image of book-plate not available: AlexrAnderson.
of Anderson’s best work on wood, the shield of arms is shown with a landscape for background.
image of book-plate not available: APPRENTICES LIBRARY.
The plates on copper are theAnderson, which is a Chippendale, theApprentices’ Library, and theColumbia College, which are allegorical.
All the above will be found described in the List.
There is a plate of theApprentices’ Library Company of Philadelphiawhich strongly resembles the wood-cut work of Anderson, but as it is not signed it is not safely attributed to him. In the plate ofA. Griggsof Philadelphia, an even more marked resemblance to his little designs on wood is seen, but this, too, is not signed.
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Annin and Smith. This firm consisted ofW. B. AnninandGeorge 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 ofRichard Taylor Auchmuty,A. L. Peirson,William H. Prescott,John Lowell, Jr., and an armorial plate for theBoylston Medical Libraryare signed by them, and will be found described in the List.
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Abel Bowen, whose name appears on one of the plates ofHarvard 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
image of book-plate not available: WILLIAMASHMEAD 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.
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John Boyd, who engraved the plate ofSamuel 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.
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Joseph Callenderwas born in Boston, May 6, 1751. Very little is known about him, but he is reported to have acquired the plates of PeterPelham, 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 4s.each. This was considered an exorbitant price by the superintendent, who made a contract with a Newburyport artisan, Jacob Perkins. Callender received £48 12s.for making thirty-nine dies, and repairing three others, while Perkins received but £3 18s.10d.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 theAtkinsonplate 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 theRussellplate he was again a copyist, using for his model theJoseph Barrellplate. The plates for theAmerican Academy of Arts and Sciences, and for theMassachusetts Medical Societyare practically alike; the curtain, and the
image of book-plate not available: ThomasRussell
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.
image of book-plate not available: AMERICANACADEMY OF ARTS & SCIENCES
Cephas G. Childs, who engraved the plate ofHenry 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).
image of book-plate not available: HenryD. Gilpin.
Henry Dawkinswas 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. Inhis 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 theJames Duaneplate 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 ofSamuel Jones,Samuel Stringer, andPeter W. Yatesare 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 ofJohn 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 serventHenry Dawkins.”
“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 ofBenjamin Kissam, theLudlowandRoomeplates, theWhitehead Hicksand theJames Duaneare examples of the debased
image of book-plate not available: WhiteheadHicks Esq.
Chippendale. He had also a style which is illustrated by theHopkinson,Samuels, andTomlinsonplates, which is closely allied to the style of theBushrod 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. Thisstyle 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 theBushrod Washingtonplate, 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. TheChildandJonesplates exemplify the third style.
The debased Chippendale plates which Dawkins made were apparently copied from an English example he had seen.
The plates ofCornelius LowandLambert Moore, although not signed, are attributed to Dawkins.
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Nathaniel Dearbornwas 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 theCharles 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 forIsaac 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.
image of book-plate not available: GeorgeGoodwin
image of book-plate not available: SocialLibrary. Stepney Society Wethersfield
As a maker of book-plates, Doolittle was fond of the allegorical style. He made two plates for theSocieties of Yale College, and one for the village library ofWethersfield. The latter is an ornamental label only, but the former are quite elaborate examples of the allegorical. The plates ofBenjamin S. Brooks, in the Ribbon and Wreath style, andCharles H. Wetmore, which is a copy of one of Maverick’s favorite designs, complete the number of his signed examples. TheGuilford LibraryandGeorge Goodwinplates, which have some features in common with theWethersfield Library, are confidently attributed to him.
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Gideon Fairman, whose signature is on one of the plates ofHenry McMurtrieand one of theLinonian 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 Furnasswas 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 theEli Forbes. This plate shows but few traces of the influence of Hurd. It is a Chippendale design, but
image of book-plate not available: EliForbes.
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 themanner 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.
image of book-plate not available: JohnChambers Esqr.
There is said to be a plate by Furnass owned in Boston, by the name ofFoster, but no definite knowledge of it has been obtained.
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E. Gallaudet, who signed the plate for theNew York Society Libraryand the plate ofJohnChambers, 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 theGallaudetplate mentioned in the List is by him. He was of the present century.
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Abraham Godwinwas 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 isJohn. 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 ofHenry Andrewsand the anonymousWilliams, was a New England engraver, who was in Boston about 1798.
Charles P. Harrison, who signed the plain armorial book-plates ofWilliam BettsandDavid 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 Hillwas 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:—
Also the plate ofSaml. 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 theBrothers in Unityof Yale College, became an engraver of vignettes for bank-notes.
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Thomas Johnsonwas born in Boston in 1708. He was buried in King’s Chapel Burying-ground, May 8, 1767. He engraved Psalm Tune plates
image of book-plate not available: EDMUNDH. 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 40s.
Only one specimen of his book-plate work is authenticated, and that is theJoseph Tyler, which is signed in full,—Johnson.
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Thomas Johnstonsigns the very beautiful Jacobean plate ofWilliam P. Smith, A.M., and the rougher Chippendale ofSamuel 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. TheWillisplate 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. TheWillisplate is quite inferior to theSmith, which latter is a striking example of the Jacobean style.
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Francis Kearney, who signs the plate ofHenry McMurtrieandHector 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 ofthe 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 Maverickwas 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
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.
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.
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.
image of book-plate not available: AbrahamBancker
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Oliver Pelton, who engraved a plate for theBrothers 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 ofWilliam 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.
image of book-plate not available: GardinerChandler
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.
image of book-plate not available: WilliamWetmore
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 attemptson 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.
image of book-plate not available: PaulRevere
Not many book-plates have come down to us by this celebrated patriot, and the following list comprises all that are signed.
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 Rollinsonwas 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 Hamiltonlost 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 theNew York College of Pharmacyone 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:—
———
J. Smithers, an Englishman, originally a gun-engraver employed in the Tower of London, came to Philadelphia in the year 1773.
image of book-plate not available: 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:—
He sometimes signed with the finals, 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 forDr. McMurtrieof Philadelphia.
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T. Sparrowwas 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 atpresent are on wood, and they are but two in number: theRichard Spriggand theGabriel 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 theRedwood Library, of Newport. This is a large representation of the library, and is a fine piece of work.
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James Thackarawas 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 theLenthallplate, 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.
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James Trenchardwas born in Cumberland County, New Jersey, about 1746. He was a pupil of Smithers, and engraved in Philadelphia,