Peter Verger (2 results)

Broadside, text in English and French in two columns. 12-1/4x8 inches. A broadside prospectus for a noted allegorical print celebrating the American Revolution. We locate only two known examples of this broadside (John Carter Brown Library and Winterthur Museum). The print, first published in 1796 and then again with the addition of extensive descriptive text in 1798, used classical iconography to illustrate America's victory in the American Revolution, with the gods (led by Minerva, with the American eagle on her aegis) paying honor to American heroes and laying waste to the concepts and persons of monarchy. As a French veteran of the American Revolution and transatlantic witness to the French Revolution, it is perhaps unsurprising that the artist Renault would choose such subject matter for this dramatic piece. Reilly describes the print and its features in detail: An allegory of liberty flourishing and monarchy and tyranny in decline. In a wooded grove Minerva, with a shield bearing the arms of the United States and a flag emblazoned with stars, pours libations on an altar fire. Beside her are three female figures. The first, Plenty, holds a torch to a pile of titles of nobility, crowns, scepters, and other attributes of monarchy. Justice holds a sword and scales, and Peace an olive branch. Behind them is a small pyramid on a pedestal inscribed with the names: Hancock, Warren, Sullivan, Putnam, Scamel, Barber, Green, Laurens, Wooster, Mercer, and Poor. Two urns on the monument are labeled "B. Franklin" and "Montgomery." To the right is a column, surmounted by a seated, nude Liberty figure holding a wreath. Below it stands a cherub with a scroll with the words 'Allons enfans de la Patrie.,' an open book labeled 'The Rights of Man,' a staff and liberty cap, and a flag. Behind is a mountainous landscape and town. In the lower right foreground stands another group, including a king about to stab himself, several other monarchs cringing, and a standing woman. In the lower left stand an aged classical priest and a writhing, mutilated hydra appear. Not much is known about Renault or Verger beyond their production of this print. Bristol B9805; ESTC W38987 Silked and inlaid to a larger sheet, very toned, extraneous fold at the bottom, area of loss at the top largely affecting the title in French Broadside, text in English and French in two columns. 12-1/4x8 inches.

An attractive and elaborate allegorical engraving celebrating American independence, drawn by French-American artist John-Francis Renault and engraved by Peter Verger, both known almost exclusively for the present print. The print, first published in 1796 and then again with the addition of extensive descriptive text in 1798, uses Classical iconography to illustrate America's victory, with the gods (led by Minerva, with the American eagle on her aegis) paying honor to American heroes and laying waste to the concepts and persons of monarchy. As a French veteran of the American Revolution and transatlantic witness to the French Revolution, it is perhaps unsurprising that Renault would choose such subject matter for this dramatic piece. Reilly describes the print and its features in detail: "An allegory of liberty flourishing and monarchy and tyranny in decline. In a wooded grove Minerva, with a shield bearing the arms of the United States and a flag emblazoned with stars, pours libations on an altar fire. Beside her are three female figures. The first, Plenty, holds a torch to a pile of titles of nobility, crowns, scepters, and other attributes of monarchy. Justice holds a sword and scales, and Peace an olive branch. Behind them is a small pyramid on a pedestal inscribed with the names: Hancock, Warren, Sullivan, Putnam, Scamel, Barber, Green, Laurens, Wooster, Mercer, and Poor. Two urns on the monument are labeled "B. Franklin" and "Montgomery." To the right is a column, surmounted by a seated, nude Liberty figure holding a wreath. Below it stands a cherub with a scroll with the words 'Allons enfans de la Patrie.,' an open book labeled 'The Rights of Man,' a staff and liberty cap, and a flag. Behind is a mountainous landscape and town. In the lower right foreground stands another group, including a king about to stab himself, several other monarchs cringing, and a standing woman. In the lower left stand an aged classical priest and a writhing, mutilated hydra appear. "Stauffer describes an impression [the 1798 edition, with re-engraved title and imprint] accompanied by the following text: 'By a Column raised to Liberty, is a Monument sacred to the memory of the American Heroes, fallen in defence of their Country. While, Liberty is Crowning them, America uder [sic] the figure of Minerva sacrifices to their Manes, and a Priest of that Deity sings their glorious actions. The Hydra of Despotism mortally wounded by those great men expires in frightful convulsions. Peace and Justice hand in hand, join with America in her homage to Liberty. Plenty reclining on her emblematical Horn, reposes on American ground. The Genius of Liberty points out the declaration of Independence and a Book of the American Constitution. From the dreadful Sight, a group of Kings turn away with horror and dismay.'" Not much is known about Renault or Verger beyond their production of this print. Describing the former as an "Allegorical & historical painter," Falk writes that "Renault claimed to have been at the Battle of Yorktown in 1781 as assistant secretary to Count de Grasse and Engineer to the French Army. His 'Triumph of Liberty' was advertised in NYC in 1795 by D.F. Launy and again in 1797 by Renault and Verger. In 1819, he published an engraving of the British officers surrendering their arms to Washington at Yorktown, describing himself as a U.S. Citizen." Falk has little to add respecting Verger, except that "He was associated with John Francis Renault in the publication of the latter's 'Triumph of Liberty' print," and that he was "Active in NYC from 1795-97; Paris in 1806." OCLC locates copies of the first edition of this print at the Society of the Cincinnati, American Antiquarian Society, and Massachusetts Historical Society. We locate further copies at the Library of Congress and Yale Art Gallery. A rare and dramatic allegorical print, published on the twentieth anniversary of the Declaration of Independence. REILLY 1796-1. STAUFFER 3344. FOWBLE 322. FALK, WHO WAS WHO IN AMERICAN ART pp.2742, 3403. OCLC 768299108. Light tanning and soiling, some pale dampstains to lower margin, just into lower part of image. Very good.