Busacca Gallery

This is a remarkable discovery - a one-of-a-kind, early hand-painted and handwritten document of the Declaration of Independence on calfskin. The design closely resembles the 1819 engraving by artist William Woodruff, and we believe this painting to be the concept design and illustration for the engraving. The engraved document, which was printed in 1820, is one of the earliest printings of the Declaration in any form that was sold to the American public. The original painting that we recently discovered is a gouache painting that showcases a red eagle with an olive branch and arrows. The painting also features portraits of Washington, Jefferson, and Adams, and the seals of the 13 colonies in an oak wreath with an eagle on top, accompanied by the text and signatures of the Declaration's founding fathers. The painting is an original colored illustration that was likely intended to be made into a Broadside New York print by William Woodruff. It is a beautiful depiction of the portraits of Washington, Adams, and Jefferson, as well as the armorial bearings of the 13 original states, all illustrated on calfskin vellum and attached to some type of canvas cloth. It appears to have been framed in the 1950s and is behind glass. The original document has been folded and looks very fragile, and it has not been examined outside the frame. We believe that it was created as an artistic work on vellum to serve as an example for future printed editions. Early theories suggest that an original design must have existed for the engraver to create the early sketch. It could not have been designed on a whim. Therefore, someone must have created a sketch of how the final product would look and be laid out, so the engraver could interpret the final design. It is logical that somebody would have taken the initial sketches and created a painted, colored version of how they envisioned the final product. This painting is an incredibly rare find, making it a remarkable piece of historical folk art. *Gouache painting, is a type of painting technique that uses opaque watercolors. The term "gouache" comes from the French word for "mud" or "paint." The paint consists of pigment, water, and a binding agent, such as gum arabic, which makes it more opaque and thicker than traditional watercolors. Gouache is often used for illustrations, as it allows for precise, crisp lines and solid, flat areas of color. It can be used on a variety of surfaces, including paper, board, or canvas. Gouache paintings can resemble both watercolor and acrylic paintings, depending on the techniques and materials used. Gouache painting techniques of the 18th and 19th centuries were similar to those used today, with some differences in materials and methods. In the 18th century, gouache was often used for book illustrations and miniatures. The pigments used were usually natural, such as indigo, vermilion, and ultramarine, and were mixed with a gum arabic binder. The resulting paint was applied to paper or vellum with a fine brush, creating a smooth, opaque surface. Some artists also used a technique called "bodycolor," which involved adding white paint to create a more opaque effect. During the 18th century, gouache became more popular for larger-scale paintings. Artists used a wider range of pigments, including some synthetic ones, and experimented with different techniques to achieve a variety of effects. Some artists added chalk or white lead to create a more opaque paint, while others used a glazing technique to create translucent layers of color. Some artists also used gouache in combination with other media, such as watercolor, to create more complex effects. In both centuries, gouache painting techniques were valued for their precision and ability to create flat, vivid areas of color. The paint was also well-suited for creating fine details and delicate lines, making it a popular choice for book illustrations and miniatures. A significant historical discovery. This is an original Declaration of Independence, carefully created on calfskin as a painted and handwritten American rare document. This was just recently discovered in a private estate. It is in poor condition, we plan to have Restoration work and repairs made to the document in the future. This fancy handwritten copy served a particular purpose, as the Declaration of Independence was essentially a mission statement or declaration of principles. The revolutionaries needed a hallowed document to reflect the significance of their commitment to the cause, as well as to hold themselves accountable. Hence, the use of a handwritten version penned by a scribe, which included the signatures of the men who endorsed the declaration, served as a roll call for those who supported the revolution, despite it being an act of treason against Britain. The use of vellum, a material made from calfskin, was also significant because it was durable enough to withstand being carried, rolled, and folded by the Continental Congress to many different locations during the Revolutionary War. This original copy is evidence of the collective commitment of the revolutionaries, and its formality was meant to convey their seriousness. Although most early Americans saw a different physical version of the document, this one is considered an original copy and was just one of many handwritten documents. The different versions of the Declaration of Independence reflect its changing significance in the popular imagination, from a typeset document to a fanciful copy to the facsimile most of us envision today. The initial Declaration of Independence was breaking news, and for that reason, most Americans saw a typeset version in the "Dunlap broadsides" - printed versions of the document made on July 4, 1776. The broadsides were essentially press releases for the revolution, printed in the same format as posters or ads, and named after the printer who made them. *A handwritten and painted document of the Declaration of Independence is an incredibly valuable historical artifact, both in terms of its cultural significance and its monetary worth. The original handwritten and painted document of the Declaration of Independence, known as the engrossed copy, is held by the National Archives in Washington, D.C., and is considered one of the most important documents in American history. Other handwritten copies of the Declaration of Independence also exist, including one that was purchased by television producer Norman Lear for $8.1 million in 2000. The value of these copies depends on a variety of factors, including their condition, historical significance, and rarity. In general, authentic documents from the founding era of the United States, particularly those associated with the Declaration of Independence, can fetch millions of dollars at auction. In addition to their financial value, these documents are also important cultural artifacts that offer insights into the history and ideals of the United States. They serve as a tangible reminder of the country's founding principles and the sacrifices made by those who fought for independence. When the printed version was released. William Woodruff was instantly accused of stealing the design of fellow engraver, John Binns. Woodruff focused less on the quality of the engraving (which is evident in a side by side comparison of the two) and was able to release his copy quicker. Binns filed a lawsuit stating that Woodruff had stolen his design while serving as a journeyman for one of Binn's employees, a man named George Murray. The lawsuit was unsuccessful, but the public feud between the two men increased interest in the broadsides. In 1816, John Binns of Philadelphia announced he was going to publish "a splendid and correct copy of the Declaration of Independence, with facsimiles of all the signatures, the whole to be encircled with the arms of the thirteen States and of the United States." Many Americans had never even seen the text of the document which was originally viewed as an instrument of separation from England, but by then was regarded as a symbol of American nationalism. It took a while for Binns to prepare his Declaration for publication. On February 20, 1819, William Woodruff printed his own version, which greatly resembled what Binns eventually published in October/November 1819. Binns accused Woodruff of stealing his design and filed a lawsuit against him. The issue of authorship of prints was addressed in the Circuit Court of the United States for the Third Circuit, Comprising the Districts of Pennsylvania and New Jersey, in Binns v. Woodruff (1821). Supreme Court Justice Bushrod Washington held that the statute covered only two situations: (1) where the claimant not only invented and designed the work, but also engraved or etched it; or (2) where the claimant invented or designed the work, but had another do the physical engraving. Binns had illustrated his broadside with previously published engravings. In Binns v. Woodruff, Justice Washington concluded, "neither the design, nor general arrangement of the print, nor the parts which composed it, were the invention of the plaintiff" and found that the plaintiff, Binns, was not entitled to copyright. In addition, Justice Washington observed that "the opinion upon this point renders it unnecessary to compare the defendant's print with that claimed by the plaintiff, for the purpose of deciding whether the former is such a copy of the latter as was intended by the act." Part of Woodruff's defense, which it turns out was not needed, was that he did not use "facsimiles of the several signatures to that instrument" as were illustrated on Binns' document. The Print in dispute was a Broadside, In Congress, July 4th, 1775. The Unanimous Declaration of the Thirteen United States of America. (New York: Phelps & Ensign, [c. 1841]) 22" x 30" bearing the text of the Declaration of Independence and reproductions of the signatures, framed by emblems of the thirteen original states and portraits of Washington, Jefferson and Adams at top. Engraved dedication above the publication slug reads: "To the People of the United States this Engraving of the Declaration of Independence is most respectfully inscribed by their fellow citizen / Wm Woodruff. On Woodruff's 1819 broadside, the text of the Declaration appeared inside a very ornate circular frame formed by a wreath and seals of the 13 original colonies, topped by portraits of the first three Presidents, Washington, Adams, and Jefferson, several flags, and an American Heraldic Eagle. The signatures were uniformly printed (except for Hancock's) rather than being facsimiles of the actual signatures. In addition, Woodruff had replaced the portrait of John Hancock on Binns' Declaration with one of John Adams.

The Declaration of Independence was first printed on July 4, 1776, in a format known as the "Dunlap broadside." This was a typeset version of the document, and it was the first text of the declaration that was distributed to the public. The broadsides were named after John Dunlap, the printer who was commissioned by the Continental Congress to produce them. After the initial printing, there were several other printed versions of the Declaration of Independence, including the Stone Engraving, which was produced in 1823 by William J. Stone. This version is considered the most accurate copy of the original declaration, and it includes a few minor changes and corrections that were made during the drafting process. In addition to the printed versions, there were also several handwritten and painted copies of the Declaration of Independence that were created. One of the most famous examples is the engrossed copy, which was produced by Timothy Matlack, a clerk in the Pennsylvania State House, in July 1776. This copy is written on parchment, and it includes the signatures of the members of the Continental Congress who approved the document. There were also several other painted copies of the Declaration of Independence that were created, including the Trumbull painting, which was produced by John Trumbull in 1817. This painting depicts the signing of the Declaration of Independence, and it is considered one of the most iconic images of American history. While the embellished illustrations and painted copies of the Declaration of Independence are not strictly accurate representations of the original document, they serve an important purpose in American history. They help to popularize the document and make it more accessible to a wider audience. Moreover, they highlight the enduring significance of the Declaration of Independence and its central role in American identity and democracy. ** Numerous ceremonial copies of the Declaration of Independence were created in the surge of nationalism following the War of 1812. At that time, most signers had either passed away or were quite elderly, and interest in the Declaration was resurfacing. Three of the more prominent copies included the Tyler engraving, the Binns engraving, and the Stone engraving. In 1816, Irish-born Philadelphia publisher John Binns publicly proposed printing a large, ceremonial engraving of the text of the Declaration of Independence, including facsimile signatures, that he would sell for $10 ($13 colored). After Binns announced his intentions, several others copied his idea, including publisher Benjamin Owen Tyler. The two men engaged in a bitter and public competition to be the first to publish and sell their engraving with the official text of the Declaration. Their feud played out in rival newspapers, with Binns accusing Tyler of stealing his idea, plagiarizing his work, and violating the custom of their trade. To create his engraving, Binns began by requesting a copy of the Declaration of Independence, which was then in the custody of the Department of State. At the request of Senator Jonathan Roberts of Pennsylvania, Secretary of State James Monroe sent Binns a copy of the Declaration. Binns later asked the State Department to send him impressions of the coat of arms of the United States and a certificate the arms was, in fact, accurate. Binns also sent letters to various states asking for impressions and descriptions of the state coats of arms. As Binns received the copies and impressions of what he planned on featuring in the engraving, he assembled a team of artists and engravers to execute his vision. He also made plans to send an engraver to Washington, DC, to make a copy of the signatures. In 1818, as Binns was still working on his design, he submitted an unfinished proof for copyright. Binns included a description of what the final engraving would look like: “A Splendid Edition of the Declaration of Independence. The Design in imitation of Bas Relief, will encircle the Declaration as a cordon of honor, surmounted by the arms of the United States. Immediately underneath the arms, will be a large medallion portrait of General George Washington, supported by cornucopiae, and embellished with spears, flags, and other Military trophies and emblems. On the one side of this medallion portrait, will be a similar portrait of John Hancock, . . . and on the other, a portrait of Thomas Jefferson, author of the Declaration of Independence. “The arms of ‘The Thirteen United States’ in medallion, united by wreaths of olive leaves, will form the remainder of the cordon, which will be further enriched by some of the characteristic productions of the United States; such as the Tobacco and Indigo plants, the Cotton Shrub, Rice &c. The fac similes will be engraved by Mr. Vallance, who will execute the important part of the publication at the City of Washington, where, by permission of the Secretary of State, he will have the original signatures constantly under his eye.” While Binns was still finalizing his engraving, Tyler beat him to the finish line and in 1818 published his engraving. He dedicated the engraving to the Declaration’s principal author, Thomas Jefferson, and included an attestation by the acting Secretary of State Richard Rush, son of signer Benjamin Rush, that it was a correct copy. That didn’t stop Binns from completing his masterpiece, which was to be much more ornate than Tyler’s version. In July 1819, Binns sent an unfinished proof to Thomas Jefferson asking for suggestions on improvement. He also told Jefferson he planned to dedicate his engraving to the people of the United States rather than to any individual connected with the document. The proof never made it to Jefferson and has not been located, but from Binns’s description, it was still missing the arms of the United States, some of the state medallions, the name of the author of the Declaration, and the certification by the Secretary of State. Jefferson, having not seen the proof, thanked Binns and offered no suggestions. In September 1819, Binns solicited John Adams’s input, writing: “I have the honor herewith to send an unfinished copy of a splendid edition of the Declaration of Independence. It has been in the Engraver’s hands more than three years and I have spared neither labor nor expense to give to the world such an edition as shall not be altogether unworthy the noble instrument which it will assist to familiarize to the eyes and make dear to the affections not only of Americans but of Mankind.” As with the print meant for Jefferson, the engraving did not make it to Adams with Binns’s request. It eventually showed up in the mail a couple weeks later, but there is no evidence that Adams gave Binns any suggestions. By November 1819—more than three years since his initial proposal—Binns’s 26″ (w) x 36″ (l) engraving was finished at a total cost of $9,000 (roughly $200,000 in today’s dollars). To further one-up Tyler, Binns’s engraving included a note at the bottom from Secretary of State John Quincy Adams, son of signer—and former President—John Adams. It stated, “I certify, that this is a CORRECT copy of the original Declaration of Independence, deposited at this Department; and that I have compared all the signatures with those of the original, and have found them EXACT IMITATIONS.” Binns also included credits to his many contributors. Decorative painter George Bridport drew the ornamental portions. Portrait painter Thomas Sully drew the arms of the United States and the 13 state medallions. The portrait of George Washington was copied from a 1795 Gilbert Stuart painting; the portrait of Thomas Jefferson was copied from a 1816 painting by Bass Otis; and the portrait of John Hancock was copied from a 1765 painting by John Singleton Copley. Engraver George Murray engraved the ornamental portions, the arms of the United States, and the 13 state medallions; engraver Charles H. Parker designed and engraved the text; engraver James Barton Longacre engraved the portraits; and facsimiles of signatures were engraved by Tanner, Vallance, Kearny & Co. It was printed by Philadelphia printer James Porter. The exact number of prints made is unknown, but the National Park Service estimates that about 100 of those prints exist today. The print in the National Archives is from the records of the U.S. Senate within the Center for Legislative Archives. It was housed with a bill introduced by Senator Roberts authorizing Congress to purchase copies of the engraving (the bill did not pass). While Tyler’s and Binns’s engravings included exact copies of the signatures, they were not true, exact facsimiles of the entire document, and their marketability soon took a big hit. In 1820, Secretary of State John Quincy Adams decided there should be a full-size exact facsimile of the Declaration and commissioned William Stone to create what would become the Stone Engraving of the Declaration of Independence. Stone completed it in 1823, and it became the official copy for government use. As if the added competition wasn’t enough, Binns also had to contend with copiers. In 1819, Binns sued Philadelphia engraver William Woodruff for making an engraving that was remarkably similar to Binns’s own. Woodruff was able to copy the design while working for one of Binns’s artists and actually got his to market before Binns. Unfortunately for Binns, in 1821 the court ruled against him, saying he was not entitled to copyright because his work included previously published engravings. After the ruling, Woodruff updated his design and published almost an exact replica of Binns’s engraving. Undeterred, Binns went on to have a long career in publishing and even published his autobiography in 1854, Recollections of the Life of John Binns. He died in Philadelphia on June 16, 1860, at the age of 87. Binns’s engraving plate is currently housed in the Graphic Arts Department at the Library Company of Philadelphia. The library likely acquired it in 1948 as part of the purchase of the James Barton Longacre Collection. Visit the National Archives website to learn more about the Declaration of Independence and how we are celebrating the July 4th holiday.