Busacca Gallery

A Remarkable Historical Discovery: An Early Hand-Painted Declaration of Independence This extraordinary find is an original hand-painted and handwritten depiction of the Declaration of Independence on calfskin vellum. We were asked to review an estate liquidation, during which we uncovered a unique and significant piece of American history. We believe this work may represent an original example—or source image—for a well-known printed version of the Declaration of Independence. The piece is said to have been acquired approximately 30 years ago by a prominent San Francisco resident whose estate included multiple rare and valuable collectibles. This discovery may represent the original prototype for this version of the Declaration, as it possesses key characteristics of a preparatory design rather than a finished print. The composition closely matches the later engraved layout, yet it is executed as a hand-painted gouache on vellum—an ideal medium for developing color, detail, and spatial arrangement prior to engraving. The precision of the imagery, including the placement of portraits, state seals, and decorative elements, suggests it served as a visual guide for translation into print. Unlike mass-produced versions, this work shows evidence of being individually constructed, likely intended for an engraver to follow. Its material, technique, and structural alignment with the published engraving strongly support the conclusion that it could be the original concept drawing—the foundational artwork from which the final printed version was derived. The design bears a strong resemblance to the 1819 engraving by artist William Woodruff. We believe this painting may have served as the conceptual design and illustrative guide for that engraving. The engraved version, published in 1820, is among the earliest printings of the Declaration made available to the American public. The original painting, recently discovered, is executed in gouache and features a red eagle clutching an olive branch and arrows. It includes portraits of George Washington, Thomas Jefferson, and John Adams, along with the seals of the thirteen original colonies, enclosed within an oak wreath and topped by an eagle. The text and signatures of the Declaration’s founders are also meticulously rendered. This painting appears to be an original color illustration created for reproduction as a broadside print in New York by William Woodruff. The artwork beautifully depicts the armorial bearings of the original thirteen states, along with the presidential portraits noted above. Handwritten and hand-painted versions of important documents like the Declaration of Independence were created—and sometimes carried—because they served purposes far beyond simple record-keeping. In the late 18th century, reliable mass reproduction methods were limited, so official texts often had to be written out by hand to ensure accuracy and authority. Durable materials such as vellum or parchment were used because they could withstand travel, folding, and repeated handling—essential during a time when the Continental Congress was frequently on the move during the Revolutionary War. These documents were not only practical but also symbolic. A carefully written or artistically rendered version conveyed legitimacy, permanence, and unity. Carrying such a document allowed leaders to present a formal and authoritative statement of independence wherever they went—whether for military coordination, political negotiation, or public reading. In many cases, these versions also functioned as presentation copies, intended to inspire confidence, communicate ideals, and reinforce the seriousness of the cause. Over time, more elaborate painted and decorative versions were created to honor the document and elevate it into a national symbol. These were not necessarily used in the field but were produced to celebrate the founding moment, educate the public, and preserve the visual identity of the nation’s most important statement. In short, these documents were created to communicate, legitimize, and ultimately immortalize the principles their creators were willing to risk everything to defend. What makes this document so valuable—even in its current condition—is its rarity and what it appears to represent. While only a small number of early printed versions of the Declaration of Independence are known to exist, examples like this—hand-painted on calfskin vellum and seemingly created as a working prototype—are virtually unheard of. This piece appears to sit at the origin point of production, not as a reproduction, but as the visual blueprint an engraver would have followed. That distinction places it in an entirely different category from known prints or later copies. There are no clearly documented examples of hand-painted Declaration prototypes on vellum like this, suggesting there may be only one—or very few—ever made. Even in poor condition, its importance lies in what it represents within the creation process, not just its appearance. If authenticated, particularly with a direct connection to an early engraving, it could carry significant value in today’s market—potentially in the multi-million-dollar range—especially as major American anniversaries approach, when historically important material like this attracts heightened interest from collectors and institutions. Executed on calfskin vellum and mounted onto what appears to be canvas, the piece seems 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 composition would not have been conceived spontaneously. Logically, a preliminary sketch—followed by a refined color rendering—would have been necessary to guide the engraver in executing the final composition. This painting may represent that rare and critical stage in the process, making it a significant piece of American folk art. About the Gouache Technique Gouache is a painting method that uses opaque watercolor composed of pigment, water, and a binding agent such as gum arabic. Thicker and more opaque than traditional watercolor, gouache produces rich, flat areas of color and allows for fine detail and precision. During the 18th and 19th centuries, gouache techniques closely resembled those used today, though materials varied. Artists employed natural pigments such as vermilion, indigo, and ultramarine, mixed with binders to create smooth, luminous surfaces. “Bodycolor”—the addition of white pigment—was often used to enhance opacity. Gouache was frequently combined with watercolor to achieve 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. Although currently in fragile condition, restoration efforts are being planned. Its creation likely served a ceremonial or symbolic purpose. The Declaration itself functioned as the revolutionaries’ mission statement—a formal articulation of principles designed to justify their cause and affirm their accountability. The use of vellum was intentional. As a durable material, it could withstand repeated handling, rolling, and transport—essential qualities during the Revolutionary War, when the Continental Congress moved frequently. While most Americans first encountered the Declaration through printed “Dunlap broadsides” issued on July 4, 1776, this painted version represents one of several handwritten and artistic interpretations reflecting the document’s evolving symbolism. Historical and Cultural Value Handwritten and painted versions of the Declaration are exceptionally rare and hold immense cultural and monetary value. 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 authenticated copies—such as the one purchased by television producer Norman Lear for $8.1 million in 2000—demonstrate the extraordinary value of such works. Their worth is determined by condition, provenance, historical context, and rarity. These artifacts are more than historical records; they are cultural touchstones that embody the ideals and sacrifices that shaped the United States. Woodruff vs. Binns: A Feud Over Authorship When William Woodruff released his engraved version of the Declaration in 1819, he was accused of plagiarism by fellow engraver John Binns. Binns claimed that Woodruff—through his connection to Binns’ workshop via employee George Murray—had appropriated his design. Although Binns filed a lawsuit, it was ultimately dismissed. Ironically, the controversy heightened public interest in both works. In 1816, Binns announced plans to publish “a splendid and correct copy” of the Declaration, surrounded by the arms of the thirteen states and complete with facsimile signatures. For many Americans—who had never seen the full text—this marked their first encounter with the Declaration as a national symbol rather than a wartime document. However, Woodruff released his version in February 1819, months before Binns’ publication later that year. The similarity between the two prints led to the 1821 court case Binns v. Woodruff. Supreme Court Justice Bushrod Washington ruled that copyright protection applied to entirely original works or designs engraved by another, but not to arrangements composed of pre-existing elements, as in Binns’ case. As a result, Woodruff was not found guilty of infringement. Notably, Woodruff’s version used uniform printed text rather than facsimile signatures (with the exception of John Hancock) and replaced Binns’ portrait of Hancock with that of John 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 featured the full text of the Declaration, 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 enclosed the text within an ornate circular frame composed 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 unity and formality in the design. Conclusion This painted version—believed to be the conceptual illustration for Woodruff’s engraving—adds an important chapter to the history of how the Declaration of Independence was interpreted, reproduced, and celebrated. 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, as the Dunlap Broadside—the first official typeset version distributed to the public. It was printed by John Dunlap under the direction of the Continental Congress. Over time, many other versions followed. One of the most important is the Stone Engraving, created in 1823 by William J. Stone. This is considered the most accurate copy of the original document and became the official version used by the U.S. government. Handwritten and Artistic Versions In addition to printed copies, handwritten and painted versions were also created. The most famous is the original engrossed copy, written on parchment in 1776 by Timothy Matlack. It includes the signatures of the members of Congress. Another well-known interpretation is John Trumbull’s 1817 painting, which depicts the presentation of the Declaration. While not a literal copy, it became one of the most recognizable images in American history. These artistic versions helped bring the Declaration to life. They made it more than just a document—they turned it into a powerful national symbol. A Revival of National Pride After the War of 1812, Americans renewed their interest in the nation’s founding history. This led to the creation of elaborate and decorative versions of the Declaration. Among the most notable engravers of this period were John Binns, Benjamin Owen Tyler, and William J. Stone. The Binns and Tyler Rivalry In 1816, publisher John Binns announced plans to create a grand engraved version of the Declaration, complete with detailed artwork and facsimile signatures. His idea sparked competition. Benjamin Owen Tyler quickly produced a similar version and released it first in 1818. Binns accused him of copying the concept, leading to a public rivalry. Despite the setback, Binns continued his work, carefully gathering official references and hiring skilled artists and engravers. Binns’s Vision and Achievement Binns envisioned a highly decorative piece that combined art and history. His design included: A central text of the Declaration Portraits of George Washington, Thomas Jefferson, and John Hancock State seals and national symbols Decorative elements representing American strength and prosperity After years of work and significant expense, Binns completed his engraving in 1819. To validate its accuracy, he included certification from Secretary of State John Quincy Adams, confirming that the signatures closely matched the original document. Competition and Legal Challenges At the same time, engraver William Woodruff released a similar version, beating Binns to market. Binns filed a lawsuit, but in 1821 the court ruled against him, stating that his design relied too heavily on existing imagery to qualify for copyright protection. This decision allowed Woodruff to continue producing similar works. The Rise of the Official Version Although the Binns and Tyler engravings were popular, they were not exact reproductions. To resolve this, Secretary of State John Quincy Adams commissioned William J. Stone to create a precise facsimile of the original document. Completed in 1823, the Stone Engraving became the official reference copy of the Declaration of Independence. Legacy Despite the competition and legal disputes, John Binns remained an important figure in early American publishing. His engraving is still recognized today as a remarkable blend of art and patriotism. Today, original and early copies of the Declaration—whether printed, handwritten, or artistic—are rare and highly valued. They reflect not only the history of the document itself but also how Americans have chosen to honor and preserve its meaning over time.