19th Century Maps, American Maps, Engraving, Maps, New Additions, Pocket Maps, Wood, woodblock print

New Additions: Map of the Central Pacific Railroad

NEW ADDITIONS bannerNEW ADDITIONSWe just added a scarce, early printing of a map showing the recently completed Trans-Continental Railroad, or the combined Union and Central Pacific Railroads, to our ever-growing map inventory. The map, a wood block engraving, was published by the California Mail Bag on August 1, 1871, just shortly after the driving of the “Golden Spike” in 1869.

Map of the Central Pacific Railroad and its Connections. Published by the California Mail Bag, August 1, 1871. Wood block engraving, 1871. Image size 12 7/8 x 35 3/8

Map of the Central Pacific Railroad and its Connections. Published by the California Mail Bag, August 1, 1871. Wood block engraving, 1871. Image size 12 7/8 x 35 3/8″ (32.7 x 89.8 cm) plus margins. Good condition. LINK.

The map shows an area from Chicago to San Francisco and from Madison, Wisconsin southward to Cairo, Illinois. It also notes the Utah Central Railroad, Ogden to Salt Lake City; Denver Pacific Railroad, Cheyenne to Denver; Kansas Pacific Railroad and the Central Pacific Railroad, Oregon Division.

The map is surrounded by 24 illustrations of various scenes of California and Nevada, including views of Cape Horn, the Sierras, Anderson Valley, as well as mining scenes and illustrations of the railroad tracks and tunnels. A number of the illustrations are based on photographs by 19th century artist Carleton Watkins.

(Detail of) Map of the Central Pacific Railroad and its Connections. LINK.

Map of the Central Pacific Railroad and its Connections.
Detail of smaller illustrations surrounding map.
LINK.

On the verso are timetables, as well as advertisements for stage and maritime shipping lines. Also shown on the verso is small map entitled “Map of the Rail & State Route to Big Tree Groves and Yosemite.”

Map of the Central Pacific Railroad and its Connections.  Detail of Map of on verso, Map of the Rail & State Route to Big Tree Groves and Yosemite.  LINK

Map of the Central Pacific Railroad and its Connections.
Detail of map on verso, “Map of the Rail & State Route to Big Tree Groves and Yosemite.” 
LINK

This would make a great addition to any map collection, whether you’re a railroad buff, interested in our nation’s westward expansion, or a collector of 19th century woodblock maps.

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19th Century Maps, American Maps, Engraving, Maps, New Additions, Roto-engraving

New Additions: Cram’s 1898 City Plans

NEW ADDITIONS bannerNEW ADDITIONSWe recently added twenty-four city plans from a 1898 version of “Cram’s Unrivaled Atlas of the World” to our map inventory. George F. Cram Co. was a leading 19th and 20th century map firm, based out of Chicago and later Indianapolis. It was the first American firm to publish a world atlas, and brought globes, classroom maps, and educational atlases into the schools and homes of many. His “Unrivaled Atlas of the World” was so popular it was printed continuously from the 1880’s to 1952.

These maps shown today were printed using color rotogravure, an intaglio technique adopted in the late 19th century. For those looking to collect a map of their city or a favorite travel destination, these Cram maps are handsome and finely detailed. Many offer a key to prominent buildings, churches, attractions, and railroad depots within the city. They are attractively colored in blues, yellows, and pinks, and well sized at ~10 x 13 inches. We hope you enjoy these maps!

“Cram’s Unrivaled Atlas of the World” Maps Available at The Old Print Gallery:

  1. Baltimore.
  2. Buffalo.
  3. Brooklyn.
  4. Boston.
  5. Yellowstone National Park.
  6. Map of Parkersburg West Virginia, and Vicinity. 
  7. Richmond and Manchester, Virginia.
  8. Map of Cincinnati.
  9. Cleveland.
  10. Detroit.
  11. Map of the City of Saginaw, Michigan.
  12. Map of Chicago.
  13. St. Louis.
  14. Council Bluffs.
  15. Map of St. Paul.
  16. Omaha.
  17. Denver.
  18. Louisville.
  19. Nashville.
  20. Atlanta.
  21. New Orleans.
  22. Map of the City of Quebec.
  23. Dallas.
  24. City of Montreal.
Baltimore. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 10 1/8 x 12 1/2". LINK.

Baltimore. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 10 1/8 x 12 1/2″.

Brooklyn. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 10 1/16 x 11 1/8", plus text and margins.

Brooklyn. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 10 1/16 x 11 1/8″, plus text and margins.

Cleveland. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 9 7/8 x 12". LINK.

Cleveland. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 9 7/8 x 12″.

Map of Chicago. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13 5/8  x 10". LINK.

Map of Chicago. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13 5/8 x 10″.

Denver. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13 1/8 x 10 1/2". LINK.

Denver. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13 1/8 x 10 1/2″.

Atlanta. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13  x 10 1/8". LINK.

Atlanta. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 13 x 10 1/8″.

New Orleans. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 11 1/4  x 9 3/4". LINK.

New Orleans. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 11 1/4 x 9 3/4″.

Map of the City of Quebec. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 11 1/4  x 9 3/4". LINK.

Map of the City of Quebec. Published by Geo. F. Cram, Chicago. Color rotogravure, 1898. Image size 11 1/4 x 9 3/4″.

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19th Century Prints, American Views, Landscapes, Lithograph, Multi-stone Lithograph, New Additions, Prints

New Additions: Henry Lewis Prints of the Mississippi

NEW ADDITIONS bannerNEW ADDITIONSWe recently added several lithographs from Henry Lewis’ DAS ILLUSTRIERTE MISSISSIPPITHAL (The Valley of the Mississippi Illustrated) to our collection. In the late 1840’s, Lewis traveled the length of the Mississippi and, with the assistance of other artists, assembled a collection of sketches detailing scenery of the entire river. Based on these drawings, he proceeded to paint a panorama on a continuous length of canvas, which would be moved and viewed through a frame.  The completed piece (hundreds and hundreds of feet in length) began its tour of American cities in the fall of 1848. Due to its popularity, a European tour quickly followed. While on tour in Dusseldorf in 1853, Lewis met and teamed up with the publisher Heinrich Arnz to redo the sketches as lithographs illustrating a book on Mississippi scenery. While production was sporadic and relatively unprofitable, the resulting seventy-eight lithographs provide an early and remarkably complete visual record of the Mississippi River.

Travelling Hunting Party. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

Travelling Hunting Party. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

Prairie on Fire. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

Prairie on Fire. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

The Grand Council. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

The Grand Council. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

Hunting the Deer by Moonlight. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

Hunting the Deer by Moonlight. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

Indians Spearing Fish. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

Indians Spearing Fish. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

Ballustrade Bluffs with the Grand Staircase. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

Ballustrade Bluffs with the Grand Staircase. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

The Maiden Rock. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4" (137 x 196 mm) plus title and margins. Printed by C. H. Muller.  Aachen. LINK.

The Maiden Rock. Henry Lewis. Lith. Jnst. Arnz & Co. Dusseldorf. Multi-stone lithograph, 1854-57. Image 5 3/8 x 7 3/4″ (137 x 196 mm) plus title and margins. Printed by C. H. Muller. Aachen. LINK.

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19th Century Prints, Chromolithograph, Lithograph, New Additions, Prints, Sporting

New Additions: Fishing Flies

NEW ADDITIONS bannerNEW ADDITIONSMary Orvis Marbury’s “Favorite Flies and Their Histories”  became a best seller among anglers after it first appeared in 1892 and went through nine printings by 1896. The 32 prints in this unique book are done in stunning chromolithography, as achieved by M. Bradley Co. Lith.

Mary Orvis Marbury was daughter to Charles Orvis, founder of Orvis, the fishing, hunting, and sporting good store dynasty based in Manchester, Vermont. Mary ran the company’s fly fishing department and was inspired to write the book when she realized how little standardization there was among fly patterns. For each fly illustrated in the book, there is a description or story regarding the creation, design, or naming of the particular fly. In many cases, these descriptions are just as colorful and engaging as the illustrations. They were compiled by Maybury from conversations with regional anglers, letters amassed over time with far away fishermen, and from customers that frequented her family’s famous fishing shop.

One example, from “Bass Flies, Plate X” (pictured below):

“No.240. The Cleveland. There was once a jolly club of three, who styled themselves the “Texas Club,” saying that “their membership consisted of President, Secretary, and Treasurer.” The club was a fishing-club, and met summers to rejoice in being together and in fishing “galore.” The Secretary and Treasurer were rivals always; their joys would have been incomplete without the never-ceasing spirit of contest. What one had the other had, too, if money or skill could procure it, be it a big fish or a new hat. The Cheney fly was made and named in honor of the Secretary. A little later, the maker of the Cheney fly mas a fly with a gallina wing and red and black body, somewhat similar to Dr. Henshall’s Polka, and to it was given the title Cleveland after the Treasurer. But alas for human hopes! One day the maker of these flies met the Treasurer, and this conversation ensued:

Treasurer: I have wanted to meet you for a long time. I have a questions to ask you. Now, honestly, don’t you think you put just a little more color into the Cheney fly than you did the Cleveland? Now answer me frankly.

Maker: I did not intend to do so, I assure you.

Treasurer: Well, but I think you did. Couldn’t it be dressed up a trifle, some way?

Maker: I am glad you spoke to me about it. I shall be pleased to try again, and to make a fly more worthy of the name.

Treasurer: Yes, do; and mind you put a little more gilt on it than is on Cheney’s.

This new Cleveland fly is an earnest endeavor to construct a fly in the embodiment of strength, modesty, brilliancy, and other sterling merits, traits that win and hold the friends of Mr. William D. Cleveland outside as well as within the Texas Club.”

We hope you enjoy these new additions to our sporting and fishing section. As always, the prints can be viewed online as well as in our Georgetown DC gallery.

Bass Flies. Plate X. Cleveland, Cheney, Chippy, Dark Flaggon, Croppie, Barnwell.  From "Favorite Flies and Their Histories," by Mary Orvis Marbury. "M. Bradley Co. Lith." Text with print. Chromolithograph, 1892. Image size 6 3/8 x 4 9/16" (162 x 116 mm). LINK.

Bass Flies. Plate X. Cleveland, Cheney, Chippy, Dark Flaggon, Croppie, Barnwell. From “Favorite Flies and Their Histories,” by Mary Orvis Marbury. “M. Bradley Co. Lith.” Chromolithograph, 1892. Text with print. Image size 6 3/8 x 4 9/16″ (162 x 116 mm). LINK.

Bass Flies. Plate BB. Marston, Manchester, Horicon, Lake George, Max Von Dem Borne, Munro. From "Favorite Flies and Their Histories," by Mary Orvis Marbury. "M. Bradley Co. Lith." Text with print. Chromolithograph, 1892. Text with print. Image size 6 3/8 x 4 9/16" (162 x 116 mm). LINK.

Bass Flies. Plate BB. Marston, Manchester, Horicon, Lake George, Max Von Dem Borne, Munro. From “Favorite Flies and Their Histories,” by Mary Orvis Marbury. “M. Bradley Co. Lith.” Text with print. Chromolithograph, 1892. Text with print. Image size 6 3/8 x 4 9/16″ (162 x 116 mm). LINK.

Lake Flies. Plate J. Oquossoc, Klamath, no name, New Lake, Tomah Jo., Prince Island. From "Favorite Flies and Their Histories," by Mary Orvis Marbury. "M. Bradley Co. Lith." Text with print. Chromolithograph, 1892. Image size 6 3/8 x 4 9/16" (162 x 116 mm). LINK.

Lake Flies. Plate J. Oquossoc, Klamath, no name, New Lake, Tomah Jo., Prince Island. From “Favorite Flies and Their Histories,” by Mary Orvis Marbury. “M. Bradley Co. Lith.” Text with print. Chromolithograph, 1892. Image size 6 3/8 x 4 9/16″ (162 x 116 mm). LINK.

Bass Flies. Plate Z. Golden Dustman; Henshall; Knight Templar; Jungle Cock; Holberton; Holberton II. From "Favorite Flies and Their Histories," by Mary Orvis Marbury. "M. Bradley Co. Lith." Text with print. Chromolithograph, 1892. Text with print. Image size 6 3/8 x 4 9/16" (162 x 116 mm). LINK.

Bass Flies. Plate Z. Golden Dustman; Henshall; Knight Templar; Jungle Cock; Holberton; Holberton II. From “Favorite Flies and Their Histories,” by Mary Orvis Marbury. “M. Bradley Co. Lith.” Text with print. Chromolithograph, 1892. Text with print. Image size 6 3/8 x 4 9/16″ (162 x 116 mm). LINK.

Lake Flies. Plate K. Silver Doctor, H.P. Wells Pattern; Silver Doctor J. G. Shearer's Pattern; Silver Doctor, C. F. Orvis's Pattern; Spider; Seth Green; Silver Ibis. From "Favorite Flies and Their Histories," by Mary Orvis Marbury. "M. Bradley Co. Lith." Text with print. Chromolithograph, 1892. Text with print. Image size 6 3/8 x 4 9/16" (162 x 116 mm). LINK.

Lake Flies. Plate K. Silver Doctor, H.P. Wells Pattern; Silver Doctor J. G. Shearer’s Pattern; Silver Doctor, C. F. Orvis’s Pattern; Spider; Seth Green; Silver Ibis. From “Favorite Flies and Their Histories,” by Mary Orvis Marbury. “M. Bradley Co. Lith.” Text with print. Chromolithograph, 1892. Text with print. Image size 6 3/8 x 4 9/16″ (162 x 116 mm). LINK.

Lake Flies. Plate F. Green Weaver; Golden Pheasant; Gray Duke; Firey Brown; Grackle; Grasshopper. From "Favorite Flies and Their Histories," by Mary Orvis Marbury. "M. Bradley Co. Lith." Text with print. Chromolithograph, 1892. Text with print. Image size 6 3/8 x 4 9/16 inches. LINK.

Lake Flies. Plate F. Green Weaver; Golden Pheasant; Gray Duke; Firey Brown; Grackle; Grasshopper. From “Favorite Flies and Their Histories,” by Mary Orvis Marbury. “M. Bradley Co. Lith.” Text with print. Chromolithograph, 1892. Text with print. Image size 6 3/8 x 4 9/16 inches. LINK.

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Abstract, Citiscapes, Color Lithograph, Early 20th Century, Landscapes, Lithograph, Multi-stone Lithograph, New Additions, Prints

New Additions: Richard Florsheim Lithographs

NEW ADDITIONS bannerNEW ADDITIONSIn preparation for our upcoming landscape show, Resonant Terrain, we have added several lithographs by Richard Florsheim, one of the artists selected for the exhibit, to our 20th century print inventory. With titles like “City Lights”, “Illuminations”, and “Light and Water”, it is apparent the Florsheim was engrossed with and inspired by his surroundings, allowing both the sea and the city to have equal reign over his creative focus. Using large, gestural sweeps of the lithographic pencil over stone and dynamic swathes of color, Florsheim was able to capture the vibrancy of his hometowns of Chicago and Provincetown.

Night Harbor. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8" (353 x 454 mm). Edition 50. LINK.

Night Harbor. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8″ (353 x 454 mm). Edition 50. LINK.

Richard Florsheim was active as a painter, sculptor and graphics artist in Chicago, Milwaukee, Provincetown, and Woodstock, New York. Florsheim was born in Chicago in 1916. He spent his youth and early adulthood studying at the University of Chicago and in New York with artist Aaron Bohrod. His father paid for a lengthy European independent study, where Florsheim exhibited at Salon des Refusés, and the Musée du Jeu de Paume honored him by purchasing one of his paintings, Don Quixote.

Florsheim returned to Chicago in 1939, and began lithography in 1940, exhibiting at the Quest Gallery and working out of a studio on North Avenue. He then enlisted in the US Navy, active in the Pacific Theater as a cartographer. It was at this time that he also obtained patents for his radar plane-spotting technique.

After the war, he resumed his artistic career, exhibiting widely. He helped found the Artists’ League of the Midwest with Artists’ Equity Association of New York. He was assistant director of the Arts Center Association, 1951-52, and taught at the Layton School of Art in Milwaukee from 1949 to 1950, and the Contemporary Art Workshop in Chicago from 1952 to 1963. From 1965 to 1973, he was a board member of the Illinois Arts Council.  Florsheim was a member of the National Academy of Design, the Society of American Graphic Artists, the Provincetown Art Association, which he served as Trustee and Vice President from 1962 to 1971, and the Chicago Society of Artists.

Light and Water.  Richard Florsheim. Lithograph , 1959.  Image size 17 3/4 x 13 7/8" (450 x 353 mm).  Edition 30. LINK.

Light and Water. Richard Florsheim. Lithograph , 1959. Image size 17 3/4 x 13 7/8″ (450 x 353 mm). Edition 30. LINK.

Illuminations.  Richard Florsheim. Lithograph, 1959. Commissioned by the Print & Drawing Club of the Art Institute of Chicago.  Image size 17 13/16 x 13 7/8" (452 x 352 mm). Edition 180. LINK.

Illuminations. Richard Florsheim. Lithograph, 1959. Commissioned by the Print & Drawing Club of the Art Institute of Chicago. Image size 17 13/16 x 13 7/8″ (452 x 352 mm). Edition 180. LINK.

Last Light. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8" (353 x 454 mm). Edition 50. LINK.

Last Light. Richard Florsheim. Color lithograph, 1962. Image size 13 15/16 x 17 7/8″ (353 x 454 mm). Edition 50. LINK.

Dark City. Richard Florsheim. Color lithograph,  1967. Image size 20 11/16 x 22 1/2" (409 x 571 mm). Edition 50. LINK.

Dark City. Richard Florsheim. Color lithograph, 1967. Image size 20 11/16 x 22 1/2″ (409 x 571 mm). Edition 50. LINK.

City Lights. Richard Florsheim. Published by Associated American Artists.  Color lithograph, 1965. Image size 10 1/16 x 29 13/16" (255 x 758 mm). Edition 250 + 33 a.p. LINK.

City Lights. Richard Florsheim. Published by Associated American Artists. Color lithograph, 1965. Image size 10 1/16 x 29 13/16″ (255 x 758 mm). Edition 250 + 33 a.p. LINK.

City Morning. (City Halo). Richard Florsheim. Published by Associated American Artists. Color lithograph, 1964. Image size 10 1/4 x 29 1/2" (259 x 749 mm). Edition 250.  LINK.

City Morning. (City Halo). Richard Florsheim. Published by Associated American Artists. Color lithograph, 1964. Image size 10 1/4 x 29 1/2″ (259 x 749 mm). Edition 250. LINK.

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