The intricate design of this handkerchief features images of Washington, Adams, and Jefferson, beneath an eagle and flags. In the center appears the text of the Declaration of Independence, together with facsimiles of the signatures. An oak wreath with acorns surrounds the text and features images of the seals of the thirteen original states. An image at lower left depicts the Boston Tea Party with the caption, “The Patriotic Bostonians discharging the British Ships in Boston harbour.” An image at lower right depicts “General Burgoyne’s Surrender to General Gates at Saratoga.” Around the edge runs a stars and rope border with anchors at each corner and at the center of each side. The design was printed with red ink using a copper plate.

The design draws much from prints of the Declaration of Independence by William Woodruff, published in February 1819, and John Binns, published in October 1819.

“Mercy! mercy on me. What fellows those Baltimoreans are. After the example of the Alexandrians I thought I had nothing to do but enter the Town and carry off the Booty. And here is nothing but Defeat and Disgrace!!”

A masterpiece of design and composition.

This engraving by David Edwin pictures Jefferson standing beside a table, with his hand on a desktop globe. Edwin copied the head from the Rembrandt Peale portrait of 1800. Edwin placed Jefferson in a black suit in a formal setting, comparable to the 1796 portrait of George Washington by Gilbert Stuart (known as the “Lansdowne” portrait because it was commissioned as a gift for William Petty, first Marquis of Lansdowne).

After the Declaration of Independence was read to the Continental Army in New York on July 9, 1776, a boisterous crowd of soldiers, sailors and citizens headed to the huge gilt lead equestrian statue of King George III which had been installed on Bowling Green only six years earlier. The crowd toppled his Majesty, who then made his first Broadway appearance before being carted to Connecticut. The head was rescued by Tory sympathizers, and later spotted in the home of Lord Townshend. The rest of the King and the horse he rode in on was melted down. In a truly epic burn, Ebenezer Hazard remarked that the redcoats “will probably have melted majesty fired at them.” Indeed they did; the sculpture was used to make 42,088 bullets.

After the Declaration of Independence was read to the Continental Army in New York on July 9, 1776, a boisterous crowd of soldiers, sailors and citizens headed to the huge gilt lead equestrian statue of King George III which had been installed on Bowling Green only six years earlier. The crowd toppled his Majesty, who then made his first Broadway appearance before being carted to Connecticut. The head was rescued by Tory sympathizers, and later spotted in the home of Lord Townshend. The rest of the King and the horse he rode in on was melted down. In a truly epic burn, Ebenezer Hazard remarked that the redcoats “will probably have melted majesty fired at them.” Indeed they did; the sculpture was used to make 42,088 bullets.

Revere’s print quickly became one of the most successful examples of political propaganda of all time. The depiction of the event, and a poem printed below, vilify the British Army and list the first casualties of the American Revolution: “Unhappy Boston! see thy Sons deplore, Thy hallow’d Walks besmear’d with guiltless Gore...The unhappy Sufferers were Mess[ieur]s Saml Gray, Saml Maverick, Jams Caldwell, Crispus Attucks & Pat[ric]K Carr Killed. Six wounded; two of them (Christr Monk & John Clark) Mortally...” Rushed into print less than a month after the event, Revere’s print helped unite the colonists and, in American minds, cast the British as aggressive oppressors— making rebellion easier to justify.

Lovely condition, drum-mounted on board, original full hand-coloring. Framed. Line engraving derived from the portrait done by “Alexander Campbell” with facial elements after the  Nuremberg version of the print. This enjoys the independent addition of battle flags placed within the image to flank the portrait.