Busacca Gallery

A Remarkable Historical Discovery: An Early Hand-Painted Declaration of Independence. This is an extraordinary find—an original, hand-painted and handwritten depiction of the Declaration of Independence on calfskin vellum. The design bears a strong resemblance to the 1819 engraving by artist William Woodruff, and we believe this painting may have served as the concept design and illustrative guide for that very engraving. The engraved version, published in 1820, is among the earliest printings of the Declaration ever made available to the American public. The original painting, recently discovered, is a gouache work featuring a red eagle clutching an olive branch and arrows. It includes portraits of George Washington, Thomas Jefferson, and John Adams, as well as the seals of the thirteen original colonies enclosed in an oak wreath and topped with an eagle. The text and signatures of the Declaration’s founding fathers are also meticulously represented. This painting appears to be an original color illustration created for the purpose of being reproduced as a broadside print in New York by William Woodruff. The artwork beautifully depicts the armorial bearings of the original thirteen states and the aforementioned presidential portraits. Executed on calfskin vellum and mounted onto what seems to be canvas cloth, the piece appears to have been framed in the 1950s and is currently housed behind glass. The document shows signs of folding and fragility, and has not yet been examined outside the frame. We believe it was created as a formal, artistic prototype for subsequent printed editions. Historical Context and Artistic Intent It is widely believed that an original design must have existed for Woodruff’s engraving to take form. Such a detailed layout could not have been conceptualized spontaneously. Logically, a preliminary sketch—followed by a colored rendering—would have been necessary to guide the engraver in interpreting the final composition. This painting, therefore, may represent that rare and critical step in the process, making it a significant piece of American folk art. About the Gouache Technique Gouache painting is a method that uses opaque watercolors, composed of pigment, water, and a binding agent such as gum arabic. Thicker and more opaque than traditional watercolors, gouache produces rich, flat color areas and allows for sharp detail. It has long been favored for illustrations and miniatures due to its precision. During the 18th and 19th centuries, gouache techniques closely resembled those used today, though materials varied. Artists employed natural pigments like vermilion, indigo, and ultramarine, mixed with binders to create a smooth surface. "Bodycolor"—a technique involving white pigment—was sometimes added to enhance opacity. Gouache was often used in tandem with watercolor for complex visual effects and remained popular for its vivid coloration and fine detailing. The Document’s Role in the American Revolution This document—an original, painted and handwritten version of the Declaration—is a newly discovered artifact from a private estate. Though in poor condition, restoration efforts are being planned. Its creation likely served a ceremonial or symbolic purpose. The Declaration itself was the revolutionaries’ mission statement—a statement of principles to justify their cause and solidify their accountability. The use of vellum was deliberate: it’s a durable material capable of withstanding repeated handling, rolling, and transport. This was essential, as the Continental Congress carried the Declaration to various locations during the Revolutionary War. The document's formality was intended to convey the gravity of their undertaking. Although most Americans at the time encountered the Declaration through typeset "Dunlap broadsides" printed on July 4, 1776, this painted version represents one of several handwritten variations that reflect the evolving symbolism of the document. From practical press releases to elaborate artistic renderings, the Declaration's many forms reveal the growing importance it held in the American imagination. Historical and Cultural Value Handwritten and painted versions of the Declaration are rare and immensely valuable, both culturally and monetarily. The original engrossed copy resides in the National Archives in Washington, D.C., and is considered one of the nation’s most treasured documents. Other authentic handwritten copies—like the one purchased by television producer Norman Lear for $8.1 million in 2000—demonstrate their immense worth. Value is determined by condition, provenance, historical context, and rarity. These artifacts serve not just as historical records, but as cultural touchstones—reminders of the ideals and sacrifices that shaped the United States. Woodruff vs. Binns: A Feud Over Authorship When William Woodruff released his version of the engraved Declaration in 1819, he was swiftly accused of plagiarism by fellow engraver John Binns. Binns alleged that Woodruff, once a journeyman to his employee George Murray, had stolen his design. Though Binns filed a lawsuit, it was ultimately dismissed. Ironically, the controversy only heightened public interest in both prints. In 1816, Binns had announced plans to publish “a splendid and correct copy” of the Declaration, surrounded by the arms of the thirteen states and the United States, complete with facsimile signatures. For many Americans—who had never even seen the Declaration’s full text—this was their first opportunity to encounter it as a national symbol rather than a wartime document. While Binns worked to prepare his print, Woodruff released his own version in February 1819—months before Binns’ October/November publication. The two prints were visually similar, sparking the lawsuit that led to the 1821 court case Binns v. Woodruff. Supreme Court Justice Bushrod Washington ruled that copyright law protected either the full creation (design and engraving) or a designed work engraved by another—but not an arrangement composed of pre-existing parts, as Binns had used. Justice Washington concluded that Binns’ design was not original enough to merit protection, and thus Woodruff was not guilty of infringement. Interestingly, Woodruff’s version did not use facsimile signatures (except John Hancock’s) but instead used uniform printed text. He also replaced Binns' portrait of Hancock with a portrait of Adams. Description of the Disputed Broadside The print in question was a broadside titled “In Congress, July 4th, 1776. The Unanimous Declaration of the Thirteen United States of America” (New York: Phelps & Ensign, c. 1841), measuring 22" x 30". It included the Declaration’s full text, engraved portraits of Washington, Jefferson, and Adams, and state emblems framing the document. A dedication above the publisher’s mark read: “To the People of the United States, this Engraving of the Declaration of Independence is most respectfully inscribed by their fellow citizen, Wm. Woodruff.” Woodruff’s 1819 broadside featured the Declaration’s text enclosed within an ornate circular frame made of a wreath and the seals of the thirteen colonies. Above the frame were portraits of the first three presidents, various flags, and a heraldic American eagle. The uniform printed signatures reinforced the sense of formality and unity intended in the design. This painted version, believed to be the concept illustration for Woodruff’s design, adds a vital piece to the story of how the Declaration of Independence was interpreted, disseminated, and remembered. As both a work of art and a historical document, it represents a rare convergence of design, patriotism, and political symbolism—an irreplaceable artifact from the nation's founding legacy.

The Declaration of Independence: Printed, Painted, and Preserved The Declaration of Independence was first printed on July 4, 1776, in a format known as the Dunlap Broadside. This was a typeset version, the first official text distributed to the public, named after John Dunlap, the printer commissioned by the Continental Congress. Following the initial printing, several other printed versions were created. Among the most significant was the Stone Engraving, produced in 1823 by William J. Stone. This version is widely considered the most accurate copy of the original Declaration, incorporating a few minor corrections made during the drafting process. Handwritten and Painted Versions In addition to printed editions, several handwritten and painted versions of the Declaration were produced. The most famous is the engrossed copy, penned by Timothy Matlack, a clerk in the Pennsylvania State House, in July 1776. Written on parchment, it includes the signatures of the Continental Congress members who approved the document. Another iconic representation is the Trumbull painting, completed by John Trumbull in 1817. It depicts the presentation of the Declaration for signing and has become one of the most enduring images of American history. While many of these artistic or embellished renditions are not literal representations of the original text, they played a critical role in popularizing the document and symbolizing the nation's democratic ideals. Their beauty and symbolism helped reinforce the Declaration’s lasting importance in the American imagination. Nationalist Revival After the War of 1812 A resurgence of nationalism after the War of 1812 sparked the creation of numerous ceremonial copies of the Declaration. By this time, most of the original signers had passed away or were elderly, and renewed interest in the nation's founding documents was spreading. Among the most prominent engravings of this period were those by Benjamin Owen Tyler, John Binns, and William J. Stone. The Binns vs. Tyler Rivalry In 1816, Philadelphia publisher John Binns publicly announced his plan to publish a grand engraved edition of the Declaration of Independence, complete with facsimile signatures and elaborate design, which he intended to sell for $10 ($13 with color). His announcement inspired others—most notably Benjamin Owen Tyler—to attempt similar editions, igniting a public rivalry. Binns accused Tyler of stealing his idea and violating publishing customs, leading to a bitter feud in local newspapers. To complete his project, Binns sought official materials. At the request of Senator Jonathan Roberts of Pennsylvania, Secretary of State James Monroe sent Binns a copy of the Declaration. Binns also requested impressions of the U.S. coat of arms and various state seals. With these elements in hand, Binns assembled a team of artists and engravers. In 1818, while still developing his design, Binns submitted an unfinished proof to register the copyright. Binns’s Vision Binns described his envisioned engraving in great detail: “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. Beneath that will be a large medallion of General George Washington, supported by cornucopiae, and embellished with spears, flags, and other military trophies. On one side will be a portrait of John Hancock, and on the other, a portrait of Thomas Jefferson, the author of the Declaration…” The design also featured medallions of the thirteen states, tied with olive wreaths, along with imagery of America’s agricultural abundance—tobacco, indigo, cotton, and rice. Binns hired Mr. Vallance to engrave the facsimiles of the signatures, and made arrangements for the engraver to work in Washington, D.C., using the original document as a reference. Tyler Beats Binns to Market Despite Binns’s careful preparation, Tyler released his version first in 1818. He dedicated it to Thomas Jefferson and included an attestation of accuracy from acting Secretary of State Richard Rush, son of signer Benjamin Rush. Still determined, Binns continued working. In July 1819, he sent an unfinished proof to Jefferson requesting feedback and announcing his intent to dedicate the work to the American people rather than any individual. Jefferson never received the proof and offered no input. In September 1819, Binns also reached out to John Adams, expressing the engraving's value and purpose. Although Adams received the print, there’s no record of him providing any feedback. Completion of the Binns Engraving By November 1819—over three years after his initial proposal—Binns finally completed his 26″ x 36″ engraving at a cost of $9,000 (equivalent to approximately $200,000 today). To distinguish his work, Binns included a certificate from Secretary of State John Quincy Adams, affirming that the signatures were “exact imitations” of the originals and that the document was a correct copy of the original housed in the Department of State. Binns also credited his collaborators: George Bridport – ornamental design Thomas Sully – arms of the U.S. and state medallions James Barton Longacre – engraved portraits Tanner, Vallance, Kearny & Co. – engraved the signatures James Porter – printer The portraits of Washington, Jefferson, and Hancock were copied from original works by Gilbert Stuart, Bass Otis, and John Singleton Copley, respectively. Approximately 100 copies of the Binns engraving are estimated to survive today. One copy, from the records of the U.S. Senate, is housed in the Center for Legislative Archives at the National Archives. The Stone Engraving and Official Recognition While the Binns and Tyler engravings were impressive, they were not full, literal facsimiles of the original document. Their popularity declined when John Quincy Adams, then Secretary of State, commissioned William J. Stone in 1820 to create an official, full-size facsimile of the original engrossed Declaration. Completed in 1823, the Stone Engraving became the authorized version used by the U.S. government. Binns vs. Woodruff: Legal Battle To make matters worse for Binns, he faced competition from William Woodruff, a Philadelphia engraver who had worked under one of Binns’s artists. Woodruff released a remarkably similar engraving and beat Binns to publication. In 1819, Binns sued Woodruff, but in 1821, the court ruled against him, stating that Binns’s work incorporated previously published images and therefore was not eligible for copyright. After the ruling, Woodruff updated his design and published a near-exact replica of Binns’s work. Legacy Despite the setbacks, Binns enjoyed a long and influential publishing career. He published his autobiography, Recollections of the Life of John Binns, in 1854 and died in Philadelphia in 1860 at the age of 87. His engraving plate is now housed in the Graphic Arts Department of the Library Company of Philadelphia, likely acquired in 1948 as part of the James Barton Longacre Collection. To learn more about the Declaration of Independence and its enduring legacy, visit the National Archives and explore how this foundational document continues to be celebrated every July 4th.