Cornelius Tiebout
[7] His engraving of Trinity Church, New York City, appears in the first issue of this magazine, dated the first day of 1790.
Among the 47 subjects are the Federal Edifice in New York City (March, 1790; now Federal Hall), Columbia College (May, 1790, now Columbia University)), Mount Aetna, (November, 1790, now Mount Gibello, in Sicily), West Point (March, 1791, now United States Military Academy), Plan of the City of Washington (June, 1792, Washington, D.C.), and views of rivers, historic residences, and churches.
The publication of these engravings in the New York Magazine was of great importance to Tiebout's early career.
[12] Another boost for Tiebout's early career was the inclusion of 14 of his engravings in a major publication, the Collected Works of Josephus.
[13] The frontispiece of this book was engraved, after English artist Conrad Martin Metz (1749-1827), by Tiebout.
[19] According to many accounts, the purpose of Tiebout's three years in London was to study stipple engraving under James Heath.
For example, Anderson wrote on 17 October 1794 that he "Stopp't at A. Tiebout's shop and saw 3 engravings done by his brother Cornelius in England."
[23] Genealogical records show that the Tiebouts' son Joseph was baptized on 4 March 1800 in Philadelphia.
During 1817-1824, he was a member of the banknote firm of Tanner, Kearney, and Tiebout, located at 10 Library Street, Philadelphia.
[29] In New Harmony, Tiebout taught in William Maclure's School of Industry and engraved illustrations for Thomas Say's American Entomology, a project which he had begun when both he and Say lived in Philadelphia.
[30] According to records in The Working Men's Institute in New Harmony, Cornelius Tiebout died on 24 February 1832 and was buried on the property of George Woods in a graveyard that no longer exists.
Other copperplate engravers (no doubt known personally to Tiebout through collaboration and competition) having more than 10 illustrations in Carey Bibles were Joseph H. Seymour, Benjamin Tanner, Peter Rushton Maverick, Francis Kearney (Kearny), John Boyd, and Amos Doolittle.
William Fordyce Mavor's 25-volume Historical Account of the Most Celebrated Voyages, Travels, and Discoveries from the time of Columbus to the present period was published in London, 1798-1802.
The earliest American edition, including 26 engraved illustrations by Tiebout, consists of 24 volumes, published in Philadelphia, 1802-1803.
The plates were later published separately for Astronomy by Abraham Small, Philadelphia, 1817, and for Lectures by Mathew Carey, 1814.
This periodical, devoted to the interests of American and British inventors and scientists, was published in two separate series during 1812-1814.
For use as frontispieces for biographies and other books, Tiebout engraved images of the following people: Hugh Blair, Scottish minister and writer; Ann Eliza Bleecker, American poet; Robert Burns, Scottish poet; John Philpot Curran, Irish orator; Olaudah Equiano, abolitionist and former African slave; Thomas Gray, English poet; John Henry, English/American actor; John Hodgkinson, English/American actor; Frances Brett Hodgkinson, English/American actress; Charlotte Melmoth, English/American actress; Flavius Josephus, Jewish historian; William Fordyce Mavor, Scottish writer; John Milton, English poet; Alexander Pope, English poet; John Stanford, American religious leader; John Wesley, British founder of Methodism; and William White, Presiding Bishop of Episcopal Church of the United States.
In 1809, two of Tiebout's engraved portraits appeared as frontispieces in best-selling novels: Charlotte Temple by Susanna Rowson and Elizabeth; or, the Exiles of Siberia, by Sophie Ristaud Cottin.
There appears to be no record of women who sat for these images, so that, here again, possibly Tiebout was not only the engraver, but also the artist.
This style, known a à la poupée, requires very considerable skill and artistry…"[45] The Young Carpenter's Assistant.
[46] Shown here is one of the ten, featuring a lion on the back of a horse, after British artist George Stubbs.
[47] Another of the ten engravings shows a rustic cottage scene, after British artist William Redmore Bigg.
According to History of Philadelphia, this engraving "attracted much attention for being larger than the usual size, a mechanical contrivance of Tiebout's invention enabling the artist to execute most of the work without using the common graver.
"[48] In The Port Folio, the narrative accompanying this distinctive engraving is called "a specimen of a new style in the graphic art, invented by Mr. C.
The artists of the 54 plates in the three volumes were Titian Ramsey Peale, Charles-Alexandre Lesueur, W. W. Wood, and H. B. Bridport.
