declaration independence (30 Ergebnisse)

Mass Market Paperback. Zustand: Brand New. reprint edition. 80 pages. 7.00x4.25x0.25 inches. In Stock.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Zustand: Brand New. side the document itself. ed. edition. 32 pages. 6.75x4.25x0.25 inches. In Stock.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Mass Market Paperback. Zustand: Brand New. reprint edition. 80 pages. 7.00x4.25x0.25 inches. In Stock.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Zustand: Brand New. Fink, Sam (illustrator). 160 pages. 11.25x7.75x0.75 inches. In Stock.

No Binding. Zustand: Very Good. Plate size approx. 8 x 5 ins, 20 x 14cms. Mounted and ready to frame, mount size approx. 12 x 10 inches, 30 x 25 cms, VERY GOOD *Decorative and unusual.

Zustand: New. KlappentextrnrnUnlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketc.

Zustand: New. KlappentextrnrnUnlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketc.

Taschenbuch. Zustand: Neu. The Declaration of Independence | and the Constitution of the United States in German, French and English - Vol. 1 | U. S. Declaration of Independence | Taschenbuch | 92 S. | Englisch | 2018 | hansebooks | EAN 9783337603229 | Verantwortliche Person für die EU: BoD - Books on Demand, In de Tarpen 42, 22848 Norderstedt, info[at]bod[dot]de | Anbieter: preigu.

Consisting of pages [71]-98. 1 vols. 8vo. With the offprint of the half-title for "John Witherspoon" on verso of last leaf. Laid into worn green wrappers. Removed from larger collection of Signer's biographies. Some browing, gatherings separated, creasing, some light waterstaining, else very good Consisting of pages [71]-98. 1 vols. 8vo.

DECLARATION OF INDEPENDENCE; FRANK, Robert|LIMITED EDITIONS CLUB (illustrator). FRANK, Robert. LIMITED EDITIONS CLUB. The Declaration of Independence [LEC]. Photograph by Robert Frank. Afterword by David Armitage. New York: Limited Editions Club, 2010. Full Description: [DECLARATION OF INDEPENDENCE]. The Declaration of Independence [LEC]. Photograph by Robert Frank. Afterword by David Armitage. New York: Limited Editions Club, [2010]. Limited to 500 copies, signed by the photographer Robert Frank and David Armitage on limitation page. This being number 40. Quarto (14 1/8 x 10 1/2 inches; 358 x 267 mm). With a frontispiece photogravure by Robert Frank. Printed letterpress on thick handmade paper. Bound in publisher's dark blue fabric. Blue morocco label on front board, lettered in gilt. Bottom edge uncut. Housed in a dark blue fabric velvet-lined clamshell. Clamshell with blue morocco spine label, lettered in gilt. A fine copy. ".The Declaration of Independence, one of the bravest documents in human history. No plea for reform, it demanded a divorce for the "Free and Independent States." Creating a brand new nation, the delegates, all white and all men, put everything at risk. Men of property, well educated and powerful, they knew full well that by signing it, they stood to lose everything, their property, their families, their very lives if the Declaration and their mission failed. Hauntingly, Dr. Armitage includes a section that the delegates deleted. Here Jefferson speaks of the horrors of slavery, charging that the George III '. . . waged cruel war against human nature itself . . . Determined to keep open a market where MEN should be bought & sold . . . '" (From the publisher) LEC Bibliography. HBS 69353. $2,500. Signed.

Leather. Zustand: Very Good. The Fourth Edition. 4th edition. Polished leather boards. Five raised bands. iv-270, 259, [9] pp. 23cm. Joints professionally mended. Spine has newer black panel with gilt title. Light age-tanning throughout. Repair to open tear on top of front free endpaper. Although a later reprint, it is interesting for the weight it gives to various topics. For example, it begins on the first page discussing in worried tones the American war and especially the danger to Canada. Later it becomes confident (arrogant?) in discussing the events in New York. The title page of the first section (The History of Europe), bears the contemporary signature of "Eben Huntington" followed by the date "1789". This book almost certainly belonged to Ebenezer Huntington (1754-1834), a Connecticut native who served during the American Revolution who participated in the Siege of Boston, marched with Washington to New York, fought in the battles of Rhode Island and Springfield (New Jersey), Witnessed the surrender of Cornwallis, and was promoted from Lieutenant Colonel to Brigadier General. He also served in the U.S. House of Representatives and the U.S. Senate. Contains one of the earliest printings of the Declaration of Independence pp. 261-264 (here entitled: "Reasons assigned by the Continental Congress, for the North American Colonies and Provinces withdrawing their Allegiance to the King of Great-Britain") and the Articles of Confederation (pp. 264-270)) under an assortment of documents called "State Papers", but neither comments on them or even seems to understand, or care about their signficance. Indeed, the section begins with an editorial commentary stating: "The two following Papers seem to exhibit the Extremes of Zeal and Indifference, with which the Powers of Europe regard the present Quarrel between Great Britain,and her North-American Colonies; and, therefore, cannot but be entertaining to the Reader". This book is probably as close as one can get to the mind-set of the British as they fumble their misunderstanding way to eventual disaster. Book divided into sections, the first of which, entitled "The History of Europe". While this section addresses British Empire's concerns throughout Europe and elsewhere, it devotes a goodly portion of its192 pp. to blow-by-blow descriptions of hostilities between Britain and the American colonies. The following section entitled "Characters" (64 pages in length) covers the deeds and accomplishments of various historical personages, or peoples such as the Romans, the Mexicans, the Acadians (Cajuns), a German Princess, etc. Then a 45-pp section on "Natural History", including a section involving subjecting animals (carp, a dormouse, a toad, a snail) to extremes of hot and cold, and then similar treatment to vegetables; next section entitled "Projects" including "Rifling Gun-barrels, and feathering arrows by a Mr. Emerson. Subsequent sections are entitled "Antiquities" comprising several historical miscellanies; "Miscellaneous Essays"; "Poetry", an "Account of Books" including discussion of recently published titles including Adam Smith's The Wealth of Nations. The most fascinating section, however, is the 135-page section immediately following "The History of Europe" entitled "Chronicles", and contains anecdotal reportage of day-to-day events and occurrences in eighteenth-century Britain, from fires and murders, to deaths and robberies (including the holdup of a woman in a stage by a robber "dressed in white cloathes and a gold-laced hat" who demanded the lady's money and as he pocketed her money, reached into another pocket and "gave her a small diamond hoop ring, which he presented to the lady, desiring her to wear it for the sake of an extraordinary robber, who made it a point nof honour to take. no more from a beautiful lady, than he could make a return for in value. He then, with great agility, vaulted over the wall, and disappeared." All in all, this section provides a precise view into life as it was lived three quarters through that (18th) century.

DECLARATION OF INDEPENDENCE (illustrator). First edition, first issue of Volume II of the Journals of Congress with the rare Aitken imprint and the first Congressional printing of the Declaration of Independence (found on pages 241-246). Aiken took over the printing of the Journals from Bradford before the 1776 Bradford edition had reached the printing of the Declaration of Independence, thus making this the first. Octavo (8 3/4 x 5 1/2 inches; 222 x 140 mm). [2], 513, [22, index], [1, blank] pp. Rebacked in old quarter parchment over contemporary drab boards. Pages uncut. Boards with some minor wear. Pages with some occasional and expected toning. Overall a very good copy. "Robert Aitken was licensed by Congress to publish the Journals on 26 September 1776. Volume I of the series comprised reprints of his "Cartridge Paper" edition, the monthly issues which covered the first four months of 1776; the present volume II included the first publication of the June-December Journals, and came off the press the following year. According to Aitken, 532 copies were printed, but when Congress had to flee from Philadelphia in the autumn of 1777 Aitken's press was lost and many copies were seemingly left behind and destroyed by the British.The volume records some of the most tumultuous events of the Revolution, and the text of the Declaration appears in full, with the names of the signers, on pages 241-246." (From Bonhams). In March of 1776, after the printers the Bradfords of Philadelphia's work of printing the previous transcripts of Congress were deemed unsatisfactory, "Robert Aitken now makes his first appearance upon the scene as a printer of Congressional proceedings. Beginning the work where the Bradfords left off, and without express order of Congress other than such sanction as he may have received from their printing committee, he published the Journals in monthly subdivisions from January to May, 1776, inclusive. Aitken had now found favor in the eyes of Congress, and on September 26, 1776 the committee appointed to superintend the publication of the Journals were instructed to employ him to reprint the Journals from the beginning, with all possible expedition, and to continue to print the same. The Congress agreed to purchase of him five hundred copies when printed, and Aitken was further directed to purchase from the Bradfords, on reasonable terms and at the expense of Congress, such parts of the Journal as they had printed but had not yet published. In pursuance of this order and under the supervision of the printing committee, Aitken, in the spring of 1777, issued what he termed a "New Edition" of the Journal of Congress in two volumes; the first containing the proceedings for 1774 and 1775 and the second those of 1776. This became the authoritative edition for those years and has always been followed whenever reprinted." (The Journals and Papers of the Continental Congress By Herbert Friedenwald, pg 15-17). Pp.1-424 were later reissued as part of: 'Journals of Congress. . Volume II'. York-Town [Pennsylvania], printed by John Dunlap, 1778. The Aitken imprint of this present copy is far more rare. Evans 15684. ESTC W20602 HBS 68168. $27,500.

1. original promissory note on printed form sheet, 9 x 17 cm, filled-in with brown ink, signed by Oliver Wolcott, punch hole cancellation near to his signature, some minor foxing, slightly creased, otherwise in good condition 2100 gr.

Broadside, 29½ x 25 inches, printed on thin paper. The Declaration of Independence, the foundation document of the United States, has been printed myriad times since its original publication in 1776. At first as broadsides, then as an essential addition to any volume of laws, it was from the beginning a basic work in the American canon. The present document is from one of the earliest broadside reproductions of the Declaration, done within a few years of the first broadside republications. In the period following the War of 1812, Americans began to look back, for the first time with historical perspective, on the era of the founding of the country. The republic was now forty years old, and the generation of the American Revolution, including the signers of the Declaration, was dropping away. With nostalgia and curiosity, many Americans began to examine the details of the nation's founding. Among other things, such documents as the debates of the Constitutional Convention were published for the first time. It seemed extraordinary that the Declaration of Independence, as created, was unknown to Americans, when the text was so central to the national ego. Several entrepreneurs set out to bridge this gap by printing reproductions of the document, often featuring calligraphic text, portraits, or other decorative flourishes. The most accurate of these early reproductions was an official facsimile, sponsored by Secretary of State John Quincy Adams and created by William J. Stone in 1823. Stone made an exact facsimile of the Declaration (then kept in the State Department), printed actual size on both parchment and paper. Bidwell calls this facsimile "a magnificent replica," and it is from this facsimile (likely from Stone's original printing plate) that Peter Force made the present facsimile of the Declaration of Independence, printed between 1843 and 1848 and published in the fifth series of his American Archives. It is an exact facsimile of the actual Declaration, on a slightly smaller scale, accurately reproducing the restrained force of the original document. A most desirable, attractive, and scarce facsimile of the Declaration of Independence. John Bidwell, "American History in Image and Text" in Proceedings of the American Antiquarian Society, Vol. 98, 1988, pp.247-302 (also issued as a separate pamphlet by AAS), item 7 (note) Expert archival reinforcements along folds on verso. Framed Broadside, 29½ x 25 inches, printed on thin paper.

First printing on paper of the first official facsimile of the founding document of the United States, preceded only by the printing on vellum for private distribution. The facsimile was commissioned by Secretary of State John Quincy Adams in 1820. Two entrepreneurs, John Binns and Benjamin Owen Tyler, had recently independently produced their own cruder facsimiles. Quincy Adams desired an official and accurate facsimile made directly from the original. He hired the Washington printer William J. Stone, who spent three years creating the plate. Stone used the wet ink transfer method - the original document was moistened and pressed to transfer the ink onto the plate, which was then engraved directly. This procedure removed much of the ink from the original document and caused considerable degradation of the paper, leading to its near-illegibility by the middle of the 19th century. The plate was completed in June 1823 and sold to the State Department, who that year printed 200 copies on vellum and distributed them to official repositories, prominent individuals, and the few surviving signers of the Declaration. In 1833, the State Department authorized a second printing from the historian and printer Peter Force. These copies were to be inserted into the publication known as the American Archives, a 20-volume compilation of legislative records and documents. Force erased the original imprint from the plate and printed it on fine rice paper as close in colour and texture to the original parchment as possible. Because the original document is now so deteriorated (in part due to the method by which the engraving was made), it is Stone's engraving which is commonly used, often silently, where the Declaration is illustrated in books and media. Broadside (753 x 640 mm) on rice paper, mounted and framed with conservation-standard acrylic glazing. Folds and slight offsetting where formerly inserted into book as issued, a few splits along folds and extremities, light creasing, very discreet restoration to closed tears at foot. A very good copy.

DECLARATION OF INDEPENDENCE (illustrator). Philadelphia]: Illman & Sons, [n.d.c.a. 1859]. Large broadside (20 1/2 inches; x 16 inches; 510 x 410 mm). Engraved. The text in a small script within an elaborate vine and floral border. The engraving includes portraits of the Presidents from Washington to Buchanan. As well as flags, the American eagle in a cartouche, a vignette of the Washington family burial vault, and a reproduction of Trumbull's Declaration. Along the top are facsimile signatures after Binns. (Bidwell 30). Broadside is mounted to a large mat. Some minor toning. A bit of light creasing. Three minor marginal closed tears, two of which are just barely touching the engraving. Overall a very nice copy. Bidwell 30. Hart 597. HBS 69018. $2,000.

DECLARATION OF INDEPENDENCE (illustrator). First Edition. Manchester N.H.: Wm. H. Fisk, 1856]. First edition (?). Broadside. Measures 28 1/2 x 22 inches. Paper is a bit toned. Some moderate edgewear. A few small marginal holes and marginal closed tears. One closed tear approximately 3.5 inches, but none of the tears or wear are affecting the image. Overall very good. "The original of this was designed and executed entirely with a pen by Gilman Russell, Teacher of Practical , Plain & Ornamental, Writing and Drawing." (Copyright statement of of Gilman Russell, dated 1856), J.H. Bufford's Lith. "Lithograph title with some pen flourishes copied from N. 4 [ie Philadelphia, William Woodruff] text in a uniform round hand. Russell has written the text around a standing portrait of Washington and enclosed in a grapevine border. No signatures. Later editions and adaptations: ca. 1876 Retitled Great Centennial Memorial, Bufford's and Fisk's imprints omitted, Russell's imprint rephrased, and with a new copyright statement, dated 1866." (Bidwell 28). Bidwell 28. Nash, p. 266; NHi HBS 68496. $1,750.

DECLARATION OF INDEPENDENCE (illustrator). First Edition. Boston: George Girdler Smith, [n.d.c.a. 1841]. First Edition of George Smith's engraved broadside of the Declaration of Independence. Broadside (11 15/16 x 9 3/8 inches; 303 x 239 mm). With engravings of the first ten presidents and the seals of the thirteen original colonies. Printed on thick, coated paper. Some light rubbing along edges on Madison's engraving. Otherwise about fine. According to Bidwell, "Engraved, text in a border closely imitating the Binns edition, facsimile signatures after Binns." (Bidwell 20). The next edition after the present copy contain a portrait of eleven presidents including Polk and a view of the Capitol. The next edition replaces the Capitol with a portrait of Zachary Taylor. Bidwell 20; Hart 590 (both for the later editions). HBS 68495. $2,500.

Broadside, 66 x 51 cm., a multi-colored lithograph, printed in red, white and blue, containing the text of the Declaration of Independence. Described in detail upon its publication, in the "Sacramento Daily Union," [vol. 31. no. 4746], on 13 June 1866: "We have before us a beautiful illustration of this peculiarity of the State, in the production of John A. Fuller, a miner of Nevada, entitled 'Freedom's Footsteps.' During his leisure hours this gentleman designed and executed with the pen a large chart, emblematic of the progress of our country, the events by which independence of the nation was secured, the nature of the Union and the Industrial springs of its prosperity. In the center is a neatly written copy of the Declaration of Independence, with the signatures of the immortal fifty-six. The border is composed of Corinthian columns, twined with the memorials of the Revolution -- the Union being typified by the masonry of States at the base of each column. The names of the Presidents, from Washington to Lincoln, surround the oval center-piece containing the Declaration. Over all flies the national eagle, grasping the flag. The design evinces refined taste and intelligence, and the penmanship could not be easily surpassed by professors in that line. This chart has been elegantly lithographed by W. Vallance Gray, of San Francisco." OCLC locates one copy (Virginia, in the Albert Small "Declaration of Independence" collection). The broadside has several hairline cracks which slightly affect the image on the original, brittle paper and shallow chipping along the edges and at the corners, not affecting any text. It has been professionally backed with Japanese paper. A visually dramatic broadside from post-Civil War California. In the center of the text of the Declaration of Independence is a colorful example of the Seal of the United States. Down the columns on either side of the Declaration, and in bordered boxes below are some of the names of famous Revolutionary War battles, with their dates. Details regarding the Presidents have also been entered. Lincoln's assassination is noted, "at Ford's Theater Washington DC / succeeded by vice President / A. Johnson." Fuller makes a few very minor mistakes in his details. Death dates are not given for either John Tyler or Martin Van Buren, though both had died in 1862. The masonry bricks along the bottom edge of the broadside represent the states admitted to the Union, and their dates of admission are given, including California (1850). Fuller lists Minnesota's date as 1860, though it was actually admitted in 1858. West Virginia is present, but has no date. OCLC lists one previous work by the lithographer, W. Vallance Gray, a map of the gold and silver mining districts of the state of Nevada, published in 1865 [see: Graff: #1882.] Gray (1839-?), a native of Scotland, studied lithography there with the firm of McClure & McDonald. In 1860 he took a position with the Presbyterian Malay Missionary Society in Singapore and spent two years teaching lithography to the Malays. He then determined to travel around the world, but only got as far as San Francisco before settling down. He worked for Britton & Rey lithographers for one year, then joined the large publishing firm of A.L. Bancroft where he worked for a number of years. [See: "Sketches of Leading and Representative Men of San Francisco," by O.T. Shuck, published in 1875.] Gray also worked with C.B. Gifford in the late 1860's and 1870's, creating a number of views of California cities, including San Francisco and San Jose. Gifford's technique of "showing the city as seen looking west from an imaginary point in the air," was later adapted by many different artists to create other "bird's eye" city views. [see: Reps, "Views and Viewmakers of Urban America," p.178.].

Oblong folio. One-page, approximately 125 words. Old fold lines, but very good.

Good. Repaired tear extending from right margin near 'Surrender of Lee' about 5 inches into the page. Size 17 x 26.75 Inches. An impressive 1876 first edition broadside published by Daniel Titus Ames to celebrate the centennial. Likely made for the 1876 Philadelphia Centennial Exposition, the view promotes Manifest Destiny - the idea of American social and pollical power spreading westward across the continent. A Closer Look The broadside consists of two oval windows: the left features the Declaration of Independence and a portrait of Washington, and the right the Emancipation Proclamation and a portrait of Abraham Lincoln. The full text of both documents is contained within, written in the 19th-century calligraphic style known as 'engrossing', one of Ames' specialties. These windows are surrounded by elaborate floral-motive decoration and 22 vignettes illustrating important moments in American history. Views of Pittsburgh Two central bird's-eye views illustrate Pittsburgh, where the confluence of the Allegheny and Monongahela Rivers form the Ohio. The upper view is dated 1776, exhibiting forest. The lower view, depicting 1876, presents a bustling city and gateway to the west. Some collection catalogers have suggested these views represent Philadelphia, but this is definitively not the case. Not only do they not resemble Philadelphia, but it was already a large and prosperous city in 1776. The use of Pittsburgh underscores the 'manifest destiny' title banner just above 'Westward the Course of Empire Takes its Way.' Publication History and Census This view was published in 1876 by Daniel T. Ames. It was issued in several formats, including a double-sized edition with chromolithograph shading published sometime later by W. Welke and James Miller. The present example, bearing only the Ames imprint, is the first edition. This view was most likely produced for sale at the 1876 Philadelphia Centennial Exposition, and the elaborate buildings behind the title are likely the exposition halls. The view is scarce. Institutional collection records indicate one example at Yale, and another at the Newberry, both the Welke/Miller second edition. We note just one example on the market in the last 20 years. References: The Lincoln Collection, 71.2009.081.1427.n. Huntington Library, J. T. Last Collection, priJLC_FAIR_001720. OCLC 525013488.

Very good. Stabilized on verso with archival tissue. Size 27 x 20.5 Inches. This is a large 1856 Gilman R. Russell commemorative broadside of the Declaration of Independence. It consists of a two-color lithograph with the text of the Declaration appearing in finely executed calligraphy around an image of George Washington. The text is surrounded by a wreath of acanthus leaves, and surmounted by a title banner and a powerful eagle. The broadside was published on the 80th anniversary of the Declaration's signing. It served both as an income-generating patriotic image for sale to the general public, and as a promotion for Russell's penmanship and calligraphy classes. Publication History and Census This broadside was designed by Gilman R. Russell, printed by J. H. Bufford, and published by William H. Fisk. It is scarce. We note examples at the New Hampshire Historical Society, the Boston Athenaeum, the University of Virginia, the Maharishi International University, and the the University of Cambridge. Scarce to the market. References: OCLC 52687159. New Hampshire Historical Society, S 1997.553.09.

Very good. Accompanied by frame. Size 2.5 x 7.25 Inches. This is an 1893 Stevengraph Works woven silk view of the signing of the Declaration of Independence. The view depicts the Continental Congress in Philadelphia signing the Declaration of Independence, with Thomas Jefferson standing in the foreground in a black coat flanked by other members of the Congress. There is some confusion over which painting acts as the view's inspiration, but most believe it to be John Trumbull's monumental painting, which currently hangs in the rotunda of the United States Capitol Building. The silk itself measures 2.5 x 7.25 inches. It is mounted on its original board, which bears the inscription 'Woven in pure silk at the Columbian Exposition, Chicago, 1893, by the Stevengraph Works, Coventry, England. Stevengraphs Stevengraphs were invented by Thomas Stevens (1828 - October 24, 1888) after the ribbon weaving industry in Coventry, England collapsed following the signing of the Cobden-Chevalier Treaty. Stevens used his experience and expertise with the Jacquard loom to weave colorful pictures in silk. He had four designs in production by 1862 and over 900 by the late 1880s. They were sold as bookmarks, greeting cards, and, eventually, framed pieces of art. Stevengraphs fell out of fashion in the early 20th century, but experienced a brief resurgence during the 1930s Victoriana trend. The Stevengraph factory was destroyed by Nazi bombers during the Coventry Blitz of November 14, 1940. It was believed all of Stevens' records were also lost at that time. However, in the late 1950s, Henry Stephens, one of Thomas Stevens's descendants, revealed that he had saved one of the company's pattern books the night before the factory's destruction. Today that pattern book is part of the collection at the Herbert Art Gallery and Museum. The Columbian Exposition The 1893 Columbian Exposition or Chicago World's Fair was a pivotal moment in the history of the United States. Chicago won the right to host the World's Fair over New York, Washington D.C., and St. Louis. During its six-month run, nearly 27,000,000 people, roughly half the population of the United States at that time, attended the fair. Its numerous displays and exhibits established conventions for architecture, design, and decorative arts, in addition to initiating a new era of American industrial optimism. The layout and design of the fair was the work of Daniel Burnham and Frederick Law Olmsted, the genius behind New York City's Central Park and Brooklyn's Prospect Park, among others. Most of the fair was designed in the Beaux Arts tradition, a popular movement in Paris that was quickly gaining global momentum. In the years following the fair, this influential architectural style redefined the cityscape of Chicago, Boston, New York, and many other prominent American cities. Publication History and Census This view was created by the Stevengraph Works at the Columbian Exposition in Chicago in 1893. It is accompanied by its original board, which measures 9 x 6 inches, as well as its original frame, which measures 11.25 x 14.25 inches. This view is scarce on the market and is not cataloged in OCLC.

Printed broadside on cotton, text of the Declaration and facsimile signatures of the signers printed in brown, border of branches and laurels, seals of the thirteen colonies, liberty bell, and banner inscribed with the names of Revolutionary leaders, blue surround. 18-1/2 x 24-1/2 inches. Not in Bidwell Foxing, a few pinholes along margins. Ink-stamped "Jefferson Davis" in two places Printed broadside on cotton, text of the Declaration and facsimile signatures of the signers printed in brown, border of branches and laurels, seals of the thirteen colonies, liberty bell, and banner inscribed with the names of Revolutionary leaders, blue surround. 18-1/2 x 24-1/2 inches.