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Vuë de Boston. Prospect des grossen plazes gegen der alten Sud Kirche der Presbiterianer zu Boston (Optical View. View of the Large Squares toward the Old South Presbyterian Church in Boston)

Vuë de Boston. Prospect des grossen plazes gegen der alten Sud Kirche der Presbiterianer zu Boston (Optical View. View of the Large Squares toward the Old South Presbyterian Church in Boston)

Public Domain

Vuë de Boston. Prospect des grossen plazes gegen der alten Sud Kirche der Presbiterianer zu Boston (Optical View. View of the Large Squares toward the Old South Presbyterian Church in Boston)
CultureGerman
Titles
  • Vuë de Boston. Prospect des grossen plazes gegen der alten Sud Kirche der Presbiterianer zu Boston (Optical View. View of the Large Squares toward the Old South Presbyterian Church in Boston)
  • from Collection des Prospects series
Datec. 1776
Made inAugsburg, Germany
MediumEtching and engraving on laid paper
DimensionsPlate: 12 1/2 × 16 3/4 in. (31.8 × 42.5 cm)
Sheet: 12 1/2 × 16 7/8 in. (31.8 × 42.8 cm)
Credit LineThe Bayou Bend Collection, Museum purchase funded by Don Short in honor of Lee Godfrey at "One Great Night in November, 2013"
Object numberB.2013.39
Non exposé

Explore Further

Department
Bayou Bend
Object Type
Description

François Habermann was a German printer and publisher
working in Augsburg, Germany, known for a series of engravings portraying
American cities, including New York and Boston, during the Revolutionary
period. While some are based on firsthand drawings, often they are entirely
fictitious, published for a European audience with no specific knowledge of
American cities. Here, the artist presents an imaginary view of Old South
Congregational Church, the third church built in Boston, as a cannon is being
hauled into the foreground. Unlike the church pictured, Old South had a tall
steeple. Notably, the church was often the scene of many patriotic meetings in
the years immediately preceding the Revolutionary War.







This special type of popular print was used as a form of
entertainment meant to be seen through devices called “optical machines” or
“zogoscopes.” The striking use of exaggerated perspective lines in these
optical views make them visually playful as well as historically intriguing.
The main title is printed at top as a mirror image; when viewed through the
optical machine it would appear correctly. Optical views were often exhibited
by traveling showmen and were known to entice Philadelphians by 1797.




Provenance[Susan Schulman, New York, as of 2012]; purchased by MFAH, 2013.
Published References Cresswell, Donald H, The American Revolution in Drawing and Prints: A Checklist of 1765–1790 Graphics in the Library of Congress (Washington: 1975), Cat. 522. Fowble, E. McSherry, Two Centuries of Prints in America, 1680–1880: A Selective Catalogue of the Winterthur Museum Collection (Charlottesville: University Press of Virginia, 1986), Cat. 169, illus. Inscriptions, Signatures and Marks
Recto: Inscribed in printed ink, above plate, left: Collection des Prospects.
Recto: Inscribed in printed ink, above plate, center: VUË DE BOSTON. [in reverse]
Recto: Inscribed in printed ink, below plate, right: Gravé par Francois Xav. Habermann
Recto: Inscribed in printed ink, below plate, left: Prospect des groſsen Plazes gegen der alten / Sud Kirche der Presbiterianer zu Boston.
Recto: Inscribed in printed ink, below plate, right: Vuë de la Ruë grande vers l'Eglise du / Sud des Presbiteriennes a Boston.
Recto: Inscribed in printed ink, below plate, center bottom edge: Se vend a Augsbourg au Negoce comun de l’Academie d'Empire des Arts Libereaux aveo Privilege de Sa majesté Imperiale et aveo Defense ni d'en faire ni de vendre les Copies.

Cataloguing data may change with further research.

If you have questions about this work of art or the MFAH Online Collection please contact us.

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