Part 6

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.

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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_.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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_.

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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.

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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.”

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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.

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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.

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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.

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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.

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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.

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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.