rectangular pattern, but
often is pear-shaped, shell-like in form, or indeed not unlike the
oyster or the human ear in general outline; the scallop shell which
formerly served as a base for the shield to rest on, is now broken into
dainty fragments with the pectinated edges disposed about the shield
itself; the name-frame is no longer a cloth curtain, but is a scroll
with indented edges and curling outlines.
[Illustration: Benj Kissam]
In its highest development the Chippendale plate is a beautiful piece of
work; the richness of its curves, its plentitude of graceful scrolls,
its profusion of roses in garlands or on the stem, and the elaborate
detail noticeable in all its parts, combine to make a plate of
delightful airiness and dainty nicety; but in the hands of weak
designers, as pointed out by Warren, its possibilities of
over-ornamentation were seized upon, and we find the most unexpected and
incongruous assortment of figures from life, architectural fragments,
allegorical subjects and other features not to be included in any
particular class, occupying convenient places about the escutcheon; we
find sleek shepherds clad in the fashionable clothes of the
day,--knee-breeches, ruffled shirt with Byron collar, large felt hats,
and buckled shoes; we see would-be shepherdesses in big hooped-skirts,
very low-necked bodices and slight waists, wearing frizzly hair and
Gainsborough hats, and carrying dainty crooks; scantily draped figures
recline under the trees, while attendant cupids make music or hasten up
with books. Turning from these pastoral scenes, we come across plates
which have a most frightful dragon with scaly body, forked tail, and
fiery, bulging eyes, who spits fire as he crouches among the roses; in
others we find cornices, columns, arches, and urns; fountains,
hand-glasses, ships, nautical instruments, lambs, dogs,--in short, it is
useless to name the great number of irrelevant articles which were made
use of. The plate was made to carry any amount of heterogeneous
ornamentation which the designer fancied; it seems in some cases as if
the details were employed with rightful reference to the tastes or
pursuits of the owner, but in the greater number the fancy was allowed
free play.
Hurd’s work furnishes us with the best examples
[Illustration: Peter Manigault of the Inner Temple, Barister at Law
South Carolina.]
[Illustration: Samuel Vaughan Esq.^{r}]
of the pure Chippendale style; the _Chandler_ plate, the _Wentworth_,
and the _Dumeresque_ are good examples; Dawkins gives us the later and
debased Chippendale with all its profusion of extrinsic ornamentation.
The _Samuel Vaughan_ plate is a very fine example of good
Chippendaleism, and may be taken as a standard by which to recognize the
features of this style. The _Robt. Dinwiddie_ plate is a fine example of
this style, though the heraldry may be questioned: this, according to
Hardy, is of Scotch make.
[Illustration: W. Jackson]
In the Ribbon and Wreath style, which came into vogue in England about
1770, and in the United States not much before 1790, we note a return to
simplicity. The later Chippendale plates, with their over-burdened
frames, now yield to this quiet style, which is unassuming and very
pleasing. In this the shield is usually
[Illustration: JOHN WILLIAMS _ESQ.^R_]
[Illustration: John Williams]
[Illustration: DeWitt Clinton.]
heart-shaped, is not set against a background, and has absolutely no
carved work about it; the shield is often unsupported, but is sometimes
hung by ribbons or festoons from wall-pins above; the decoration, as the
name suggests, consists principally of ribbons, and wreathing in various
forms. At the present day we use in our wall-paper, upholstery, and
wood-carving on furniture and mantels, and even on outside cornices, a
certain form of garland or festoon tied with ribbon which we call
“Colonial”; in a general way this resembles the decoration features of
the Ribbon and Wreath book-plate. From wall-pins with fancy oval or
round heads, festoons of flowers depend above the shield; branches of
holly and palm, often tied with a ribbon whose fluttering ends bear a
motto or the name, are crossed beneath the shield, and their graceful
sprays extend up either side. Some of the festoons are rich with
blossoms, others, more slender, are of leaves only, while a few are made
of cloth; the full garlands are usually hung from above the shield,
while the thinner style is draped in any place and manner acceptable to
the designer, and with more or less of gracefulness, as his skill
permitted. This style of plate calls for nothing more than its
legitimate features to render it effective and satisfactory, and in
general the plates are in the pure style; but in some of the New York
plates, there are books, writing materials, and bits of landscape
introduced under the shield.
The _Thomas Johnston_ plate by Maverick is a fine example of this style.
Maverick was the most prolific worker in the Ribbon and Wreath, while
Callender and Rollinson also used it very largely. The _Prosper Wetmore_
plate by Maverick, the _John Sullivan_ by Callender, and the _Horatio
Shepherd Moat_ by Rollinson, are all excellent examples.
[Illustration: Richard Wynkoop]
PICTORIAL AND ALLEGORICAL BOOK-PLATES, AND PLATES OF COLLEGES,
LIBRARIES, AND SOCIETIES.
[Illustration: D]esigns which are wholly pictorial or which are meant to
convey meaning by their symbolism are not very numerous with us. This
style of design is no better suited to the plates of public libraries,
schools, and societies, than to those of individuals, but nearly all of
our early examples of this style are found to belong to the former
class.
One of the early personal plates of this kind is that of _James Parker_,
who was a collector of curios, medals, and books. He was a conductor on
the old Western Railroad, and ran the first train between Worcester and
Springfield. This plate is fully described in the List.
Of an entirely different style is the plate engraved by Harris for
_Henry Andrews_. This is pictorial, introducing classical features, but
hardly rising to the height of allegory. The plate of _Bloomfield
McIlvaine_ is also pictorial, and probably allegorical, as the figure
seems to represent History. In the _Samuel Parker_ plate we have
[Illustration: No. 161, Sam Parker]
allegory with a label to identify it; for the bank on which the muse of
History reclines is labelled _Clio_. A very peculiar pictorial plate is
that of _Edward Pennington_, which seems to represent an overflowing
reservoir.
[Illustration: HENRY ANDREWS]
The plates of _McMurtrie_, _Kip_, _Mann_, _Russell_, _Swett_ and
_Hooper_ are good examples of the class. Examples could be given at
greater length, but as all are carefully described in the List, the
reader is referred to it.
The most interesting of the old society and
[Illustration: NEW·YORK _Society_ LIBRARY.]
[Illustration: NEW-YORK SOCIETY LIBRARY. 1789]
library plates are the three of the _New York Society Library_, the two
of the libraries in Farmington, Conn., and that of the _Society for
Propagating the Gospel in Foreign Parts_.
In the plates of the _Society Library_ allegory is rampant. Minerva
appears in all of them, and in the two by Maverick is the principal
figure. In both of these she appears to an American Indian, whose
attitude shows his deep appreciation of the benefits of education as
offered by the resplendent goddess. In one case she is represented as
having just arrived from Olympus, and is still encircled by clouds; in
the other, she seems quite at home in the alcove of the library, and has
taken a suitable volume from the shelf for the use of the savage. In the
plate by Gallaudet for this library the allegory is extended, and other
prominent inhabitants of the abode of the celestials are present. The
arts and sciences which the books of the library treat of are
represented by implements and symbols easily recognized.
The plate of the _Monthly Library in Farmington_ also uses allegory. The
designer and engraver of this plate was Martin Bull, an old deacon in
the village, who was quite an interesting man. He was a goldsmith, a
maker of silver buttons, and spoons; a manufacturer of saltpetre when
needed by the army, a conductor of church music, town treasurer for
eight years, clerk of probate for thirty-nine years, a strong patriot,
and a writer of long and appallingly solemn letters to the youth of the
village when
[Illustration:
_Monthly Library_
IN FARMINGTON
]
at college. The library was founded in 1795,--about as soon as our
soldier-citizens could settle down into reading stay-at-homes,--and was
conducted upon the plan of monthly exchanges. On the first Sabbath of
the month all members would assemble in the evening and pass in their
books and receive others, the choice being auctioned off. Two dollars
and a half a month was thus realized, and the meeting was the event of
the month to the sturdy inhabitants of the quiet town, to say nothing of
the younger folk, to whom it must have afforded coveted opportunities
for pleasant meetings, and quiet walks along the lanes. On the first day
of the new century, January, 1801, the library changed its name to that
which appears upon the book-plate, and on which the good deacon
exhibited a specimen of his highest art. Previously to this date it had
gone under the name of “The Library in the First Society in Farmington,”
and its first book-plate, probably engraved by the good deacon, had the
simple name with no pictorial accessories.
Contemporaneously with this, another library called the _Village
Library_, was in operation, and continued until 1826, when it was merged
with a third. This library also had a book-plate, but it was undoubtedly
beyond the powers of the engraver of its forerunners. In this we see the
interior of a room, in which a young lady patron of the library is
storing her mind with those choice axioms which, if put in practice, far
exceed the attractiveness of mere personal beauty; so says the couplet
beneath the picture.
[Illustration: VILLAGE LIBRARY.]
_Beauties in vain their pretty eyes may roll:_
_Charms strike the sense, but merit wins the soul._
The plate of the _Society for Propagating the Gospel in Foreign Parts_
is also pictorial, and represents a ship of the Society, with its
missionary, approaching the shore of savage America: this plate is dated
1704, and is very curious and interesting. The society grew from the
efforts of one Rev. Thomas Bray, who established thirty-nine parochial
libraries in the American Colonies for the purpose of propagating the
doctrines
[Illustration: The Gift of the Society for propagating the Gospell in
Foreign parts, 1784]
of the Church. In 1698, King’s Chapel, Boston, received some two hundred
books from this society, which were described as “an arsenal of sound
theological, ecclesiastical, and political doctrines for the Ministers
of His Majesty’s Chapel.” For the prevention of loss or embezzlement,
and that they might be known wherever
[Illustration: SOCIAL LAW LIBRARY Boston.]
found, “in every book, on the inside cover shall be these words, ‘Sub
auspiciis Wilhelmi III,’ and also the Library to which they belong, thus
‘E Bibliotheca Bostoniana.’” This must have been in addition to the
plate we are considering, as no words descriptive of particular
ownership are given: possibly this plate was used in all the books
belonging to the society, and the supplementary one was for use in each
individual library.
* * * * *
College plates are as a general thing very plain, but the plates used by
the societies supported by the students and the alumni, are often very
elaborate. The early societies in Harvard and in Yale had curious and
very interesting examples of the allegorical and symbolic plate.
The _Hasty Pudding Society_ and the _Porcellian Club_ of Harvard
College, the _Linonian Society_ and the _Brothers in Unity_ of Yale
College, are examples. In Dartmouth College, the _Social Friends
Society_, and in the smaller colleges numerous other fraternities and
societies, used plates of simpler style.
The books of the Library of Harvard College were marked with plates by
Hurd and Bowen, as noted in the list; on these plates, the gifts of
various benefactors are recorded, with the class to which they belonged,
conditions regarding the gift of the books, or a statement of the fund
from whose income the money for the books is derived.
The plate of the _Library of Congress_ is an engraved label having the
name and spaces for
[Illustration]
[Illustration: LINONIAN LIBRARY YALE COLLEGE]
entries surrounded by a border of oak leaves and acorns: the design is
very neat, and is old in appearance.
A very beautiful plate is used by some _Orphan Asylum_, which does not
give its full name upon its plate. In this a beautiful picture of the
Christ blessing the little ones is given; the line “Forasmuch as ye did
it unto one of the least of these, ye did it unto Me,” is given under
the vignette.
[Illustration: Linonian Library]
In the plate of the _Library of the New York State Agricultural
Society_, which was incorporated in 1832, Ceres is seen in the field;
behind her the sheaves of wheat extend in rows; one arm clasps a
cornucopia, and with the hand of the other she extends a wreath.
In a great many instances the plates of libraries had no pictorial
features, or indeed anything at all ornamental, being but the printed
rules governing the users of the books. Two examples of this kind of
plate are given below.
_This VOLUME_
_belongs to_
_PRICHARD’S_
_Circulating Library_,
_Containing nearly Two Thousand Volumes_,
_In Market Street, Baltimore_,
_where_
_LADIES OR GENTLEMEN_
_may become_
_READERS_
_By subscribing for one Month, three Months or by
Agreement for a single Book. Said Prichard has also a
very great Variety of NEW and OLD BOOKS for Sale._
_He, likewise_,
_Gives Ready Money for New and Old Books_.
* * * * *
_Union Circulating Library,
201 Chestnut Street, Philadelphia._
_Subscribers to pay in advance, six dollars for a year: three dollars
and fifty cents for six months: two dollars for three months: one dollar
for one month: each subscriber to have three Duodecimo volumes, or one
Octavo and one Duodecimo at a time. A subscriber detaining an Octavo
longer than four weeks or a Duodecimo longer than two weeks to pay as a
non-subscriber. For each Octavo one eighth of a dollar per week until
the end of the fourth week when the rate was doubled. For a Duodecimo
one sixteenth of a dollar per week until the end of the second week._
_Constant attendance at the Library from Sunrise till 8 o’clock in the
evening._
In mentioning a few examples of the plates recently made for societies
and libraries, no attempt is made to furnish a complete list, nor even
to mention all the attractive plates, but to speak of a few which seem
of especial interest.
[Illustration: HARVARD UNIVERSITY ARNOLD-ARBORETUM 1892]
A pleasing architectural plate is used in Columbia College Library to
mark the books of the _Avery Architectural Library_. This was designed
by Russell Sturgis, and is in the form of a memorial window or mortuary
mural tablet. The central panel bears the inscription, and the date
MDCCCXC is given below.
The plate of the _Arnold Arboretum_, designed by George Wharton Edwards,
is very attractive; the just-rising sun shines upon a white pine which
stands within an elliptical frame; the names of the Institution and of
the University appear upon ribbons which float from the pine. The plate
is dated 1892, and is signed, _G. W. E._
The same artist designed the first book-plate of the _Grolier Club_ of
New York City. In this, Atlas is seen supporting the arms of the club
within a circular frame which bears the name, and the date of the
founding of the club, 1884; rich foliations with a pounced background
surround this central design. The plate is signed _G. W. E._
The _Public Library_ of the old whaling town of _New London_ has a plate
which is wholly nautical in construction; the name is given on a wheel
which is held by a seaman, while the captain stands by in pea-jacket and
rough-weather helmet, giving orders; the sail, which rises behind them,
affords space for the number of the book; below the deck on which the
mariners stand, are seen harpoons and spears of various sizes and kinds;
two dolphins are disporting in the waves. This plate is signed by the
name of the artist in full. It is by Mr. Edwards.
The _Sutro Library_ of San Francisco uses a plate which gives a large
and interesting picture of the natural resources of the locality, and
the enterprises carried on in its vicinity; the motto, _Labor omnia
vincit_, appears on the ribbon which floats in the air.
[Illustration: NEW-YORK SOCIETY LIBRARY]
The _Watkinson Library_ of Hartford uses one of the very few portrait
plates in the country; just why this style of plate should not be common
is not easy to understand. They are used in Boston and Worcester, as
mentioned below, but these instances are all that occur in public
libraries. In this plate the portrait of David Watkinson, the founder of
the library, is enclosed within an oval frame which bears the name and
the date of incorporation, 1858. The plate is signed by the American
Bank Note Company, New York, and is an excellent piece of steel
engraving.
Almost all of the historical societies use plates in which the arms of
the state or city in which they are located, are used. The
_Pennsylvania_, _Connecticut_, and _Maine Historical Societies_ have
plates of this kind. In the last-named plate an inescutcheon bears four
important dates in the history of the state of Maine.
1605, _First voyage along the Coast by Waymouth_.
1649, _Election of Godfrey as Governor_.
1678, _Usurpation of Maine by Massachusetts_.
1820, _Separation from Massachusetts_.
The _Rowfant Club_ of Cleveland uses a small plate representing the
corner of a library; the open window admits the fading light of the sun,
which is sinking into the sea; the lattice swings idly, and the pile of
books on the table proclaim a busy day.
A very striking plate is used by the _University Club of Washington_. A
wall of rough-faced stone is pierced by a small quatrefoil window in
which
[Illustration: Phœnix Society]
a book is laid; the date 1891 is stamped upon the side of the book.
Below this, Ionic columns support the wall; between them, in a smooth
space, is carved the name and city of the club. The plate is signed _Hy.
Sandham_.
[Illustration: S. Hopkins]
In the _Boston Public Library_ a large number of different plates is
used for the volumes coming from different legacies or funds, and in
very many cases these plates give a portrait of the donor. Thus we find
these portraits on the plate used in the books from the Ticknor Fund,
the Phillips Fund, and the Franklin Club Fund. The books remaining from
the library of Thomas Prince are also marked with a plate which gives
his portrait and a picture of the old meeting-house, in which he
preached, and in which the books were stored at one time.
Portraits also appear upon the book-plates of the _American Antiquarian
Society_, which gives that of Ginery Twichell; and the _Massachusetts
Historical Society_, which has a plate giving a portrait of James
Savage.
The public libraries of to-day do not usually use elaborate plates in
their book-covers; simple labels, with perhaps a city or corporation
seal, are the common kind.
[Illustration: Sam. Hill]
[Illustration: ·GEORGE·ALEXANDER·MACBETH· ·PITTSBURGH·PA·]
BOOK-PLATES OF SPECIAL INTEREST.
[Illustration: S]everal reasons can be given for the fact that
collectors regard some book-plates as of more value than others. With
book-plates, as in other lines of collecting, rarity is a desirable
feature, and is a prominent element in deciding values.
All of our early American plates can fairly be called scarce when
compared with the foreign examples of the same period, for they
outnumber ours, fifty to one; but many among ours are rarer than others.
The _John Franklin_, brother of Benjamin, signed by Turner, is an
exceeding rare plate; the _Thomas Dering_, signed by Hurd, is very rare.
The plates of _Stephen Cleveland_, _Samuel Chase_, _Francis Kinloch_,
_Edward Augustus Holyoke_, _John Vassal_, _Lewis De Blois_, _Lenthal_,
_Apthorp_, the _John Pintard_, by Anderson, and many others are not seen
in many collections. The plate of _George Washington_ is the most
valuable probably of our plates; and while we know the location of a
good many of his books that have the plate within the covers, they are
in no way obtainable: this plate is not very common, but more copies of
it are owned than of some others.
[Illustration: Stephen Cleveland]
The libraries of our early days, while of respectable size, were not so
large as to require the printing of thousands of book-plates; fire and
mob violence have destroyed many books of those old collections and
their plates with them. Harvard, Yale, William and Mary, and Princeton
[Illustration: Columbia College Library]
have all suffered the loss of books by fire, while many smaller private
libraries have been thus devastated. Mr. John Pintard used to say that
he had seen the British soldiers carrying away books from the library of
Columbia College to barter for grog, and a similar fate from similar
hands overtook many of the books stored in the belfry-chamber of the Old
South Church, Boston, while later in our history, worse depredations
were committed in the Southern cities by soldiers, who took the liberty
which war accords to contestants, to despoil many a building, both
public and private, ruining books, records, paintings, and other
property of antiquarian and historical value. So that the early American
plates, at the first not so very numerous, have been reduced at times by
wholesale measures.
A second item of interest to the collector is the signature of the
engraver of the plate. Signed plates have a value over those which are
not signed. The identification of a plate, or the determination of its
age, may be considerably strengthened if the engraver’s name appears
upon the copper. Then, too, the name of a famous engraver lends much
additional interest to a plate. A book-plate signed by Paul Revere
arrests the attention of any observer at once, and establishes a value
to the same. Likewise a plate signed by Hurd, Doolittle, Dawkins,
Anderson, Maverick, Callender, or Turner is worth much more to the
collector than one of equal age but of unknown workmanship.
Dated plates also rank among the more valuable examples. A glance at the
chronological list will show how small a number of these we can boast:
many of those appearing in the list, too, are simply printed
name-labels, which do not rank as high as the more pretentious
specimens. Our very earliest dated example is the label of the _Rev.
John Williams_, 1679, the first minister in Deerfield, Mass., and who
with his wife and children was carried into captivity by the Indians in
1704. Coming next are the plates of _Francis Page_, 1703, and _William
Penn_, 1703, but they are both of English make. The plate of _Thomas_
[Illustration: Isaiah Thomas]
_Prince_, who was for forty years the pastor of the Old South Society in
Boston, is a simple label dated 1704. The plate of _Thomas Dering_,
signed by Hurd, and dated 1749, is the first American plate by an
American engraver that is both signed and dated. The _John Burnet_, by
Dawkins, dated 1754, is next in order; then comes the _Greene_ plate, by
Hurd, 1757, the _Albany Society Library_, 1759, concerning which very
little is known, and every few years an example until we come to the
opening of the century.
[Illustration: Albany Society Library]
Naturally the artistic quality of a book-plate influences its value; the
more elaborate designs are preferred to the plain armorials or the
printed labels. Pictorial plates, introducing bits of landscape,
interiors of libraries, or allegorical subjects, are sought for, as are
plates which are accepted as particularly good types of the different
styles. In addition to these technical reasons for valuing one plate
more highly than another may be given others which will appear more
reasonable perhaps to the general reader. All articles belonging to the
noted men of the past have a certain antiquarian value greater than
attaches to the kindred belongings of their contemporaries of lesser or
no fame. So with book-plates.
A glance at the list will show a goodly number of names which we
remember with pride and interest; the names of patriots, orators,
lawyers, statesmen, officers of the army, officers of the state and
nation, members of Congress, signers of the Declaration, governors,
old-time merchants, authors, divines, physicians, and not a few of that
plucky number who stood by the King in trying times--the American
Loyalists. Quakers, too, as well as royal office-holders, and titled
Americans are among those whose book-plates have come down to us.
Of our early Presidents, the plates of George Washington, John Adams,
John Quincy Adams, and John Tyler are known to us. All of these except
the last, which is a plain printed label, are armorial.
Members of the Boston Tea Party, of the Constitutional Convention, and
of the early Assemblies are among those whose plates we know.
[Illustration: John Quincy Adams.]
Of royal officers we have: Craven, one of the Lords Proprietors of South
Carolina; Elliston, Collector of His Majesty’s Customs at New York; Sir
William Keith, Governor of Pennsylvania; John Tabor Kempe,
Attorney-General under the Crown at New York; and William Penn,
Proprietor and Governor of the colony which bore his name.
Owners of large estates, employers of numbers of slaves, merchants whose
vessels carried on a trade with remote and prosperous shores, and who
established names that have endured, used book-plates which are still
known to us. Among these are the plates from the following families,
well-known in New England: Ames, Bowdoin, Cabot, Chandler, Chauncey,
Coffin, Lodge, Lowell, Minot, Quincy, Sears, Winthrop, Barrell, Greene,
Perkins, Swan, Vassall, and Vaughan.
[Illustration: Josiah Quincy]
Of those well-known in and about New York may be mentioned, Clinton,
Colden, Constable, Cutting, De Peyster, Duer, Ellery, Goelet, Hoffman,
Ogden, Paulding, Phillipse, Pintard, Van Cortlandt, and Van Rensselaer.
To these should be added the Livingstons, which family had the largest
number of book-plates of any we know.
In Philadelphia were the Logans, Morgans, Powels, Banckers, and
Hamiltons; while further South, the Lees, Lightfoots, Tayloes,
Wormeleys, Pages, Cabels, Tubervilles, Armisteads, Byrds, Blands,
Bollings, Dinwiddies, Fitzhughs, Hubards, Magills, and Randolphs used
plates and were families of prominence and distinction.
[Illustration: Livius.]
Among the prominent Loyalists are Chalmers, Cooper, Hallowell, Hamilton,
Livius, Lloyd, Oliver, and Robinson. Of titled Americans the following
used book-plates: Fairfax, Gardiner, Murray of Dunmore, and the
Pepperrell families.
Of the early authors we can mention Alsop, Antill, Bozman, Byrd, Dana,
Key, Stith, and Abercrombie; of physicians, Assheton, Bond, Beatty,
Holyoke, Middleton, and Jeffries; of the statesmen, Bayard, Carmichael,
Dana, Duane, Gallatin, Jay, Lewis, Marshall, Norris, and Randolph.
[Illustration: D^{r}. John Jeffries]
Among the early clergymen can be named Apthorp, Boucher, Williams,
Jarvis, and Provoost.
Allen and Thomas, early printers; Aitkin, who made the first American
edition of the Holy Bible; and Bartram, the great botanist, used plates,
which are described in the list.
Bloomfield, Brearly, Banister, Chester, Eustace, Hale, Mercer, Schuyler,
Sullivan, and Varick are among the soldiers of the Revolutionary army;
and of the orators we have Otis and Randolph.
Coming now to the signers of the Declaration, we find that we know thus
far the plates of eleven of them: John Adams, Charles Carroll, Samuel
Chase, Thomas Hayward, William Hooper, Francis Hopkinson, Benjamin Rush,
Richard Stockton, George Taylor, Oliver Wolcott, and George Wythe.
Surely the book-plates of all these men whose mention stirs patriotic
feeling, are of exceeding interest, and worthy to rank with any in point
of value and appreciation.
No book-plate, however, is of greater interest to the American collector
than that of _George Washington_, not alone by reason of the prominence
of that eminent man, but because of the scarcity of the plate, the high
price it brings, and the interesting fact that it is the only American
plate which has been deemed worthy of counterfeiting.
A genuine contemporary print of this plate is readily recognized by the
connoisseur. The plate has no striking features, but is a regular design
in the pure Chippendale style. The arms are displayed upon a shield of
the usual shell-like form, and the sprays and rose branches of this
style are used in the ornamentation of the sides of the escutcheon. The
motto, _Exitus acta probat_, is given upon its ribbon at the base of the
shield, and the name is engraved in script on
[Illustration: Edward Hale Bierstadt]
the bracket at the bottom of the design. In general appearance the plate
is like scores of Chippendale plates of the period.
[Illustration: George Washington]
The interesting question of the probable engraver of the plate has
arisen, and in a most readable article from the pen of Mr. R. C.
Lichtenstein, in the “Curio,” on the Library of Washington, the
following opinion is advanced: “It was his [Washington’s] habit as a
general rule to write his name on the right-hand corner of the
title-page and place inside his book-plate. It has been a matter of
uncertainty as to whether that book-plate was engraved in England or in
this country. Washington, like other Virginia gentlemen before the
Revolution, was in the habit of ordering goods every year from London;
but we have searched the various orders to his agents in London, and
examined as far as practicable the items of his household expenses,
without finding any such item. The strongest argument that can be said
in its favor proving it to be American work is the poor heraldry
displayed in its coat-of-arms, general make-up, and drawing. It will be
noticed that the engraver has placed a wreath under the crown (an
absolute heresy), and this, with the faulty drawing of the raven, makes
the whole plate a very slovenly piece of work. No engraver with any
knowledge of the fundamental laws of heraldry would be guilty of drawing
such a coat-of-arms as this. The arms of Washington engraved on his seal
and ring, undoubtedly cut in England, are correctly done. It seems more
than probable, if the plate had been done in England that the engraver
would not have been guilty of making such blunders. We have seen a great
many English plates, but have never noticed one bearing these
peculiarities. From its general appearance we should say that the plate
was made in America somewhere between the years 1777 and 1781.”
Collectors are divided in their opinions upon this question, and
although not ready to hazard a guess at the engraver, the present writer
believes the plate was engraved in England, and would place the date
nearly a decade earlier. As the friend of the Fairfax family,
Washington might have had the plate made upon the occasion of their
ordering work of the same kind from England, or, indeed, it might have
been a gift to him from them, or from some admiring friend. As he was a
methodical man, the fact that no entry of an expense for such an article
is found in his records may lend color to the presentation theory. As to
the errors in heraldry, there is a plate of one Richard Washington,
which has all the peculiarities of this plate, and this is signed by
Bickham, who was an English engraver of some note. He was a trifle early
perhaps to have been the engraver of the _George Washington_ plate, but
he may have made the plate which served as a copy for it. But whether
the plate was of domestic or foreign make, we know that the copper was
in this country, and that impressions were made from it not so very many
years ago. The late Mr. Mauran of Newport knew the man who owned this,
and it seems that having printed what he deemed a sufficient number of
re-strikes from it, this man, fearing lest others would in time get it
and make more prints, cut the copper into pieces and going out on a
bridge over the Schuylkill River, threw them in! There they may be
looked for by any who choose.
The counterfeit of this plate appeared in an auction sale of books, in
the city of Washington, about the year 1863. The late Dr. W. F. Poole
with Dr. J. M. Toner was present at the sale. The plate was placed in
these books for the purpose of getting a higher price for them than
could
[Illustration: George Washington]
otherwise have been obtained. These gentlemen detected the fraudulent
plate, and denounced it as such in the auction-room, and the books
brought only their actual value as books. Copies of this plate turn up
now and then, and the unsuspecting are still deceived by it. It is
readily detected if one is forewarned. The work is manifestly inferior
to the good plate, the alignment of the name is poor, the quality and
appearance of the paper belie its professed age, and the printing is of
decidedly different appearance, being bold and strong in the genuine,
and weak and thin in the forgery. A further difference is noted in the
crest, which is tinctured _gules_ in the forgery and _sable_ in the
genuine. These plates are sometimes claimed to be genuine and to be an
early and unsatisfactory piece of work, which Washington rejected, and
which was replaced with the other and accepted plate. This idea is
plausible perhaps to some, but to any who had information from Dr. Poole
it is an impossible theory. Another source of confusion is in the
reproductions of the plate which have been made from time to time to
illustrate works on the life of Washington, some of these being quite
faithful duplicates of the genuine plate with its trifling flaws; but
the paper and the printing are usually conclusive proof of the age of
the print. It is safe to say that there is but one genuine Washington
plate. It is true that the re-strikes of the original copper are about,
but these, too, are readily distinguishable by the printing and paper.
The plate of _Bushrod Washington_, nephew of George, is also of much
interest, and the manifest similarity of its design to some of the
plates by Dawkins has led to the suggestion that he made this plate. But
to the mind of the writer, Dawkins was not a man of originality, and was
a regular copyist when it came to book-plates; the similarity of the
plate of _James Samuels_ to this plate is rather to his mind a further
evidence of the clever adoption of a reasonably good design by Dawkins,
than of his having been chosen by Judge Washington to engrave his
book-plate. The design of this plate is more spirited than any of the
authenticated work of Dawkins; indeed, it surpasses the plate of the
General in that respect.
[Illustration: Bushrod Washington.]
The arms are the same in these two Washington plates. In his “Barons of
the Potomac and the Rappahannock” (published by the Grolier Club, 1892),
Mr. Moncure Daniel Conway has referred to the older form of the arms as
used by earlier members of the family. The earliest shields held “_Gules
on a barre argent 3 Cinquefoiles of ye first._” The second step was made
by changing to the following, “_Gules on a fesse sable 3 mullets._” The
last and present form is, “_Argent, two bars gules: in chief three
mullets of the second._” These last, it is claimed, suggested our
national flag.
The plate of _Elizabeth Graeme_ of Philadelphia should be noted here, as
it is the only example of an heraldic plate used by a lady of colonial
times. It is fully described in the list.
Leaving now these older plates of special interest to be discovered in
the Lists, we turn to a few modern plates which are worthy of particular
attention.
[Illustration: Dan Webster]
The plate of _Daniel Webster_ is a plain armorial with the motto, _Vera
pro gratis_, on the ribbon below the shield.
The etched plate of the late _James Eddy Mauran_, the early collector of
American and other book-plates, was an armorial of very handsome
appearance. The shield is surrounded with the style of decoration used
on the Chippendale examples, oak leaves being used in lieu of mantling.
An earlier plate in two sizes shows some differences in the design.
The plate of the late _George W. Childs_ seems wholly in keeping with
the career of its distinguished owner. The sword, broken into pieces by
the quill, is depicted within an oval garter which bears the motto,
_Nihil sine labore_. The words from Lytton’s Richelieu, _The pen is
mightier than the sword_, are also given just within the frame.
Coming now to mention a few plates of our well-known men of letters, we
naturally accept the plate of _Oliver Wendell Holmes_ as worthy of the
chiefest place. In this the motto, _Per ampliora ad altiora_, is given
on a ribbon beneath a beautiful representation of the “Chambered
Nautilus,” the
Ship of pearl, which, poets feign,
Sails the unshadowed main,--
The venturous bark that flings
On the sweet summer wind its purple wings
In gulfs enchanted, where the Siren sings,
And coral reefs lie bare,
Where the cold sea-maids rise to sun their streaming hair.
“If you will look into Roget’s ‘Bridgewater Treatise,’” said the
Autocrat one morning, “you
[Illustration: Oliver Wendell Holmes.]
will find a figure of one of these shells and a section of it. The last
will show you the series of enlarging compartments successively dwelt in
by the animal that inhabits the shell, which is built in a widening
spiral. Can you find no lesson in this?
“‘Build thee more stately mansions, O my soul,
As the swift seasons roll!
Leave thy low-vaulted past!
Let each new temple nobler than the last,
Shut thee from heaven with a dome more vast,
Till thou at length art free,
Leaving thine outgrown shell by life’s unresting sea.’”
[Illustration: JBM]
A plain armorial plate with the motto, _Vitam impendere vero_, and the
name in fac-simile of his autograph, was used by _J. G. Holland_.
The plate of _Brander Matthews_, designed by Edwin A. Abbey, represents
the discovery of a mask of the old Greek comedy by an American Indian.
With feathers stuck in his scanty hair, and his tomahawk laid on the
ground beside him, he appears to deliberate upon the possible use of the
enormous face which grins at him from his knee. On a circular frame
surrounding this picture the following words from Molière are given,
_Que pensez vous de cette comedie_. The appropriateness of the design is
apparent for one who is a collector of the literature of the French
drama, and the author of several books relating to the stage both in
America and France.
[Illustration: STEDMAN]
In the plate of _Edmund Clarence Stedman_, the author of “The Poets of
America,” we see Pan piping in the sylvan glades; the shepherd and the
nymph are charmed by the music, and the god is apparently at the height
of his effort. The frame surrounding the design bears the words, _Le
Cœur au Metier_, which were suggested by the address of Matthew Arnold
to the Authors’ Club in 1883. This plate is made in three sizes.
The plate of _Thomas Bailey Aldrich_ presents within a square frame a
picture of a black bird resting upon a comic mask; the heavy panelled
frame bears the owner’s name and the words, _His Mark_. In his essay on
American Book-plates, Mr. Laurence Hutton questions whether this black
bird is representative of the Daw, and symbolic of Margery of that name.
In the plate of _Eugene Field_ we have a beautiful example of the plain
armorial, unaccompanied by motto or ornamentation of any kind.
Of similar character is the plate of _Richard Grant White_. This is
armorial, but the motto, _The right and sleep_, is given, and the shield
is decorated in a conventional manner, with mantling and scrolls.
A pleasing library interior is used by _Arlo Bates_. This represents an
Oriental interior; a youth in scull-cap and flowing hair is reading a
large book; a lily stem rises from a vase of striped Tyrian glass at his
side; rows of books are seen at his back; and out of the arched window
the distant fields are seen, with the palm and cypress trees on the
hillside. This plate is produced in a new manner, being a gelatine print
or half-tone direct from the pencil sketch. It preserves a very soft and
pleasant effect; indeed, one feels sure it will smirch if rubbed.
_Laurence Hutton_ in his plate places a full-length statue of Thackeray
within a canopy, which seems to be a niche within a book-case. Volumes
flank both sides, and the amiable face of the drastic writer looks
directly at the beholder. The name of the owner is given on a ribbon at
the bottom of the design.
[Illustration: LAURENCE HUTTON]
The books of the lamented actors, _Edwin Booth_ and _Lawrence Barrett_,
were marked with book-plates, the former using a plain armorial with no
name engraved upon it, and the latter showing the mask of Tragedy upon
an open volume, with the motto, _Esto quod esse videris_.
The reading monk, with the nimbus and star over his head, is seen in the
plate of _Edward Eggleston_. The sentiment, _Flie fro’ the presse and
dwell with sothfastnesse_, is given in old English letters.
_Mr. Rossiter Johnson_ uses a very plain but effective label bearing the
initials _R. J._ printed within a plain ruled border: all in red ink.
The patriotic motto of _General Winfield Scott_ is the family motto of
the Scots of Whitislaid, Scotland, and well did the character of the man
who used the book-plate depicted below coincide with its meaning.
It would be interesting to extend this list of plates used by men well
known throughout the length and breadth of our land, but, unfortunately,
many whose names will occur to the reader do not use a book-plate.
[Illustration: Winfield Scott.]
EARLY AMERICAN BOOK-PLATE ENGRAVERS.
[Illustration: N]athaniel Hurd, who was born in Boston, Feb. 13, 1730,
and who died in 1777, was the best of our early engravers of
book-plates. Very little is now known of him, the principal source of
information being an article in the third volume of “The New England
Magazine,” published in Boston in 1832 by J. T. and E. Buckingham. The
only known portrait of Hurd, which is copied from an original painting
of him by Copley, and which in 1832 was owned by a descendant of Hurd in
Medford, Mass., also accompanies this article, and shows him as a young
man with smooth face, very pleasing and intelligent features, and
wearing a cap, white neck-cloth, and clothes of a pattern which give him
a decidedly clerical appearance.
The only book-plate work mentioned in this article is the large plate
for Harvard College. It is said that the prints done in red ink were for
use in the highly valuable books which the students were not allowed to
take from the library. Several brilliant caricatures, a portrait of the
Rev.
[Illustration: W. F. HOPSON]
Dr. Sewell of the Old South Church, done in 1764, and a few other
examples of his art are mentioned. He is (probably inaccurately) claimed
to be the first person who undertook to engrave on copper in the United
States. He was a man of natural talent and real genius, was
self-instructed in his art, and was regarded as the foremost seal-cutter
and die-engraver of his time, in this country.
The following advertisement from the Boston “Gazette” of April 28, 1760,
is of some interest:--
“Nathaniel Hurd Informs his Customers he has remov’d his shop from
Maccarty’s Corner on the Exchange to the Back Part of the opposite
Brick Building, where Mr. Ezekiel Price kept his Office, where he
continues to do all Sorts of Goldsmiths Work. Likewise engraves in
Gold, Silver, Copper, Brass, and Steel, in the neatest Manner, and
at reasonable Rate.”
Hurd worked principally in the Chippendale style; he made some plates in
the Jacobean and a few in the Ribbon and Wreath styles, but he died
before the latter was much in use, and the former was really going out
when he took up the making of plates. Judging from the appearance of his
work, his first attempts were in the Chippendale style, and the few
Jacobeans he made were done after he had attained considerable
efficiency.
One of his earliest specimens was undoubtedly the plate of _Edward
Augustus Holyoke_, the famous doctor of Boston, who lived to be one
hundred years old, and who was but a year or two the senior of Hurd. In
this plate he used a design which he evidently believed he could improve
upon, and in which he felt there were good features, for we find a
number of future plates of very similar design but much better
execution. In the Holyoke plate the work is very crude, the lines are
stiff, the drawing is poor, and the lettering of the motto and name are
not good. An ugly scroll is placed under the name, and the festoon of
cloth which is draped at the bottom of the frame and around the motto
ribbon is especially poor; the shell at the base of the escutcheon which
figures so often in future plates is here used, and the queer little
flow of water from it would not be recognized as such were this the only
specimen in which it occurs; the arrangement of the rose sprays, the
form of the shield, and the employment of the shelly edge show a
thorough study of the elements of this style. Very likely this design
was copied in great part from some foreign example which had come into
his possession.
In the _Thomas Dering_ plate, which is the earliest plate dated and
signed by an American engraver, this same design is improved upon; it is
more compact in appearance, a little freer in execution, and the drawing
is improved. The name is still not very well engraved, and top-heavy
flourishes weigh down the capitals.
In the _Theodore Atkinson_ plate the same design is still further
improved upon; the flow of water from the scallop shell is here caught
in a little bowl, a little additional flowery ornamentation is added,
and the heraldic drawing is better. The name is again embellished with
graceless flourishes.
The design seems to reach perfection in the _Wentworth_ plate; every
feature is markedly better, the water still flows out of the scallop
shell, the same shaped shield is used and the motto is placed upon a
graceful ribbon with ends which run off into fancy foliations. The name
is neat in appearance, but still there are too many scrolls.
[Illustration: Robert Hale Esq^{r}. OF BEVERLY]
In the plate of _Robert Hale of Beverly_, the old festoon of cloth
noticed in the Holyoke plate is seen again, and no motto is given. The
name is fairly well engraved.
Later developments of this style are seen in the plates of _Henry
Marchant_, _Danforth_, _Nathaniel Tracy_, and _John Marston_; in these
some of the features of the former are wanting, but they are evidently a
legitimate progeny in the matter of style.
[Illustration: John Chandler Jun^{r}. Esq^{r}.]
Another, and without doubt the highest type of the Chippendale plate
which Hurd made, is seen in the _John Chandler, Jr._, the _Dana_, the
_Philip Dumeresque_, the _Vassall_, and the _Wilson_ plates. In these
the shield becomes larger, the whole scheme of decoration shows more
fine detail work, and the effect is lighter, more graceful, and seems at
once the work of a master. The names are engraved in large bold type,
with a characteristic dash after the last period.
[Illustration: Lew.^{s.} De Blois]
In the Jacobean style, the earliest of Hurd’s work is undoubtedly the
_Lewis De Blois_. This is crude in workmanship, not very good in
drawing, but excellent in design, and faithful to the characteristics
of the style; the shield is placed against a frame which is lined with
the regulation fish-scale pattern; the sides are richly foliated, the
mantling is profuse and very well drawn, and the name is placed upon a
fringed curtain which is tied up at the ends with ribbon.
[Illustration: Joshua Spooner.]
The handsomest Jacobean plates by Hurd are the _Robert Jenkins_, the
_Spooner_, and the _Andrew_ Tyler. In the former the lining is
diapered, the scroll work at the side of the arms is very fine, and at
the bottom, under the shield, a small vignette of a ship under full sail
is very pretty. At the top of the scrolls on either side two turbanded
female heads peer at each other across the crest.
In the _Tyler_ plate the frame is very similar to the Jenkins, the
lining is diapered, and the scroll at the side are the same. The little
vignette at the bottom, however, is displaced by a sour face with gray
hair. The two faces are replaced by urns filled with flowers, and the
old cloth festoon is draped below the whole design. The _Spooner_ plate
bears no resemblance to the others, and is a more graceful design. The
lining is latticed, the Sphinx head under the shield is enclosed within
a frame of its own, and at either side are term figures from whose hands
depend bouquets of flowers; the crest is overarched with a bit of the
old scallop shell, and the motto is on a ribbon, which, wholly
unsupported, maintains a curved position under the frame.
The Jacobean plates of _Benjamin Greene_ and _Peter R. Livingston_ are
almost identical in design; the small frame which encloses the shield is
lined with the fish-scale pattern, the mantling is handsome and profuse,
and the motto ribbon is stretched in rather stiff manner below the
frame.
Only two examples of the Ribbon and Wreath style are known as Hurd’s
work, the _John C. Williams_ and the _Jonathan Jackson_. These are both
signed, and are very similar in design. Garlands of roses depending
from rings above follow closely the outline of the heart-shaped shield,
and the ribbon for the motto is placed beneath, and is ornamented with
fancy ends.
In the “detur” plate for _Harvard College_ Hurd conformed to the English
manner and adopted the seal-shaped design. The arms are displayed upon a
heart-shaped shield which is enclosed within a circle which bears the
name and motto, and this again is enclosed by a wreath of holly
branches.
[Illustration: Harvard College]
Hurd’s work is the most interesting found in our early days, and a study
of it shows him to have been progressive as well as painstaking. The
Ribbon and Wreath style did not come into general use in England until
about 1770, yet Hurd, who died in 1777, had used it. The colonies could
not be expected to adopt the new styles of the old country immediately,
and the condition of things from 1770 on to the time of Hurd’s death was
not such as to encourage the introduction of “fads” or to allow much
time for the development of the fine arts.
A word must be said about the heraldry on Hurd’s book-plates. This
science, heraldry, was not held in such general esteem among the New
Englanders as it was further south, and while many of the governors and
men of high standing in the Northern colonies brought armorial seals
with them, a great many who used them did so without strict heraldic
authority, and when it became the fashion to use coats-of-arms in
various ways, the herald painters of those days, who had but slight
knowledge of heraldry and who were possessed of a copy of Guillim or
some other writer on the subject, would find therein the arms of some
family bearing the name of their prospective customer, and without
further research would proceed to produce the coat as described. Not
always were these arms so ordered correctly borne; indeed, there is much
uncertainty about the arms used after about 1730 when our native
engravers and painters took up the work of producing arms upon orders.
Such seals as were brought by the colonists from England, and such as
were used by their descendants are undoubtedly correct, but the
questionable arms are those which, as mentioned above, were looked up in
this country only, by means of such heraldic works as were at hand. The
presence of the arms then on some book-plates cannot be relied upon as
sufficient and indisputable proof of their owners’ right to them.
[Illustration: John Vassall Esq^{r}.]
A list of the book-plates signed by Hurd is appended.
[Illustration: John Lowell]
A LIST OF BOOK-PLATES SIGNED BY NATHANIEL HURD.
Theodore Atkinson Chippendale.
Thomas Brown
John Chandler, Jr. Chippendale.
Rufus Chandler
Francis Dana Chippendale.
Danforth Chippendale.
Lewis De Blois Jacobean.
Thomas Dering Chippendale.
Philip Dumeresque Chippendale.
Isaac Foster Jacobean.
Benjamin Greene Jacobean.
Thomas Greene, Jr. Jacobean.
William Greenleaf
Robert Hale, Esq., of Beverly Chippendale.
Harvard College Seal.
Harvard College Pictorial.
William Hooper Chippendale.
Jonathan Jackson Ribbon and Wreath.
Robert Jenkins Jacobean.
Peter R. Livingston Jacobean.
John Lowell Chippendale.
Henry Marchant Chippendale.
John Marston Chippendale.
Samuel Osborne Chippendale.
Henry Pace
Joshua Spooner Jacobean.
Nathaniel Tracy Chippendale.
Andrew Tyler Jacobean.
Wentworth Chippendale.
John C. Williams Ribbon and Wreath.
A LIST OF PLATES ATTRIBUTED TO HURD, ALTHOUGH NOT SIGNED.
Thomas Child Chippendale.
Henry Courtenay Chippendale.
Edwd. Augs. Holyoke Chippendale.
By the name of Hurd Plain Armorial.
Loring Chippendale.
Lucretia E. Newton Ribbon and Wreath.
(Same copper as the John C. Williams.)
Andrew Oliver Chippendale.
Samuel Page Label: Chippendale frame.
Phillips Academy Chippendale.
Ezekiel Price Chippendale.
John Simpson Chippendale.
John Vassall Chippendale.
David Wilson Chippendale.} One copper.
James Wilson Chippendale.}
Of JAMES AKIN, who signs the _Coffin_ and _Browne_ plates, nothing is
learned. The _Hector Coffin_ book-plate is also signed by Francis
Kearney, which would seem to indicate that Akin was associated with him.
The _Browne_ is a Philadelphia plate, and Akin may have been employed by
the firm of Tanner, Vallance, Kearney and Company, which was in
successful operation in Philadelphia for some years.
* * * * *
S. ALLARDICE was apprenticed to Robert Scott, who had been a pupil of
Robert Strange, and who, coming to America, was made die-sinker to the
Mint. He had previously made the architectural plates for Dobson’s
Encyclopædia.
Only one example of the book-plate work of Allardice is now at hand, and
that is simply an engraved label for the _Library Company of Baltimore_.
Ornamented with flourishes, and some fancy work, it is yet of no merit
as a book-plate or an example of art.
* * * * *
ALEXANDER ANDERSON, who was the first American wood-engraver, was born
in the city of New York, April 21, 1775, and lived to the advanced age
of ninety-five years, dying, in 1870, in Jersey City, N.J., on the 17th
of February.
At the age of twelve, with the spring of a pocket-knife, sharpened for
the purpose, he tried
[Illustration: Peter A. Browne]
to engrave on copper pennies rolled thin. In this way he made his first
plate, which was a head of Paul Jones; and his first impression from it
was made in red oil paint by a rude kind of a press of his own
contrivance. With tools made by a blacksmith, he went on to cut little
ships and houses on type metal for the newspapers. Being in some way led
to take an interest in certain medical works, he copied many of the
plates, and his father, feeling that this was a true sign of his fitness
for the profession of medicine, and not discerning the talent for
engraving, placed him with Dr. Joseph Young, as a student of medicine.
This step was taken with great reluctance by the youth; but he found
time for both the cares of his new study, and for the pleasures of his
old pastime. Various successes encouraged him, and in 1793 he cut a
tobacco-stamp on wood, which appears to have been his first use of that
material. Soon after this, he obtained a copy of Bewick’s “Quadrupeds,”
and with the cuts found therein he was delighted. They had a strong
influence upon his later work, and he has been well called the “American
Bewick,” for his small wood-cuts closely resemble those of the English
master in design, and his prominence in this country was equal to
Bewick’s in England.
A life of Dr. Anderson has lately (1893) been issued in New York; but,
to the disappointment of book-plate collectors, not a word is said of
his making book-plates.
Of the seven plates by Anderson known at present, four are on wood, and
three are on copper.
[Illustration: JOHN PINTARD, LL. D.]
Only one of those on wood is signed. The _Lot Tripp_ and _Josh. Russell_
plates are simple labels, and the _Typographical Society of New York_
and the _John Pintard, LL.D._, which is signed, are pictorial. In the
former, the emblems and implements of the printing trade are prominent,
and in the _Pintard_, which is a fine example
[Illustration: Alex^{r} Anderson.]
of Anderson’s best work on wood, the shield of arms is shown with a
landscape for background.
[Illustration: APPRENTICES’ LIBRARY.]
The plates on copper are the _Anderson_, which is a Chippendale, the
_Apprentices’ Library_, and the _Columbia College_, which are
allegorical.
All the above will be found described in the List.
There is a plate of the _Apprentices’ Library Company of Philadelphia_
which strongly resembles the wood-cut work of Anderson, but as it is not
signed it is not safely attributed to him. In the plate of _A. Griggs_
of Philadelphia, an even more marked resemblance to his little designs
on wood is seen, but this, too, is not signed.
* * * * *
ANNIN AND SMITH. This firm consisted of _W. B. Annin_ and _George C.
Smith_, and they were established in Boston from 1820 to 1837. Annin
died in 1839, in Boston, and Smith, who lived to quite an advanced age,
died in 1878. They engraved a number of plates for the “Token,” and for
other annuals so popular sixty years ago.
The plates of _Richard Taylor Auchmuty_, _A. L. Peirson_, _William H.
Prescott_, _John Lowell, Jr._, and an armorial plate for the _Boylston
Medical Library_ are signed by them, and will be found described in the
List.
* * * * *
ABEL BOWEN, whose name appears on one of the plates of _Harvard
College_, was the first wood-engraver in Boston. He was born in New York
state in 1790, and he took up engraving before he was of age. In 1812 he
was a printer in Boston, probably attracted thither by his uncle, who
was the proprietor of the Columbian
[Illustration: WILLIAM ASHMEAD COURTENAY]
Museum. Nathaniel Dearborn claims to be the first engraver on wood in
Boston, but the honor is usually accorded to Bowen. He issued, in 1816,
the “Naval Monument,” and in 1817 was associated with Dearborn in
engraving for Shaw’s “History of Boston.” In 1834 Bowen, with others,
founded “The Boston Bewick Company,” which was an association of
engravers. In the following year they issued a map of Boston, and
undertook the publishing of the “American Magazine.” They were burned
out in this same year. Bowen died in 1850.
* * * * *
JOHN BOYD, who engraved the plate of _Samuel Chase_, which is taken to
be the plate of the signer of the Declaration, was a Philadelphia
engraver. This is the only specimen of his work on book-plates which we
have, and it is a very pretty Chippendale design, delicately engraved.
In Dunlap, a J. Boyd is simply mentioned, who was engraving in
Philadelphia in 1812. This, if the engraver of the Chase plate, would
make him rather young at the time of doing it, and it is very good work,
and not the experiment of a novice. Whether this is the same engraver, I
do not know.
* * * * *
JOSEPH CALLENDER was born in Boston, May 6, 1751. Very little is known
about him, but he is reported to have acquired the plates of Peter
Pelham, who was presumably the first to engrave on copper in America,
and to have destroyed them. Callender made most of the dies for the
second Massachusetts Mint, at a cost of £1 4_s._ each. This was
considered an exorbitant price by the superintendent, who made a
contract with a Newburyport artisan, Jacob Perkins. Callender received
£48 12_s._ for making thirty-nine dies, and repairing three others,
while Perkins received but £3 18_s._ 10_d._ for his work. Callender died
in Boston, Nov. 10, 1821, and was buried in the Granary Burying Ground.
The only Chippendale plate by Callender is a copy of the _Atkinson_
plate by Hurd, and is for a member of the same family. As compared with
its model, this plate shows very little difference, it is so close a
copy, but the motto ribbon which is added is more graceful than those of
Hurd usually were, the heraldic drawing is quite as good, and the
lettering of the name is better. Callender, of course, would not have
begun to engrave much before Hurd’s death; indeed, the preponderance of
the Ribbon and Wreath style in his designs goes to show that his work
dated towards the close of the century.
His plates in this style are very light and graceful, with no
overloading; and a faithful use of the usual features of the style is
apparent.
In the _Russell_ plate he was again a copyist, using for his model the
_Joseph Barrell_ plate. The plates for the _American Academy of Arts and
Sciences_, and for the _Massachusetts Medical Society_ are practically
alike; the curtain, and the
[Illustration: Thomas Russell]
ribbon and festooning are very similar, while the view within the oval
frame is, of course, adapted to the use of the books of the respective
societies. Callender would seem by these signs to have been a lazy
engraver, or to have considered his designs so perfect as to call for no
further effort.
A LIST OF BOOK-PLATES SIGNED BY CALLENDER.
---- Andrews Pictorial.
William King Atkinson Chippendale.
Jonathan Baldwin
Luke Baldwin
Boylston Medical Library Plain armorial.
John Callender Pictorial.
Thomas Cary Ribbon and Wreath.
William Erving Ribbon and Wreath.
John Francis Plain armorial.
Hasty Pudding Library Pictorial.
Massachusetts Medical Society Allegorical.
Thomas Russell Allegorical.
Daniel Sargent, Jr. Ribbon and Wreath.
John Sullivan Ribbon and Wreath.
James Swan Plain armorial.
Dudley Atkins Tyng Ribbon and Wreath.
Solomon Vose Ribbon and Wreath.
A LIST OF PLATES ATTRIBUTED TO CALLENDER, ALTHOUGH NOT SIGNED.
American Academy of Arts and Sciences Allegorical.
William Emerson Ribbon and Wreath.
Gray Ribbon and Wreath.
Dr. John Jeffries Plain armorial.
Porcellain Library Allegorical.
[Illustration: AMERICAN ACADEMY OF ARTS & SCIENCES]
CEPHAS G. CHILDS, who engraved the plate of _Henry D. Gilpin_, was born
in Pennsylvania, in 1793. In the years 1827 to 1830, he published a set
of views of the city of Philadelphia and its vicinity (Baker).
[Illustration: Henry D. Gilpin.]
HENRY DAWKINS was an engraver of but few original ideas, if we may judge
him rightly by his book-plate work. In this he was very largely a
copyist. Working altogether in the Chippendale style, his designs for
the most part are variations of one general plan, which seems to have
been borrowed from an English-made plate. In his plates we see
“Chippendalism run wild.” Here are introduced the love-sick swains who
play upon the flute; the dandy shepherds in stiff clothes of the most
fashionable cut, flowing curls, and large felt hats; the flirting young
damsels in very low-cut bodices, who play at being shepherdesses for the
sake of following the above-mentioned gentle keeper of sheep. Here are
the music-loving Cupids, the scantily clad females who are attended by
the Cupids, and who are far from home among the trees of the wood. In
the _James Duane_ plate we find a fountain is fixed to the side of the
frame, and is spouting water from the mouth of a man’s head.
But the plates of _Samuel Jones_, _Samuel Stringer_, and _Peter W.
Yates_ are proof that Dawkins could confine himself to the legitimate
features of good Chippendale plates. In these no outside objects are
introduced, and the design is good.
We do not know much about Dawkins. Dunlap says he was probably from
England, and that he was first noticed in New York. Originally he was an
ornamenter of buttons and other small bits of metal, but in America he
worked at anything that offered, “suiting himself to the poverty of the
arts at the time.” Dunlap dates him about 1774, evidently on the
strength of the word of Dr. Anderson, who remembered to have seen
“shop-bills and coats-of-arms for books,” done by him previous to 1775.
However, in 1761, he engraved music for a book of Psalm Tunes published
in that year in Philadelphia. His earliest dated book-plate is that of
_John Burnet_ (1754). He was skilful enough to make counterfeit
Continental currency, but not to avoid arrest; and in 1776 we find him
suffering for this misdeed. Some time later, he forwarded the following
unique petition to the Committee of Safety:--
“MAY IT PLEASE YOUR HONOURS,--The subscriber humbly relying on the
known goodness and humanity of this honourable house, begs leave to
lay his complaint before them, which is briefly as follows. That
your petitioner was about six months past taken upon Long Island
for a trespass which this house is thoroughly acquainted as by
Israel Youngs he was led away to perform an action of which he has
sincerely repented and your petitioner was torn away from an only
son who was left among strangers without any support, or protection
during the inclemency of the approaching winter, as his unhappy
father hath since the first day he was taken had but one shirt and
one pair of stockings to shift himself, and hath been affected
during his imprisonment at White Plains with that worst of enemies
hunger, and a nauseous stench of a small room where some twenty
persons were confined together which hath introduced a sickness on
your distressed subscriber which with the fatigue of travelling
hath reduced your unhappy petitioner to a state of despondency--he
therefore being weary of such a miserable life as his misconduct
has thrown him into begs for a termination by death to be inflicted
upon him in what manner the honourable House may see fit. The kind
compliance of this honourable House will ever lay an obligation on
your distressed humble servent
HENRY DAWKINS.”
We do not know in what manner the honorable house received this
extraordinary petition; but, as book-plates are in existence in his
later style, probably it was not granted. Dawkins used three distinct
varieties of the Chippendale style. The plates of _Benjamin Kissam_, the
_Ludlow_ and _Roome_ plates, the _Whitehead Hicks_ and the _James Duane_
are examples of the debased
[Illustration: Whitehead Hicks Esq.]
Chippendale. He had also a style which is illustrated by the
_Hopkinson_, _Samuels_, and _Tomlinson_ plates, which is closely allied
to the style of the _Bushrod Washington_. The same hissing dragon, the
same tilt to the whole design, and the similarity in detail and
execution have led to the question of his being the engraver of the
latter plate. It is not a question easy to decide, and collectors are
divided over the question. This style of plate came originally from
England, we can be sure; and as Dawkins is seen to be a copyist, it is
quite as likely that he copied from the _Bushrod Washington_ plate, as
that he designed it. He always used a squarer copper than the Washington
plate is engraved upon; but this has evidences of having been cut down
after engraving. The present writer does not think the plate can be
safely attributed to Dawkins. The _Child_ and _Jones_ plates exemplify
the third style.
The debased Chippendale plates which Dawkins made were apparently copied
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.”
No signed example of this gentleman’s work has thus far come to our
knowledge. It is fair to presume, however, that he engraved book-plates.
[Illustration: “QUI CONTENTUS FELIX”]
A LIST OF EARLY AMERICAN BOOK-PLATES.
The following List of Early American Book-plates makes no claim to
completeness: indeed it is earnestly hoped and believed that time will
prove it to be quite incomplete: old plates new to collectors are
continually coming to light, and there is every reason to expect their
number to increase. We are persuaded that certain of the worthies of
colonial times used book-plates, although no copies are now known, and
that some future investigator will unearth these much-desired treasures.
Some plates will be found included which do not have a satisfactory
description: this is due to their not being seen by the compiler of the
List: correspondents at a distance cannot always send full details, and
without them it is better to attempt little in the way of description.
The aim has been to be accurate and as full as possible. There are
hundreds of simple name-labels which have no place here, but all
armorial examples which could be discovered are mentioned.
The plates are given in alphabetical order, and are numbered for
convenience in reference. As far as possible, the first line of the
description of each plate gives the exact wording of the original, with
its spelling and abbreviations: the mottoes also, as well as the manner
of signature, are given exactly as they appear on the original plate:
wherever throughout this List _italics_ are used, they denote the exact
language employed upon the plate.
1. ANONYMOUS.
Armorial. A very beautiful plate with French arms: a crown above
and military trophies behind the shield: French banners, cannon,
quivers of arrows, anchor, horns, swords, drum, tomahawks, bugle,
lances, etc. Signed, _Maingot delt. Maverick_, _Sct._
[Illustration: Richard C. Lichtenstein.]
[Illustration]
2. ABERCROMBIE. _James Abercrombie._
Armorial. Ribbon and Wreath. Two mottoes, _Vive ut vivas_, and _Meus in
arduis aequa_. Of Philadelphia, and mentioned in Boswell’s “Life of Dr.
Johnson.”
3. ADAMS. _John Adams._
Armorial. The Boylston arms. The shield surrounded by a garter on which
the motto is given,--_Libertatem amicitiam retenebis et fidem_. The
whole design surrounded by thirteen stars. Second President of the
United States.
4. ADAMS. _John Quincy Adams._
Simply the name rudely engraved and surrounded by a narrow line.
Probably the first of the J. Q. A. book-plates. Sixth President of the
United States.
5. ADAMS. _John Quincy Adams._
Armorial. Boylston arms. Ribbon and Wreath. Motto-ribbon empty.
6. ADAMS. _John Quincy Adams._
Armorial. The Boylston arms; the shield enclosed within a garter, on
which the motto appears,--_Fidem--Libertatem--Amicitiam_.
7. ADAMS. _John Quincy Adams._
Armorial. The shield is quartered, and bears in the first quarter a
curious specimen of home-made heraldry. The ancestors of the President
bore no arms, and in their place appears a stag standing at gaze before
a pine tree, while below in the water a fish, probably a cod, is
swimming; the whole design surrounded with thirteen stars. This was his
own invention. The other quarters bear the Smith, Quincy, and Boylston
arms. The whole shield is surrounded by a garter bearing the motto
_Fidem, Libertatem, Amicitiam retinebis_. From “Tacitus.”
8. AGAR. _Property, Lydia Agar. 1806._
Pictorial. An eagle bears a broad ribbon, on which the word _property_
is given; an oval frame encloses what resembles a row of eggs.
9. AGNEW. _James Agnew, Esq._
Armorial. Chippendale. Motto, _Consilio non impetu_. Attributed to
Maverick.
10. AITKIN. _Robert Aitkin._
Simple name label: the printer of the “Aitkin Bible.” Philadelphia,
1782. The first American edition.
11. ALBANY. _Albany Society Library. 1759._
A peculiar plate something in the shape of the figure 8, with
intertwining foliations above and at the sides. The upper part of the
frame is the larger, and contains a spirited illustration of an Indian
in ambush aiming an arrow at a leaping fox. On the frame surrounding
this is the motto, _May concord prevail and the undertakeing prosper_.
In the lower and smaller part is depicted a prim man, bewigged and
ruffled, with an open book in his hand; presumably a patron of the
Library. Very little can be learned concerning this early Library. It
was probably interrupted by the Revolution. Some of its books are in the
New York State Library.
12. ALLAN. _John Allan._
Pictorial. An open book, across the pages of which is printed the name
of the owner. Behind all an anchor. This is the plate of the old book
collector of New York City.
13. ALLEN. _John Allen._
Armorial. Jacobean. Motto, _Law & Right_. This is believed to be the
plate used by John Allen, an early bookseller of Boston. He published
the “News-Letter.” From the general design and the crude engraving, it
must be taken for early American work: circa 1720. Illustrated in
“Curio,” page 15.
14. ALLISON. _Joseph J. Allison._
Armorial. Chippendale. Hour-glass, books, globe, palette, and brushes,
grouped above the escutcheon. Motto, _Hinc labor et virtus_. Of
Philadelphia.
15. ALSOP. _Richard Alsop._
Armorial. Belongs to no particular style, although the ornamentation is
of Chippendale tendency. Beneath the shield, at either side, stands a
cupid holding out a bunch of arrows: the drawing of these figures is not
above criticism: they seem to have one arm each, and but one wing also.
A Connecticut poet. Born, 1761; died, 1815. One of the famous “Hartford
Wits.”
16. AMBLER. Armorial. Of Virginia.
17. AMERICAN. _American Academy of Arts and Sciences. MDCCLXX._
A very handsome plate, having a large curtain looped back by ribbons and
cords, whereon to record the name of the giver of books to the library,
and above this an oval vignette representing Minerva with shield and
spear in hand, and helmet on her head, standing upon the sea-shore (of
Massachusetts), watching a three-master which sails far away under a
glaring sun and a heavy cloud: through a corn-field and then through the
woods lies the path to the distant village whose roofs can be seen: on
the sand about the goddess lie scattered the scientific and agricultural
implements, the uses of which it was the function of the Academy to
teach. The Academy was instituted in 1779. Very good engraving but not
so good drawing. The work is attributed to Callender.
18. ANDERSON. _Alexr. Anderson._
Armorial. Chippendale. Motto, _Vigila_. Signed, _A. Anderson, Sculp._
The original plate had only the last name engraved; the first name was
added afterwards and evidently by a different hand. This plate is
sometimes found with the name of his brother, John, written in before
the family name, indicating perhaps that the plate was designed for the
general use of the family. This is the plate of Dr. Anderson, the first
engraver in wood in America.
19. ANDOVER. _Institutio Theologica Andover. Fundata MDCCCVII._
A severely plain pediment, raised upon Doric columns, bearing on the
architrave the name. A blaze of glory above has in the centre the words,
יהוה. Similar rays shine over the open Bible at the foot, on which is
written, PS. CXIX, 169, and JOH. XVII, 17. On the base are the words,
ΑΚΟΓΩΝΙ ΣΟΥ ΧΡΙΚΤΟΥ.
20. ANDREW. _John Andrew._
Pictorial. The implements of the engraver lie scattered upon the bench:
the name is given in fac-simile of the autograph.
21. ANDREWS. Armorial. Of Virginia.
22. ANDREWS.---- _Andrews._ (First name obliterated.)
Pictorial. The scene is out of doors and the sun rises in full strength
behind a long oval frame on which the name is engraved. A little patch
of earth, two well-grown trees, and scant herbage complete the
accessories. Signed, _Callender Sc._
23. ANDREWS. _Eliza Andrews._
Pictorial. Exactly the same as the succeeding, with the exception of the
change in the name and the omission of the engraver’s signature.
24. ANDREWS. _Henry Andrews._
Pictorial: representing Minerva, crowned, with spear and shield: the owl
sits upon a convenient pedestal. The name of the owner is put upon the
edge of the shield which the goddess rests upon the ground. Signed, _S.
Harris. Sc._
25. ANTILL. _Edwad. Antill. Esqr., A.M._
Armorial. Chippendale. Motto, _Probitas laudatur et alget_. A New Jersey
author. Illustrated in “Art Amateur,” April, 1894.
26. APTHORP. _Apthorp._
Armorial. Chippendale. Motto-ribbon empty.
27. APTHORP. _East Apthorp, A.M. Cambridge MDCCLXI._
Armorial. Late Jacobean. Motto, _Nemo nisi Christus_. Eminent Episcopal
divine, born in Boston, 1733; educated at Cambridge, and died, 1816.
28. APTHORP. _Jno. Apthorp._
Armorial. Chippendale. Motto, _Fari quae sentiat_. The same plate as the
one mentioned above as having the motto-ribbon empty. In this example
the name _Jno._ is written, and so is the motto.
29. APTHORP. _Thomas Apthorp._
Armorial. Chippendale. Motto, _Juste rem para_. Flowers, and a huge bee
in the decoration. Printed in blue ink. Born, 1741. Died in England.
30. ARCHDEACON. _S. Archdeacon._
Armorial. Chippendale. Motto, _Esse quam videri_. Signed, _W. S._ A
pretty design, with the caduceus of Mercury introduced in the
ornamentation.
31. ARCHER. _William Archer._
Armorial. Of Chesterfield County, Virginia.
32. ARCHER. _William Archer, Powhatan._ A plain label with the name
within a type border.
33. ARMISTEAD. _William Armistead._
Armorial. Of Virginia. Of Revolutionary fame.
34. ASHWELL. _Charles Ashwell of Grenada._ Plain armorial.
35. ASSHETON. _Ralph Assheton, M.D., Philadelphia._
Armorial. Chippendale. Motto, _In Domino confido_. Son of the
Councillor; studied medicine in Edinburgh.
36. ASSHETON. _Willm. Assheton Esqr. of Barbadoes._
Armorial. Chippendale. Very ornate. No motto. Began the practice of law
in Penna., and was afterwards described as “of the Parish of St.
Michael’s in Barbadoes, gentleman.” He was Provost-Marshal of Barbadoes.
37. ASSHETON. _William Assheton Esq. of Gray’s Inn, Judge of the Court
of Admiralty of Penn. 1718._ Arms, crest, and quarterings.
38. ATKINSON. _Theodore Atkinson._
Armorial. Chippendale. No motto. Signed, _N. Hurd. Scp._ This is the
same design that was used in the Wentworth plate, but is much better in
execution. The peculiar flow of water from the shell beneath the
escutcheon is caught in a bowl: the only instance. Secretary of the
colony of New Hampshire, 1741; Chief Justice, 1754; Major-General of
militia, 1769; delegate to Congress at Albany, 1754.
39. ATKINSON. _William King Atkinson._
Armorial. Chippendale: a copy of the preceding design. Motto, _Nil
facimus non sponte Dei._ Signed, _Callender Sc._ A noted lawyer of
Portsmouth, N.H. (1764-1820). Changed his name from King to Atkinson out
of respect to Judge Atkinson.
40. ATLEE. _Willm. Augs. Atlee Esqr. of Lancaster PENNSYLVANIA._
Armorial. Chippendale. Motto-ribbon empty; bears some marks of being
unfinished. Judge of the Supreme Court of Pennsylvania, 1777-1791.
41. ATWOOD. _Harry Atwood._
Armorial. Chippendale. Very ornate; architectural and landscape effects
used. No motto.
42. AUCHMUTY. _Richard Tylden Auchmuty._ Plain armorial. Motto, _Dum
spiro spero_. Signed, _A & S_.
43. BACKHOUSE. _W. Backhouse, M.A._
Armorial. Chippendale. Motto, _Pax et amor_.
44. BACKUS. _Elijah Backus._
Armorial. Jacobean. No motto; name on motto-ribbon. Very crude
workmanship.
45. BALDWIN. _D. Baldwin, Owner._ An Engraved Label, the Words Being
Within an Oval Wreath.
46. BALDWIN. _Jonathan Baldwin._
Armorial. Signed by Callender.
47. BALDWIN. _Luke Baldwin._
Armorial. Signed by Callender.
48. BALL. _Flamen Ball._
Armorial. Ribbon and Wreath. Motto, _Semper caveto_. Signed, _P. R.
Maverick. Sct._
49. BALLORD. _Wm. Ballord’s._
Armorial. Plain. No Motto.
50. BALTIMORE. _The Library Company of Baltimore._Simply the Name
Engraved Within an Oval Frame. Signed, _S. Allardice Phi_.
51. BANCKER. _Abraham Bancker._
Pictorial. An eagle bears aloft an oval frame which contains the large
figure 4 always seen on the book-plates of this family. A ribbon flying
from the beak of the eagle bears the motto, _Sublimiora petamus_;
beneath, a three-masted vessel, with homing pennant streaming, passes
half-submerged trees and a chain of mountain peaks. Signed, _Maverick
Sculp’_.
52. BANCKER. _Charles N. Bancker._
Armorial in style, but showing no actual arms. The shield is occupied by
a large figure 4, which is an old “merchant mark.” Chippendale. Puffy
cupids are seated on either side of the frame with accessories which
indicate the pursuit of science. Motto, _Dieu Defend le Droit_. Signed,
_Jones Sc._ Of Philadelphia.
53. BANCKER. _Charles N. Bancker._
A Chippendale frame enclosing the figure 4, and showing the same motto
as the above. Helmet, wreath and crest, the eagle’s wings erect, ppr.
Not signed.
54. BANCKER. _Evert Bancker, Junr._
A smaller and older plate than the others of this name, and showing the
same figure 4, with rather wild mantling, and crest.
55. BANCKER. _Gerard Bancker._
Chippendale. A cupid holding a globe converses with a companion, perhaps
about commerce and ocean currents; behind them a pyramid rises, and two
other cupids are consulting a plan. The figure 4 is again prominent in
this plate. Signed, _Dawkins Sculpsit_.
56. BANCROFT. _George Bancroft._
Pictorial. A chubby cherub approaches, with a panel in his hands on
which the words ΕΙΣ ΦΑΟΣ are given. Another plate, identical in all
other details, gives the motto, _Sursum corda_. Historian of the United
States.
57. BANISTER. _John Banister._
Plain armorial. (arms of Banester of Easington, County York, according
to Burke). No motto. Of Virginia. Revolutionary soldier. Died, 1787.
58. BARRELL. _Joseph Barrell._
An allegorical plate full of detail. In the centre is the shield with
the arms, while above the crest sits Hope with her anchor. As indicative
of Industry, a very trim female figure is presented, surrounded by
signs of prosperity, such as the beehive, palette and brush, and square
and dividers. In contrast to this a bare-footed, raggedly clad woman
with a dead fish in her lap, snails on her shoulders, broken tools
around her, and with every appearance of misery and squalor, is shown at
the left. The contrast between Thrift and Indolence is continued in a
second series of pictures below the shield. In these it is the begging
tramp and the erect, well-clothed gentleman who depict the moral.
Dilapidated shanties and well-built houses are also in contrast.
Mottoes, _Not always so--Indure but hope_. A rich Boston merchant. A
pioneer in the Northwest coast trade.
59. BARROLL. _William Barroll. Chestertown. 1795._
An engraved name label, with the all-seeing eye above the oval frame
which encloses the name. The palm and holly are crossed beneath.
60. BARTON. _William Barton._
Armorial. Perhaps the plate of the capturer of Genl. Prescott (1777) in
Narragansett Bay.
61. BARTRAM. _John Bartram._
Armorial. Chippendale. Motto, _Foy En Dieu_. A second motto, _J’avance_.
Celebrated Botanist of Pennsylvania.
62. BATHURST. Armorial. Of Virginia. See Burke’s “extinct Baronetage.”
63. BAY. _William Bay. M.D._
Armorial. Ribbon and Wreath, Motto, _Quo Fata Vocant_. The heraldic
drawing is poor and the charges are reversed. Born, Albany, 1773. Died,
1865.
64. BAYARD. _James A. Bayard._
The name well engraved within an oval wreath. The Delaware statesman,
leader of the Federal party, and one of the negotiators of the Treaty of
Ghent. Born, 1767; Died, 1815.
65. BAYARD. _Saml. Bayard._
Armorial. Chippendale. No motto. This is a very interesting specimen of
the debased Chippendale. As decorative features the following are used:
a large globe, quadrant, compass, sun-dial, beer-stein, and a little
landscape. The branches of the frame are made to support these objects
named. Jurist. Published books on law.
66. BAYLEY. Armorial. of the Eastern Shore, Va.
67. BEATTY. _J. Beatty. M.D._
Armorial. Pictorial. The shield rests against the bole of an oak, and
while the arms on it (Arg. a beehive surrounded by bees) are not given
in Burke, the crest appears in Fairbairn, with some changes. A globe,
open book, scroll, caduceus, and cornucopia of fruit complete the
accessories. Not a common type among American plates. John Beatty was
born in Pennsylvania, 1749, and died in New Jersey in 1826. Rose to the
rank of Colonel In the Revolutionary War, and was delegate to Congress,
1783-1785. Member of Federal Convention, and member of Congress.
Illustrated in “curio,” page 114.
68. BECK. _Charles Beck._
Armorial. Ribbon and Wreath. Signed, N. D. Sc. (nathaniel Dearborn). Of
Cambridge, Mass. Scholar and Author.
69. BEDLOW. _William Bedlow._
Armorial. Monogram B L at foot of arms. Jacobean. Motto, _My hope on
high_. Of Bedlow’s Island, New York.
70. BEETE. _Joseph Beete. Demerary._ Plain Armorial. Motto, _Fortuna
perit, honestas manet_.
71. BELCHER. (Anonymous.)
Armorial. Jacobean. Motto, _Loyal jusqu’à la Mort_. This is the plate of
the Colonial Governor of Massachusetts and New Hampshire, 1730-1741
(Jonathan Belcher). The arms are the same as borne on the plate of his
son Jonathan, except that this plate shows a label for difference. There
is also a shortening of the motto in the other plate.
72. BELCHER. _Jonathan Belcher E Societate Medij Templi._
Armorial. Jacobean. Very similar to the last. Motto, _Loyal au mort_.
Son of the preceding; born in Boston, 1710. Graduate of Harvard, student
at the Middle Temple, one of the first settlers of Halifax, N.S. Died
there, 1776. Illustrated in “Curio,” page 113.
[Illustration: William Belcher.
Savannah.]
73. BELCHER. _William Belcher, Owner._
Literary. A shelf of books enclosed within an oval
which bears the mottoes, _With welcome use--but
use with care. The wicked borrow,--but never
return_. Of New London, Conn., circa 1790.
74. BELCHER. _William Belcher. Savannah._
Armorial. Pictorial. A very beautiful engraving.
The shield rests upon the ground and is supported
by the oak tree which spreads over it; willows and
pines complete the little group of trees, and beyond
a stretch of water is seen. The motto, _Loyal au
mort_, is on the ribbon which flutters along the
ground beside the shield.
75. BEL-CHIER. _J. Bel-Chier._
Armorial. Jacobean. Motto, _Loyal jusq’ a la
mort_. Printed in red ink.
76. BERESFORD. _Richard Beresford, Charleston. 1772._
Armorial.
77. BETTS. _William Betts._
Armorial. Plain. Motto, _Malo mori quam foedari_.
Signed, _C. P. Harrison Del. Sct._
78. BEVERLEY. _Harry Beverley._
Armorial. Chippendale. No motto.
79. BEVERLY. _Robert Beverly._
Armorial. Of Virginia. Historian.
80. BEVERLY. _William Beverly._
Armorial. Signed, _J. Kirk_.
81. BLACKLEY _Absalom Blackley._
Armorial. Ribbon and wreath. Motto, _Utere
mundo_. Signed, _Maverick Scp._ The name supported
by two quills.
82. BLAKE. _Willm. P. & L. Blake’s Circulating Library at
the Boston Book Store._
An engraved label enclosed in an ornamental oval
frame. Signed, _S. Hill. Sc._
83. BLANC. _William Blanc. Middle Temple. Dominica._
Crest only. Motto on a garter enclosing the crest,
_Frangas non flectan_.
84. BLATCHFORD. _Thomas W. Blatchford._
Plain armorial. Motto, _Providentia sumus_. Signed,
_Wm. D. Smith sc._
85. BLEECKER. _Bleecker._
Plain armorial. A festoon of cloth behind the
shield.
86. BLENMAN. _Jonathan Blenman, Attoray, Genl. & Judge of
ye Admty. in Barbadoes._
A small plate, without motto, rather poorly engraved.
A little ornamentation of Jacobean
manner appears at either side, and the mantling is
rather profuse, but well above the shield.
[Illustration: Absalom Blachly.]
87. BLOOMFIELD. _Bloomfield._
Armorial. Chippendale. Rudely drawn books
used in the frame. Motto, _Pro aris et focis_.
Signed, _J. Trenchard_. Major Joseph Bloomfield
was a soldier in the Revolution, Governor of New
Jersey, Brigadier-General in War of 1812, member
of Congress, 1817-21. Illustrated in the “Art
Amateur,” April, 1894.
88. BOLLING. _Robt. Bolling Esq’r._
Armorial. Chippendale. Figures are used as
supporters which would appear to symbolize the
freedom of the Garden of Eden, and the learning
of classic Greece. Motto-ribbon empty; no crest.
Of Chellowe, Va. Illustrated in “Curio,” page 15.
89. BONAPARTE. _Jerome Napoleon Bonaparte._
A plain label, with an ornamental type border.
Nephew of Napoleon the Great. Born in England,
1805; died in Baltimore, Md., 1870.
90. BOND. _T. Bond, Surgeon._
Armorial. Chippendale. Signed, _W. H._ Native
of Maryland; 1712-1784. A distinguished physician
and surgeon of Philadelphia.
91. BOOTH. _Benjn. Booth._
Crest only. Autograph in a wreath under the
crest. Of New York, until the Revolution broke
out.
92. BOOTH. _George Booth._
Literary. A lighted candle and books in confusion
are placed upon a table. The name is
carved upon the edge of the table. On one of the
book-covers appears the Booth crest. An etched
plate.
93. BOSTON. _Shakspeare Circulating Library, Charles Callender,
No. 25 School Street, Boston._
A very curious old woodcut, with a large oval
medallion of the famous writer for whom the
library was named placed in the centre against a
rough rock background; the masks of Comedy
and Tragedy lie at the foot, and the hilts of foils
can be made out; a garland of roses falls at the
right hand, and the rays of the sun come over the
top. This is a rough engraving, very black and
indistinct.
94. BOSTON. _Social Law Library. Boston._
The name appears on a curtain looped up and held
by cord and tassel; above this a small oval encloses
a view of four waterspouts, each from behind a
rock; above this the circular frame encloses a hand
bearing a lighted torch; on the frame is the motto,
_Vestra cura alitur_, and the date 1804; a pile of
books above for crest, with _S.L.L._ on the cover
of one.
95. BOUCHER. _Jonathan Boucher._
Armorial. Chippendale. Motto, _Non vi sed
voluntate_. A Loyalist clergyman in Virginia, whose
estates were confiscated, after which he returned
to England whence he had come in 1754.
Published a tract on the causes and consequences
of the Revolution, and compiled a glossary of
Provincial and Archæological Words, which was
purchased of his family in 1831, for the proprietors
of Webster’s Dictionary.
96. BOUDINOT. _Boudinot._
Armorial. Ribbon and Wreath. Motto, _Soli Deo
gloria et honor_. Elias Boudinot, born in 1740,
in Philadelphia, of Huguenot extraction. Sided
strongly with the colonies in the Revolution, and
was President of Congress in 1782. A signer of the
Treaty of Peace. Died, 1821. This plate is not
signed, but it is the work of Maverick. Illustrated
in “Curio,” page 111.
97. BOWDOIN. _Honble. James Bowdoin. Esqr._
Plain armorial. Motto, _Ut aquila versus coelum_.
The same plate as the Bowdoin College, whose
benefactor he was.
98. BOWDOIN. _Bowdoin College._
Plain armorial. The arms of the Hon. James
Bowdoin are given with his motto, _Ut aquila versus
coelum_. The sun in splendor shines above the
crest, and the name of the college is engraved over
it. This college was chartered in 1794, and then
presented with eleven hundred pounds and one
thousand acres of land, by Hon. James Bowdoin,
son of the governor of the colony. By his will a
further gift was made to the college.
99. BOYLSTON. _Boylston Medical Library._
Plain armorial. The arms of the Boylston family
are given without ornamentation or motto. Signed,
_Annin & Smith_. Ward Nicholas Boylston, a patron
of medical science, gave to the medical school of
Harvard College a valuable collection of anatomical
and medical books and engravings, in the year 1800.
100. BOYLSTON. _Property of the Boylston Medical Library
Cambridge._
Armorial. The arms of the Boylston family are
given. Signed, _Callender Sc._
101. BOZMAN. _John Leeds Bozman. Esqr of the Middle
Temple._
Armorial. Ribbon and Wreath. Motto, _Sine
virtute vani sunt honores_. Lawyer, poet, and
historian; born in Maryland in 1757, died in 1823.
University of Penn., 1783. Completed his studies
in London. His chief work is the “History of
Maryland to the Restoration in 1660.” An “Historical
and Philosophical Sketch of the Prime Causes
of the Revolutionary War” was suppressed; in this
Washington was praised and Franklin depreciated.
This same copper has been used more recently
with the following words added: on either side of
the crest, “John Leeds Kerr of Talbot Co. Md.
15th Jan. 1780, 21st Feb. 1844;” at the bottom,
under the name of Bozman, “The Maryland Historian,
25th Aug. 1757, 20th April, 1823.”
102. BRASHER. _Philip Brasher._
Armorial. Ribbon and Wreath. Motto, _Beata
Domus, Custodita Sic Cuja Deo Domino Est_.
The shield, with its motto-ribbon and flowery
ornamentation, seems to be held up by the winged
female who grasps the portcullis of the crest.
Below the shield a patch of ground is strewn with
books and writing material. A dwarfed weeping
willow bends mournfully at the left. Signed on an
unrolled sheet of paper, _Maverick Scp._ Was a
prisoner in a sugar-house in New York during the
Revolutionary War, which suggested the crest; he
had no right to the arms.
103. BRAZER. _John Brazer._
Plain armorial. Shaded mantling. Motto, _Try_.
Of Salem, Mass.
104. BREARLY. _David Brearly._
Armorial. Ribbon and Wreath. Motto, _Honor
virtutis praemium_. A large plate; attributed to
Vallance. Jurist, of Trenton, N.J. A brave officer
in the Revolution.
105. BRIDGEN. _Charles Bridgen._
Plain armorial. Motto, _Probitate et industria_.
This plate is not signed, but it is very probably the
work of Maverick.
106. BRIMAGE. _William Brimage._
Plain armorial. Impaling Gilbert. Arms closely
surrounded by a garter on which the name appears.
Motto below, _Deus dux certus_. Of Virginia.
107. BRISBANE. _William Brisbane._
Armorial. Ribbon and Wreath. Motto, _Dabit
otia Deus_.
108. BROOKS. _Benjamin S. Brooks._
Armorial. Ribbon and Wreath. Motto, _Sustinere_.
Signed, _A. D._ (Amos Doolittle).
109. BROWN. _David Paul Brown._
Plain armorial. Motto, _Patria cara_, _carior libertas_.
Signed, _C. P. H. St._ Lawyer, of Philadelphia.
110. BROWN. _The Property of Jacob Brown._
Pictorial. The interior of a library is depicted,
within an oval frame which is ornamented above
with a ribbon and a spray of holly; the name is
given on the fluttering ends of the ribbon. The
central portion of the library is occupied by a
couch, covered with striped cloth, on which a
youth, dressed in the height of the fashion,
reclines; a book is laid upon the convenient corner
of the table, and he is reading from this; behind
him the shelves of books are seen partly covered
by a curtain; through the window are seen the
nodding pines; the carpet is adorned with thirteen
stars. The following lines are given below the
frame:--
_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._
Signed, _Engrd. by P. R. Maverick 65 Liberty Street_. As the name _Jacob
Brown_ is not engraved, but is printed by hand, it is quite likely that
this plate was for promiscuous use; either to be filled up with the name
of any who ordered it, or to be pasted in the books sold by some
bookseller.
111. BROWN. _John Carter Brown._ Crest only. Motto, _Gaudeo_.
112. BROWN. _Thomas Brown._
Armorial. Arms, ... on a chevron, between three leopards’ heads
cabossed, or as many escallops.... Crest, an eagle’s head erased or.
Motto, _En espérance je vie_. Signed by Hurd.
113. BROWNE. _Peter A. Browne._ Literary. A plain table, with the scull
and crossbones carved in two places upon it, supports several large
volumes, on the side of one of which is the name of the owner. On the
side of the table the motto is cut, _Fiat Justitia_. A wreath of laurel
rests upon the books, and the all-seeing eye looks upon the scene from
above. Signed, _Engraved by James Akin_. A prominent lawyer in
Philadelphia, and the author of “Browne’s Reports.”
114. BROWNSON. _Oliver Brownson’s Property._ An engraved label with the
name curved over a peacock which is perched on a scroll.
115. BRUEN. _M. Bruen._ Plain armorial. Motto, _Fides scutum_. Matthias
Bruen was a clergyman in New York City; ordained in London, 1819.
116. BRUFF. _The Property of J. G. Bruff, Portsmouth, Va. 183-._
Pictorial. On this, a weeping elm supports a large shield on which the
inscription is given; so large is the shield that only a little of the
tree shows around the edge of the shield. A woodcut.
117. BUCHANAN. _W. B. Buchanan._
Armorial. Motto, _Clarior hinc honos_.
118. BULL. _Martin Bull._
Armorial. A plain armorial plate with the mantling extending down the
side of the shield. Motto, _Virtus basis vitae_. This is the plate of
one of the engravers of the old Farmington book-plate, Deacon Bull. See
“Ex Libris Journal,” Vol. III, page 187.
119. BURKE. _James Henry Burke Esqr._
Armorial. Ribbon and Wreath. Motto, _Sola salus servire Deo_. Of
Virginia.
120. BURNET. _John Burnet. Attorney at Law New York._
Armorial. Jacobean frame; mantling. Motto, _Virescit vulnere virtus_.
This plate is earlier than the succeeding one by Dawkins.
121. BURNET. _John Burnet Esqr New York._
Armorial. Chippendale. The usual pastoral scene which Dawkins used is
found here; the shepherdess, and the cupids making music on the flute,
and bringing books for leisure moments. Motto, _Virescit vulnere
virtus_. Signed, _H. Dawkins Sculp. 1754_. Illustrated in “Curio,” page
13.
122. BYAM. _Francisci Byam, ex Insula Antigua._
Armorial. Jacobean. Motto, _Claris dextera factis_. Rich mantling
continued around the whole shield; the background shell-lined. Printed
in brown ink.
123. BYRD. _William Byrd of Westover in Virginia Esqr._
Armorial. Jacobean. A very interesting specimen of its class. The
profuse mantling thrown high in the air, the shell-lined background, and
the curtain upheld at the ends (on which the name and address are given)
are prominent characteristics as pointed out by Warren. A rich abundance
of fruit overflows from two cornucopiæ, and the motto-ribbon is twined
in and out through the scrolls at the base. Motto, _Nulla pallescere
culpa_. Colonel Byrd was a very distinguished Virginian: was born to an
ample fortune, liberally educated, and became the patron of science and
literature in his native state. President of the Council of the colony;
author of the “Westover Manuscripts,” and of other essays. Born, 1674;
died, 1744. Illustrated in “Curio,” page 14.
124. CABELL. _Doct.r Geo. Cabell Richmond Virga._ Allegorical. In the
centre of the design a flaming heart rests upon the shank of an anchor.
A thin patch of ground, which grows a few trees, and looks like an
island, upholds these emblems of hope. The motto is just above,--_Spes
mea in Deo_. Above this again the all-seeing eye, wreathed in clouds,
appears. The whole is enclosed in a design of Ribbon and Wreath
arrangement. Evidently the work of Brooks, who engraved the plate of Dr.
I. Dove of the same city.
125. CABELL. _Samuel Jordan Cabell, of Soldier’s Joy._ Pictorial. The
name is printed from type upon a large oval medallion; this is supported
by the half-draped figure of Liberty holding the pole with the cap upon
it, and an officer in the uniform of the Continental Army. The arms of
the United States are above the medallion. The pictorial parts of this
are cut in wood.
126. CABOT. _William Cabot._
Armorial. Wild Chippendale. No motto. Of Massachusetts.
127. CADENA. _M. V. C._ (Mariano de la Cadena.) Plain armorial. An
ordinary square shield supported by a very peculiar frame. Motto, _Fidem
servat vinculaque sulvit_. A Professor of Spanish in Columbia College.
128. CADENA. _Don Mariano Valazquez de la Cadena._ Plain armorial. No
motto. Of New York City.
129. CADENA. _Mariano Valazquez de la Cadena._ Small, plain armorial. Of
New York City.
130. CAILLAUD. _John Caillaud. Esqr._
Armorial. Ribbon and Wreath. The frame enclosing the arm is oval in form
and quite peculiar in construction; an eagle with a chaplet in his beak
appears as a crest.
131. CALLAWAY. _Thomas Callaway._ Plain armorial. Motto, _Aliis quod ab
aliis_.
132. CALLENDER. _John Callender._
Armorial. Pictorial. The shield rests against a rock, mossgrown and
over-topped by shrubs. Signed, _Callender Sc._ Of Massachusetts.
133. CALVERT. _Thos. Calvert._
Armorial. Chippendale. Motto-ribbon empty.
[Illustration: The Honourable W^{m} Carmichaell Esq^{r} ]
134. CAMPBELL. _Donald Campbell. Jamaica._
Armorial. The shield affixed to the mast of a lymphad. (The crest of
this family of Campbells.) Motto, _Fit via vi_.
135. CARMICHAELL. _The Honourable Wm Carmichaell Esqr._
Armorial. Early English. The very full mantling nearly surrounds the
shield. Motto, _Toujours prest_. Diplomatist. Born in Maryland. Delegate
to Congress, 1778-1780. Foreign minister. Illustrated in “Curio,” page
16.
136. CARROLL. _Charles Carroll._
Armorial. Chippendale. No motto. The last surviving signer of the
Declaration. Died, 1832. This was the Charles Carroll who added “of
Carrollton” after his signature to the Declaration, that no mistake
might ever be made in recognizing him. Illustrated in “Book Lovers’
Almanac,” 1894. Duprat and Co., New York.
137. CARROLL. _Charles Carroll Barrister at Law._
Armorial. Jacobean. No motto. The same arms as the Charles Carroll.
138. CARROLL. _Charles Carroll of ye Inner Templer Esqr, Second Son of
Daniell Carroll of Litterlouna Esqr. in the Kings County in the Kingdom
of Ireland._
Armorial. Early English. Elaborate mantling all about the shield.
Motto-ribbon empty. Grandfather of Charles Carroll of Carrollton, the
signer. Emigrated to Maryland about 1686.
139. CARROLL. _Ephm. Carroll._
Armorial. Ribbon and Wreath. Motto, _In fide et in bello fortes_.
140. CARY. _Alpheus Cary. Jr._
Plain armorial. The shield surrounded by an oval frame of sun’s rays.
Signed, _A. Cary del. H. Morse Sc._ Of Massachusetts.
141. CARY. _Miles Cary._
Armorial. Chippendale. Motto, _Sine Deo careo_. Of Virginia.
142. CARY. _Thomas Cary._
Armorial. Ribbon and Wreath. Motto, _In medio tutissimus ibis_. Signed,
_Callender Scp._ Of Massachusetts.
143. CAY. _Gabriel Cay._
Crest only. Name enclosed in Jacobean frame. No motto. Of Virginia.
144. CHALMERS. _Geo. Chalmers._
Armorial. Motto, _Spero_. A resident of Maryland; a stiff Loyalist;
author of “Chalmers’ Annals.”
145. CHAMBERS. _Benjamin Chambers’s Book._
Armorial. False heraldry. Plain armorial plate with supporters,
surrounded by a circular wreath. Motto, _Spiro_. Founder of
Chambersburg, Penn.
146. CHAMBERS. _John Chambers Esqr._
Armorial. Arms not in Burke. Az. a chevron or. bet. three cockle shells
of the last. Chippendale. Motto, _Vincit veritas_. Signed, _E. Gallaudet
Sculp._ Chief Justice of New York, 1754.
147. CHANDLER. _Gardiner Chandler._
Armorial. Chippendale. Motto-ribbon empty. Signed, _P. Revere Sculp._ Of
Massachusetts.
148. CHANDLER. _John Chandler Junr Esqr._
Armorial. Chippendale. A very handsome design in the best of Hurd’s
styles. Has the characteristic flow of water from the large shell at the
bottom. No motto. Signed, _N. Hurd Sculp._ Of Massachusetts.
149. CHANDLER. _Rufus Chandler._
Armorial. Attributed to Hurd.
150. CHASE. _Sl. Chase._
Armorial. Chippendale. Motto, _Ne cede malis_. Signed, _Boyd Sc._ A
signer of the Declaration from Maryland.
151. CHAUNCEY. _Chauncey._
Plain armorial. Motto, _Gloria_.
152. CHAUNCEY. _Charles Chauncey._
Plain armorial. Motto-ribbon empty.
153. CHAUNCEY. _Charles Chauncey M.D._
Plain armorial. Motto, _Sublimis per ardua tendo_. Two fierce lions
couch upon the ends of the motto-ribbon, and the mantling envelopes the
shield. The initials _C. C._, in cipher, are given between the two
names.
154. CHAUNCEY. _J. St. Clair Chauncey._
Plain armorial. Motto, _Gloria_. An officer of the United States Navy.
155. CHAWNEY. Armorial. Of Pennsylvania.
156. CHESTER. _John Chester._
Plain armorial. On a ribbon tied above, _By the name of Chester_. No
motto. Of Wethersfield, Conn. Colonel in the Continental Army; commander
of the “elite corps”; was in the battle of Bunker Hill.
157. CHILD. _Francis Child._
Armorial. Chippendale. Motto, _Pro lege et rege_. Signed, _H. Dawkins.
Sculpt._ Very fine work.
158. CHILD. _The Property of Isaac Child._
Under the name is the verse beginning--
_If thou art borrowed by a friend,_
_Right welcome shall he be_, etc.
Signed, _Sold by N. Dearborn & Son_. Undoubtedly engraved by Dearborn.
159. CHILD. _Isaac Child, Boston._
Literary. Four shelves of books. Probably by Dearborn.
160. CHILD. _Thomas Child._
Armorial. Chippendale. Motto, _Fari aude_. Not signed, but evidently the
work of Nathaniel Hurd. First Postmaster of Portland, Me.
161. CHILD. _William Henry Child._
Armorial in form, but displaying no arms on the shield. Crest, two doves
with olive branches in their mouths. The initials _W. H. C._, in cipher,
occupy the shield. Ribbon and Wreath. No motto. Very similar in design
to the plate of George Grote, the historian. Illustrated in “Art
Amateur,” April, 1894.
162. CLARK. _D. Lawrence Clark._
Armorial. Ribbon and Wreath. Motto, _Semper idem_. Undoubtedly the arms
are not genuine: the argent field of the shield is charged with a branch
of holly, and the crest is the American eagle, with a star above its
head.
163. CLARK. _John Clark. M.D._
Plain armorial. Motto, _Semper idem_. The arms are undoubtedly assumed;
az. an oak branch ppr. Crest, an American eagle, with a star (mullet)
above.
164. CLARKE. _Alfred Clarke._
Crest only. Motto, _Soyez ferme_. Of Cooperstown, N.Y.
165. CLARKE. _George Clarke._
Crest only. Motto, _Soyez ferme_. Signed, _J. F. Morin. Sc. N.Y._
166. CLARKE. _Peter Clarke._
Armorial. Chippendale. Motto, _Coronat virtus cultores suos_. Printed in
blue ink.
167. CLARKSON. _David Clarkson Gent._
Armorial. Jacobean. No motto. Of New York. Illustrated in “Curio,” page
66.
168. CLARKSON. _M. Clarkson._
Armorial, plain. No motto. Matthew Clarkson was for twenty-one years the
President of the Bank of New York.
169. CLEBORNE. _C. I. Cleborne. M. D._
Armorial. The shield canted to one side, surmounted by the helmet; it
and the mantling is enclosed within a circular ribbon, on which the
motto, _Clibor ne sceame_, is given. A second ribbon over the design
bears the motto, _Virtute invidiam vincas_. Signed, _Jarrett London_.
170. CLEVELAND. _Stephen Cleveland._
Pictorial. A very unusual plate: a full-rigged British man-of-war, with
ten guns peering from the loop-holes, is hastening from the observer;
the English ensign flies from the stern. A very spirited piece of work.
It is said that his commission as Captain in our Navy just after the
Declaration wa
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