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Teresia Constantia Phillips (1709-1765) was a notorious London courtesan who wrote several memoirs during her lifetime. A portrait painting by Joseph Highmore became the source for numerous engravings and mezzotints, published as frontispieces and sold individually with great success.

“It is probable that she commenced a life of intrigue at a very early age,” begins her biography in the DNB. “To avoid arrest for debt, on 11 Nov. 1722 she went through the form of marriage with a Mr. Devall, who had previously been married under another name, and with whom she never exchanged a word. According to the ‘apologist’ of Lord Chesterfield, although her amours were soon ‘as public as Charing Cross,’ she married, on 9 Feb. 1723, Henry Muilman, a Dutch merchant of good standing. In the following year Muilman managed to obtain from the court of arches a sentence of nullity of marriage, but he agreed to pay Constantia an annuity of 200l. This was discontinued upon her cohabitation at Paris with another admirer (Mr. B.). Henceforth the sequence of her adventures becomes bewildering.”

“…After many experiences in France, England, and the West Indies, she determined to blackmail her friends by publishing ‘An Apology for the Conduct of Mrs. Teresia Constantia Phillips, more particularly that part of it which relates to her Marriage with an eminent Dutch Merchant.’ A motto from the ‘Fair Penitent’ adorned the title-page of the book, which, in consequence of the difficulty of finding a bookseller, was printed for the author in parts, subsequently bound in three volumes, in 1748. A second edition was called for at once, a third appeared in 1750, and a fourth in 1761.”

See also:
Oxford scholar, The Parallel; or, Pilkington and Phillips Compared: Being Remarks upon the Memoirs of Those Two Celebrated Writers (London: M. Cooper, 1748). Rare Books (Ex) PR3619.P442 Z4683 1748

Teresia Constantia Muilman (1709-1765), A Letter Humbly Addressed to the Right Honourable the Earl of Chesterfield (Dublin: printed by George Faulkner, 1750). Rare Books (Ex) 2007-0519N

Lynda M. Thompson, The Scandalous Memoirists: Constantia Phillips, Laeticia Pilkington and the Shame of Publick Fame (Manchester, UK; New York: Manchester University Press; New York: Distributed exclusively in the USA by St. Martin’s Press, 2000). Firestone Library (F) PR756.W65 T48 2000

British satirist John Collier (1708-1786), using the pseudonym Tim Bobbin, “developed his trade as a painter … producing inn signs, painted panels, and grotesque caricatures which were widely distributed, reaching the American colonies via a Liverpool merchant. He promoted and distributed his own work, travelling all over northern England collecting and delivering orders and commissions for books and pictures and consuming the proceeds as he went.

“…In 1773 was published his Human Passions Delineated, an upmarket edition of his caricatures which acted as a catalogue, in which he described himself as the ‘Lancashire Hogarth’…The 1810 London edition of Human Passions systematically softened his caricatures… The Victorian antiquary W. E. Axon thought his pictures ‘execrable … gross and cruel’, while the Dictionary of National Biography found them ‘grotesque’ and ‘absolutely devoid of artistic merit’.”— DNB

Bond Street print publisher Edward Orme (1775-1848) resurrected Collier’s caricatures in 1810 and reissued the set on 27 leaves with the only title on a printed label pasted to the wrapper (not included with this set).

At the beginning of the nineteenth century, the First Bank of the United States stood on South Third Street in Philadelphia. Just down the block, Scottish-born artist William Charles (1776-1820) opened his first American print shop, publishing etchings, illustrated books, and caricatures. Over by the river on North Water Street, the shipping magnate and financier Stephen Girard (1750-1831) operated his trading business and made more money than anyone else in the United States.

When the charter for the First Bank expired in 1811, Girard bought the building and most of its stock, opening his own bank in its place. Charles watched as Girard’s fortune grew and eventually, published a caricature of the banker.

In the print Girard envisions a Spanish Dollar and conjures it to drop into his till. He says: “Surely my eyes do not deceive me—It certainly must be a dollar! I declare I have not seen such a thing since I sold the last I had in my vaults at 18 per cent premium—If thou art a real dollar do drop in my till and let me hear thee chink—As I have been sued for payment of part of my notes in specie I must collect some to pay them for quietness sake or the game would be up at once—”

A sign behind him reads, “Stephen Graspall, banker & shaver. Paper wholesale & retail NB No foreign bank notes taken on deposit except such as are about 5 per cent above par.”

See also Stephen Girard (1750-1831), The Will of the Late Stephen Girard, esq., procured from the Office for the Probate of Wills (Philadelphia: T. and R. Desilver, 1832). Rare Books (Ex) LD7501.P5 G583

Felix Octavius Carr Darley (1822-1888), Study for Thinking of Home, [1866]. Charcoal and graphite. Graphic Arts Darley collection GC007.

The Atlanta Constitution published an article in 1879 entitled Felix O.C.Darley. “‘Men with four names,’ said Dickens once to a friend, ‘are as useless as they would be with four legs.’ Darley comes under the ban thus pronounced and yet he is as useful, probably, as he could have been with a less number of titles. One of the most powerful draughtsmen of the age, his sketches of subjects from contemporaneous literature are unrivaled. His illustrations from Cooper and other novelist, and the drawings furnished by him for various standard periodicals, have stamped him as an artist of rare fidelity and unusual power.”

“His face is one of the most striking to be found in New York. A tremendous expanse of forehead, fringed with the silken hair, and lighted by a pair of deep-set eyes, that sparkle from their cavernous recess like two finely-set jewels of mammoth size and wondrous purity are the first of his features that catch the beholder’s vision … Mr. Darley is a hard worker, a companionable gentleman, and a hearty hater of anything like sham. That he may live to pencil, crayon, sketch, and design, in his own inimitable way many years to come, is the wish of all who have ever enjoyed the pleasure of his hearty friendship.”

橋口五葉 / Hashiguchi Goyō (1880-1921), 浮世風俗やまと錦繪 / Ukiyo fūzoku yamato nishikie / Japanese Colour Prints in Ukiyo Style (Tōkyō: Nihon Fūzoku Zue Kankōkai, 1917-1918. 12 v., 240 woodblock-printed reproductions. Contents: v. 1. Edo shoki jidai — v. 2. Tan’e jidai — v. 3. Benie jidai — v. 4-6. Nishikie shoki jidai — v. 7-9. Nishikie zensei jidai — v. 10-12. Edo makki jidai. Graphic Arts Collection 2013- in process

“Born in Kagoshima, in the south of Kyushu, the son of a minor traditionalist painter, [Hashiguchi Goyo] became interested in Kano-school painting in his youth and in 1899 went to Kyoto to study with Hashimoto Gaho (1835-1908). However, he was persuaded to take up Western painting by the influential Kuroda Seiki (1866-1924) who came from the same district as Goyo, and went to Tokyo to study at the Hakuba-kai (Western Painting Institute) and then at the Tokyo School of Art, where he graduated in 1905.”

“In 1911 he became interested in ‘Ukiyo-e’ prints after winning a poster competition with a study of a beautiful woman, and began to publish articles and studies on early artists of that school. As a consequence of these activities he met the publisher Watanabe Shozaburo, for whom he designed a print (‘Bath’, 1915) which was virtually the first of the ‘Shin Hanga’ movement, but wishing to have complete control over all the processes, he published his subsequent prints himself. In 1916-17 he supervised the twelve-volume ‘Ukiyo-e fuzoku Yamoto nishikie’ (Japanese Brocade Prints in Ukiyo-e Genre Style) containing hundreds of woodblock reduced-size facsimiles of the works of early masters.” —Goyo biography posted by the British Museum

In 1815 a small volume was published in Paris under the pseudonym of Mr. de La Jobardière, with illustrations by Adolphe Lalauze (perhaps the father of the etcher Adlophe Lalauze 1838-1906). M. de La Jobardière aux acteurs, actrices et critiques du Théâtre français is the first published mention of the character of de La Jobardière, named after the French city. He is a tall, unsophisticated man who has many adventures and troubles.

In the Vinck collection of prints at the Bibliotheque Nationale De France, there are a series of caricatures featuring Mr. de la Jobardière. At least one can be dated to March 1815 and the only artist’s named are Forceval and Aubry, of which little it known. Fifteen years later a one-act comedy appeared at the Variétés by Théophile Marion Dumersan (1780-1849) and Henri Dupin (1791-1887) entitled Monsieur de La Jobardière, ou La Révolution impromptu.

A few of the print titles are Bravoure et générosité de M.r de La Jobardière; Vision de M.r de La Jobardière; M.r de La Jobardièrede retour dans son Manoir; Déjeuné frugal de M.r Aricosec cousin de la Jobardière dans son voyage a paris; M.r de La Jobardière chez son secrétaire; M.r De La Jobardière Marquis de terre en cour; and M.r de la Jobardière se pousse chez les Grands.

Oddly, in April 1860, a comic story turns up in the Chicago Tribune titled The Czar and the Frenchman, describing a trip by a Frenchman Mr. De La Jobardière, clearly taken from this earlier series.

François Chauveau (1613-1676), Masques de coquillages et de rocaille / Larvae variis lapillis et conchis compactae. Plate 15 in Description de la grotte de Versailles, 1675. Etching. Graphic Arts Collection French prints

In Psyché, I, Jean de La Fontaine (1621-1695) described the beauty of the grotto:
Au haut de six piliers d’une égale structure,
Six masques de rocaille, à grotesque figure,
Songes de l’art, démons bizarrement forgés.
Au-dessus d’une niche en face sont rangés.
De mille raretés la niche est toute pleine:
Un triton d’un côté, de l’autre une Sirène,
Ont chacun une conque en leurs mains de rocher;
Leur souffle pousse un jet qui va loin s’épancher.
Au haut de chaque niche un bassin répand l’onde:
Le masque la vomit de sa gorge profonde;
Elle retombe en nappe, et compose un tissu
Qu’un autre bassin rend sitôt qu’il l’a reçu.

Above six even, ordered pillars stand
Six masks of shell and rock grotesquely shaped
Imagining of art, bizarre demonic forms
Perch high above them can a facing niche.
Inside it jostle myriad rarities:
A Triton and a mermaid, stand each side,
And in their hands a conch of rock they hold,
Hurling a jet of water as they breathe.
Above each niche, a basin spills the flow;
Spewed from within the mask’s cavernous throat;
It cascades, as a curtain, falling into folds
Caught by another basin, and instantly let go.

Taken from Michel Baridon, A History of the Gardens of Versailles (Philadelphia: University of Pennsylvania Press, 2008) Marquand SB466.F83 P37213 2008

An this anti-Jacobin, pro-Girondist print, seven prisoners are seated on stools in a prison cell. Each one wears a feathered Liberty cap and each is tied to the cell wall by a rope around his neck. The red caps were a symbol of the French revolutionaries in the 1790s. The caption at the bottom of the print is a proverb that can be translated “To those who want evil, evil comes.” At the top, “Les Commissaires devenus des otages - arrestation de Dumouriez”.

“After a major defeat in the Battle of Neerwinden in March 1793, [Dumouriez] made a desperate move to save himself from his radical enemies. Arresting the four deputy-commissioners of the National Convention who had been sent to inquire into his conduct (Camus, Bancal-des-Issarts, Quinette, and Lamarque) as well as the Minister of War, Pierre Riel de Beurnonville, he handed them over to the enemy, and then attempted to persuade his troops to march on Paris and overthrow the revolutionary government.” [wikipedia]

The unknown artist may be reacting to the Commission extraordinaire des Douze, established during the French revolution by the French National Convention. The commission was to take all necessary measures to find proof of these conspiracies and to arrest the conspirators.

See also Lectures on the French Revolution by John Emerich Edward Dalberg-Acton, first baron Acton (London, Macmillan and co., 1910). Firestone Library (F) DC143 .A3 1910

Thank you to Prof. Volker Schroder for his help with the translations.

“Acquisition of the extensive theatrical collection of the late William Seymour, who was actively connected with the American stage as actor and stage manager for seventy years, was announced tonight by Dr. Harold W. Dolds, president of Princeton University.” The article in The New York Times (November 23, 1936) continued, “The collection has been presented to the university by Mr. Seymour’s five children, May Davenport Seymour, curator of the theatrical collection of the Museum of the City of New York; Edward Loomis Davenport Seymour, horticultural editor of New York City; the former Fanny Lydia Davenport Seymour of Princeton, wife of [Geology] Professor Richard M. Field; James William Davenport Seymour of Hollywood, lately on the staff of Warner Brothers; and John Russell Davenport Seymour, actor of New York City.”

William Seymour was born in New York City on December 19, 1855, the son of two actors, James Seymour (The Irish Comedian) and Lydia Eliza Griffith. He had his first speaking role at the age of seven and in 1865, played Hendrick to Joseph Jefferson’s Rip Van Winkle at the Varieties Theatre. After a lengthy career as an actor, director, and stage manager, Seymour died in Plymouth, Massachusetts on October 3, 1933.

We do not know what year Mary Evangeline Walker painted this portrait. A Boston native trained at the Boston Museum School of Fine Art and elsewhere, Walker returned to teach and paint in Boston for most of her adult life. Seymour worked for the Boston Museum Stock Company as stage manager from 1879 to 1889 and married May Davenport, a member of that company. When he retired in 1927, the well-traveled actor chose South Duxbury as his home and spent his last years directing high school theater groups in his neighborhood. It may have been in the late 1920s that Walker asked him to pose.

Thomas Rowlandson published this print during the influenza epidemic of 1788 and four years later, its companion Hypochondriac (Nov. 5, 1792). In the room, we see Ague (an acute or high fever such as malaria) as a white serpent clutching the patient with its spidery hands and feet. Plain old Fever is the furry beast in the center. The doctor writes a prescription for them at the right.

Rowlandson includes a quote from John Milton, which I will place here in context:
All else deep snow and ice,
A gulf profound as that Serbonian bog
Betwixt Damiata and Mount Casius old,
Where armies whole have sunk: the parching air
Burns frore, and cold performs th’ effect of fire.
Thither, by harpy-footed Furies haled,
At certain revolutions all the damned
Are brought; and feel by turns the bitter change
Of fierce extremes, extremes by change more fierce,
From beds of raging fire to starve in ice
Their soft ethereal warmth, and there to pine
Immovable, infixed, and frozen round
Periods of time,—thence hurried back to fire.
—Paradise Lost, Book II

“In Illegal Alien’s Meditations on el Ser y la Nada, Chagoya continues his exploration of the codex format inspired by surviving pre-Colombian Mayan and Aztec books. In this, his twelfth book, Chagoya examines cultural realities with satire and humor. Using an historical lexicon of Mexican images with an overlay of abstract Buddhist meditation paintings and appropriated images from popular culture, Chagoya juxtaposes ordinary and spiritual life. The title is a comical tongue-in-cheek reference to Sartre’s On Being and Nothingness.“—Shark Press

Chagoya’s book was printed by hand in eleven colors from ten aluminum plates with chine collé and gold metallic powder on 14 x 88 inch handmade Amate paper folded concertina-style. The lithographic plates were made from Mylars created by the artist that combine Xerox transfers with hand drawing, using pencils, toner and ink washes. The edition consists of 30 numbered impressions, plus proofs, pulled by Master printer Bud Shark, assisted by Evan Colbert, between August 21st and November 29th, 2012.

Oliver Messel (1904-1978), Costume design for Count Almaviva in The Barber of Seville by Rossini at the Glyndebourne Festival Opera June 1954. Watercolor and gouache. GA 2012.02354.

“In the late 1940s and early 1950s, Messel’s style was seen as complementing the new verse play movement, spearheaded by Christopher Fry. He designed costumes and sets for The Lady’s not for Burning (1949), Ring Round the Moon (1950) and The Dark is Light Enough (1954).”

“His lavish approach to costume and set design was also appropriate for opera; from 1951 to 1959 he worked as a theatre designer for the Glyndebourne Festival Opera, then under the artistic direction of Carl Ebert. His productions include Idomeneo (1951), Le Nozze di Figaro (1955) and Der Rosenkavalier (1959), productions which enabled Messel to use his imaginative pastiche of historical styles to good effect. Carl Toms assisted him during the Glyndebourne period, from 1952 to 1959.” (quoted from Victoria and Albert Museum Messel archive site)

A scene from The Barber of Seville, in Madrids Teatro Real with Peruvian tenor Juan Diego Florez as Count Almaviva.

Lambeth has been home to many artists over the years. It is to London what Brooklyn is Manhattan. Whitman went to Brooklyn, Blake went to Lambeth. This post will add a small amount to the history of Thomas Palser (ca.1776-1843) and his Lambeth print and book shop, which served these artists. If you missed the beginning, see The Print Shop Window http://printshopwindow.blogspot.com/2012/08/thomas-palser-fl-1797-1843.html

When British watercolorist David Cox (1783-1859) first moved to London in 1804, he rented rooms at 16 Bridge Row, described as six doors down from Thomas Palser’s print and book shop. Cox visited Palser regularly, who was one of the first to buy and sell the artist’s work. Visitors to the shop would also find the work of Samuel Prout (1783-1852), John Mortimer (1740-1779), and many others.

John Hamilton Mortimer (1740-1779), A Series of Twelve Heads after Shakespeare ([Lambeth]: published by Thomas Palser, 1812).(Ex) Oversize 3925.8245f

Caricaturist and military painter William Heath (1794-1840) lived much of his early life at 5 Stangate, Lambeth. If you zoom in on the map above, you will see that Palser, Cox and Heath all lived at the bottom of the Westminster Bridge on the Surrey side. This was the perfect position to take advantage of the crowds traveling from the wealthy neighborhoods around St James’s and the Strand to the theaters of Lambeth.

This is a self-portrait of William Heath in his studio on Stangate Street. Fifteen-year-old Heath designed, printed, and self-published eight caricatures during 1809-10 before he gratefully joined Palser’s shop. He was one of several local artists who benefited from their neighbor’s help with promotion and distribution.

During the 1790s, William Blake (1757-1827) and his wife lived a few block away at 13 Hercules Buildings (now Hercules Road) and knew the Palser family (Thomas’s son became an important collector of Blake’s drawings). In 1800, the bookseller and satirist William Hone (1780-1842) opened a book and print shop with a circulating library a little further south in Lambeth Walk but was not as well situated as Palser and soon moved across the Thames.

The performer Joseph Grimaldi Senior (died 1788), father of the famous clown Joseph Grimaldi (1778-1837), lived down Stangate street from Heath. The Grimaldi family retained the house and that relationship probably led Palser and Heath to publish a series of prints celebrating Grimaldi’s Covent Garden successes in 1812.

William Heath (1794-1840), Grimaldi’s Leap Frog, in the Comic Pantomime of The Golden Fish, January 12 1812. Etching. Published by T. Palser; Bridge Road, Lambeth. Graphic Arts Collection GA2011.00894

William Parrott (1813 - 1869), London from the Thames (London: Henry Brooks, 87, New Bond Street, printed by C. Hullmandel [1841]). Graphic Arts Collection GAX oversize 2012- in process.

Parrott’s lithographic title page vignette shows the Tower of London at the time of the Lord Mayor’s embarkation, with ceremonial barges at the wharf. An 1843 journalist noted, “Since the first mayoralty procession, in the year 1215, probably there have been few finer pageants than that of Thursday last, when the November sun even gilded with his beams the somewhat tarnished splendour of the City state.”

3.Lambeth & Westminster From Millbank, November 1841
4. Waterloo Bridge from the West with Boat Race, June 1841
5. Somerset House, St Paul’s & Blackfriars from Waterloo Bridge, Undated
6. Southwark Bridge from London Bridge, April 1841
7. The Pool. From London Bridge. Morning., April 1841
8. London Bridge from the Pool-, November 1841
9. The Pool looking towards London Bridge, May 1841
10. West India Docks from the South East, October 1840
11. Westminster & Hungerford from Waterloo Bridge, Undated
12. Ship Building at Limehouse, the President on the Stocks, March 1840
13. Greenwich and the Dreadnought, Undated.

Howard Norton Cook (1901-1980), Governor’s Palace, Santa Fe, 1926. Woodcut. Signed and dated. Graphic Arts Collection GA2007.01052

Biographies for the American artist Howard Cook often repeat the note that he was commissioned by The Forum magazine to go to New Mexico and create illustrations for Willa Cather’s novel Death Comes for the Archbishop.

During the 1920s, Forum regularly published portfolios of prints by contemporary artists. The magazine printed a series of Cook’s prints made during a trip to Maine in 1926 and the following year, three other groups of prints made in New Mexico. Our print, seen above, was part of ‘Dobe and Pueblo in Santa Fe - Wood and Linoleum Cuts printed in the March 1927 issue.

1927 was also the year that Forum serialized Cather’s novel from January to June. Her illustrator was Harold von Schmidt (1893-1982), who went on to create additional prints for the edition of Death Comes for the Archbishop organized and designed by Elmer Adler for Knopf.

Below are the microfilm pages for each of these separate, unrelated features:

Willa Cather (1873-1937), Death Comes for the Archbishop; with drawings and designs by Harold von Schmidt (New York: A.A. Knopf, 1929). Copy inscribed from the artist to Elmer Adler, who gave it to Princeton. Graphic Arts Collection GA 2009-0257N

Kitagawa Utamaro (喜多川歌麿) (1753-1806), Women restrain a young man who has struck down an older rival, a parody of the first scene in Chushingura, no date, ca. 1795/95. Woodblock print (color). Format: Ôban tate-e triptych. Graphic Arts Collection GA 2009.00773. Gift of Gillett G. Griffin.

Although the exact title of this triptych by the wonderful Japanese artist Kitagawa Utamaro has not been identified, specialist Sebastian Izzard recognized it as one of his many parody pictures or mitate-e.

“Mitate-e require considerable understanding of the classics to recognize the original subject matter and for this reason were often used as intellectual games, providing those privy to such information with a sense of belonging to a special intellectual group. The most popular Japanese mitate were taken from Genji Monogatari (The Tale of Genji); Ise Monogatari (The Tales of Ise); and the Chushingura.“— JAANUS, the on-line Dictionary of Japanese Architectural and Art Historical Terminology

Why is the young woman in Harunobu’s print using tweezers to pluck hairs from her lover’s ear or nose? This is what we wanted to know as the print was being studied today.

We know the artist is associated with the early development of nishiki-e (full color woodblock prints). It was Harunobu who made nishiki-e popular and took the craft of Japanese woodblock printmaking to new heights. Within a few years, he used the new palette to create one of his most popular series, the Eight Fashionable Parlor Views or Fûryû zashiki hakkei.

The series is based on the Chinese model of the Shōshō hakkei (Eight Views of the Xiao and Xiang Rivers). Originally, the eight views were a group of poetic episodes that captured the natural beauty of specific scenes while evoking emotional reactions. The model was appropriated by Japanese artists in the early seventeenth century, who created many variations on the theme based on indigenous geographical areas, such as Ômi, Kanazawa, and Edo.

In this parody, Harunobu playfully replaces the traditional landscape view with an interior scene of an Edo pleasure house featuring a courtesan and her patron. At the top of the sheet, in the cloud-shaped register, we find the corresponding poem filled with innuendo: “The boat over there with sails / swelling to the front / Is it coming to the harbor? / Ah yes it is coming in.”

We understand the sails are reflected in the billowing towel in its rack. The sea is represented in the screen painting to the left. An intimate moment is being shared as we wait expectantly for the boat to reach the harbor and come in. But what is the significance of the courtesan plucking a whisker from the man’s face, not once but seen a second time in the mirror’s reflection? We are still searching for that sexual metaphor.

See also: Chris Uhlenbeck and Margarita Winkel, Japanese Erotic Fantasies: Sexual Imagery of the Edo Period (Amsterdam: Hotei Publishing, 2005); plate 18. Marquand Library Oversize NE1321.85.S58 U34 2005q

The American caricaturist William Charles drew several prints around the War of 1812. This satire focuses on King George III attempting to restore lost ships after battles on the Great Lakes in 1813 and 1814. Charles was clearly aware of his British contemporaries Thomas Rowlandson, James Gillray, and George Cruikshank, who each drew satires using the image of a politician as baker. Here are a few other caricatures with the same iconography.

These are close-ups from the Battle of New Orleans and Death of Major General Packenham [sic] on the 8th of January 1815 by Joseph Yeager (ca. 1792-1859) after William Edward West (1788-1857). We are adding the second state of the print to show the change in Major General Lambert’s hand.

Why? The folklore around the print states that officers in the Army complained about the view of a soldier crying for his lost comrade and demanded that the handkerchief be removed. The pointing figure was the best the engraver could do without altering more of the composition.

But which Army was complaining? Lambert was a British officer and this print shows the battle from the British point of view. It is, however, an American print published in Philadelphia. Was it the American Army that demanded the change in the British soldier? Was Lambert too sympathetic a figure when the focus of the image was meant to be the death of the British troops?

In addition to the complex iconography, there are five variants of the print, which we often categorize into two first states (with handkerchief) and three second states (without handkerchief). We believe our second print is the 2nd state, 2nd variation.

Joseph Yeager (ca. 1792-1859) after a design by William Edward West (1788-1857), The Battle of New Orleans and Death of Major General Packenham on the 8th of January 1815. Philadelphia: Published and Sold by J. Yeager, [1816]. Hand colored engraving. 1st and 2nd state. Purchased in part with support of the Barksdale-Dabney-Henry Fund, 2012.