19th Century Prints, American Views, Americana, Botanical, Color Lithograph, Genre, Landscapes, Lithograph, Natural History, Naval, New Additions, Prints, Sporting, Two-color Lithograph

New Additions: Currier & Ives

NEW ADDITIONS bannerNEW ADDITIONSWe added several new Currier & Ives lithographs to our gallery, including many beautiful genre and landscape scenes which capture 19th century American life.

Currier & Ives was the largest publisher of hand printed lithographs. The firm published well over 7,500 different images over the seventy-three years it was in business. They specialized in lithographs hand-drawn on a lithographic stone and printed one at a time by hand, which is the original and traditional method of lithography.  Although steam presses existed, Currier & Ives felt that the impressions were inferior to the hand-pulled lithographic impressions. Over the years the firm worked with many artists and craftsmen. The founder, Nathaniel Currier, a trained lithographer, and his partner, James Merritt Ives, a bookkeeper and self-taught artist, proved to be the correct combination of an entrepreneur, craftsman, and artist to make the company the best during their time.

Many artists worked for the firm. Of the new additions, many were done by Frances Flora Palmer.  Known to many as Fanny F. Palmer, she was one of the best known artists to work for Currier & Ives. She was responsible for the majority of landscape images produced by the firm, even though only a few bear her name.

We hope you enjoy these new colorful and beautiful lithographs! To see more prints by Currier and Ives, we invite you to visit our website.

The Old Homestead. By Fanny F. Palmer. Published by Currier & Ives. Lithograph handcolored, undated. Medium folio. LINK.

The Old Homestead. By Fanny F. Palmer. Published by Currier & Ives. Lithograph handcolored, undated. Medium folio. LINK.

The Village Blacksmith. By Fanny F. Palmer. Pub. by N. Currier. Lithograph handcolored, undated. Medium folio. LINK.

The Village Blacksmith. By Fanny F. Palmer. Pub. by N. Currier. Lithograph handcolored, undated. Medium folio. LINK.

Landscape, Fruit and Flowers. By Fanny F. Palmer. Published by Currier & Ives. Two-color lithograph handcolored, 1862. Large folio. LINK.

Landscape, Fruit and Flowers. By Fanny F. Palmer. Published by Currier & Ives. Two-color lithograph handcolored, 1862. Large folio. LINK.

Winter Pastime. By Fanny F. Palmer. Published by N. Currier. Lithograph handcolored, 1855. Medium folio. LINK.

Winter Pastime. By Fanny F. Palmer. Published by N. Currier. Lithograph handcolored, 1855. Medium folio. LINK.

On a Point. By Fanny F. Palmer. Published by N. Currier. Lithograph handcolored, 1855. Medium folio. LINK.

On a Point. By Fanny F. Palmer. Published by N. Currier. Lithograph handcolored, 1855. Medium folio. LINK.

"Thistle" : Cutter Yacht, Designed by G. L. Watson : Built by D. W. Henderson & Co. Glasgow.  Owned by Mr. Bell, Glasgow Scotland. Published by Currier & Ives, N.Y. Lithograph printed in oil color, 1887. Large folio. LINK.

“Thistle” : Cutter Yacht, Designed by G. L. Watson : Built by D. W. Henderson & Co. Glasgow. Owned by Mr. Bell, Glasgow Scotland. Published by Currier & Ives, N.Y. Lithograph printed in oil color, 1887. Large folio. LINK.

Niagara Falls. Published by Currier & Ives, 152 Nassau St. Lithograph with handcoloring, undated.  Medium folio size. LINK.

Niagara Falls. Published by Currier & Ives, 152 Nassau St. Lithograph with hand-coloring, undated. Medium folio size. LINK.

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16th Century Prints, 19th Century Maps, 19th Century Prints, American Views, Aquatint, Copperplate, Engraving, Foreign Maps, Foreign Views, Lithograph, Maps, New Additions, Two-color Lithograph, World Maps

New Additions: Maps and Views

NEW ADDITIONS bannerNEW ADDITIONSWe have a great group of new maps and views at The Old Print Gallery. Many of the maps are from J. H. Colton’s “Colton’s General Atlas.” This decorative and well engraved atlas was published in the 19th century, with attractive hand coloring. The new views added to our gallery include a special view of Richmond, VA,  engraved by W. J. Bennett from a painting by G. Cooke. It is one of the rarest and most beautiful of Bennett’s aquatints. Gloria Deak describes the print as “George Cooke’s romantic celebration of Richmond’s charms. . . His composition describes the winding path of the Kanawha Canal, embracing in its arc the waters of the James River, where closely clustered buildings rising from its banks define the human community. Grazing cows lend a pastoral touch, and elegant residents, sketched at their leisure on the wooded heights, are placed by the artist in the amphitheater like setting. . . .” The colors in this view are so striking and rich, making it a beautiful and rare piece for a print collector to add to their own collection.

Colton's China. J. H. Colton. Published by Johnson & Browning, New York. Successors to J. H. Colton and Company. Engraving handcolored, 1855-60. A decorative and well engraved map from "Colton's General Atlas." Included on this map are the insets of the island of Amoy and a map of Canton and adjacent islands. With original color.

Colton’s China. J. H. Colton. Published by Johnson & Browning, New York. Successors to J. H. Colton and Company. Engraving handcolored, 1855-60. A decorative and well engraved map from “Colton’s General Atlas.” Included on this map are the insets of the island of Amoy and a map of Canton and adjacent islands. With original color.

Western Hemisphere.  J. H. Colton. Published by J. H. Colton and Company, New York. Engraving handcolored, 1855-56.  A decorative and well engraved map from "Colton's General Atlas." With original color.

Western Hemisphere. By J. H. Colton. Published by J. H. Colton and Company, New York. Engraving handcolored, 1855-56. A decorative and well engraved map from “Colton’s General Atlas.” With original color.

Eastern Hemisphere. J. H. Colton.  Published by J. H. Colton and Company, New York. Engraving handcolored, 1855-56. A decorative and well engraved map from "Colton's General Atlas."

Eastern Hemisphere. By J. H. Colton. Published by J. H. Colton and Company, New York. Engraving handcolored, 1855-56. A decorative and well engraved map from “Colton’s General Atlas.”

Hindostan or British India.   Published by J. H. Colton and Company, New York. Engraving handcolored, 1855-56. A decorative and well engraved map from "Colton's Atlas of the World.

Hindostan or British India. Published by J. H. Colton and Company, New York. Engraving handcolored, 1855-56. A decorative and well engraved map from “Colton’s Atlas of the World.

Medford.  W. Medford Distillery and U.S. Bonded Warehouses.  Massachusetts. By O. H. Bailey. Published by O. H. Bailey & Co., Boston.  Two-color lithograph, 1880. 22 locations identified in the title key of this striking bird's eye view.

Medford. W. Medford Distillery and U.S. Bonded Warehouses. Massachusetts. By O. H. Bailey. Published by O. H. Bailey & Co., Boston. Two-color lithograph, 1880. 22 locations identified in the title key of this striking bird’s eye view.

Richmond, : from the Hill above the Waterworks. George Cooke. Published by Lewis P. Clover, 180 Fulton St. N.Y.  Aquatint engraving, c.1833. Engraved by W. J. Bennett from a painting by G. Cooke. One of the rarest and most beautiful of Bennett's aquatints. Gloria Deak describes the print as  "George Cooke's romantic celebration of Richmond's charms. . . His composition describes the winding path of the Kanawha Canal, embracing in its arc the waters of the James River, where closely clustered buildings rising from its banks define the human community. Grazing cows lend a pastoral touch, and elegant residents, sketched at their leisure on the wooded heights, are placed by the artist in the amphitheater like setting. . . ."  Shown prominently is the Virginia State Capitol building which was designed by Thomas Jefferson. To the right is the Governor's mansion. To the left is City Hall (torn down in 1870) and the State Penitentiary which was designed by Benjamin Latrobe.

Richmond, : from the Hill above the Waterworks. George Cooke. Published by Lewis P. Clover, 180 Fulton St. N.Y. Aquatint engraving, c.1833. Engraved by W. J. Bennett from a painting by G. Cooke.

Hierosolyma Urbs Sancta. Judaeae, Totiusque Orientis Longe Clarissima, Qua Amplitudine ac Magnificentia Hoc Nostro Aevo Conspicua est. (Jerusalem.)  By Braun and Hogenberg. Copper plate engraving, c. 1572. A fine early view of the ancient walled city of Jerusalem. This view appeared in Braun & Hogenberg's "Civitatus Orbis Theatrum," considered the most famous atlas of city views published in the 16th Century.

Hierosolyma Urbs Sancta. Judaeae, Totiusque Orientis Longe Clarissima, Qua Amplitudine ac Magnificentia Hoc Nostro Aevo Conspicua est. (Jerusalem.) By Braun and Hogenberg. Copper plate engraving, c. 1572. A fine early view of the ancient walled city of Jerusalem. This view appeared in Braun & Hogenberg’s “Civitatus Orbis Theatrum,” considered the most famous atlas of city views published in the 16th Century.

Colton's Map of the World on Mercator's Projection. J. H. Colton. Published by J.H. Colton, 172 William St. New York. Engraving handcolored, 1855-56. A decorative and well engraved map of the world from "Colton's General Atlas." The tracts of various explorations are shown. These include Cook, Cancouver and La Perouse.

Colton’s Map of the World on Mercator’s Projection. By J. H. Colton. Published by J.H. Colton, 172 William St. New York. Engraving handcolored, 1855-56. A decorative and well engraved map of the world from “Colton’s General Atlas.” The tracts of various explorations are shown. These include Cook, Cancouver and La Perouse.

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19th Century Prints, American Views, Lithograph, Prints, Two-color Lithograph

View of Washington City and Georgetown

View of Washington City and Georgetown. Published and sold by Casimir Bohn, Washington D.C. Two-color lithograph, 1849. Lith. by E. Weber & Co. Baltimore. This scarce view shows the city from the portico of the Capitol building. Pennsylvania Avenue is shown in the center right. In In the distance is the Washington Monument in its original design. To the right of that is the Observatory; to the left is the Smithsonian Institution.  Surrounding the image is a series of twenty vignette illustrations of prominent buildings and monuments of the time. These include two views of the Capitol, the White house, Navy Yard, Georgetown College, Aqueduct near Georgetown, Post Office etc.

View of Washington City and Georgetown. 

This scarce view shows the city of Washington from the portico of the Capitol building. Published and sold by Casimir Bohn, this two-color lithograph is dated 1849. It was lithographed by E. Weber & Co., Baltimore. Early colored lithographs used one or two colors to tint the entire stone and create a watercolor-like tone to the image. This atmospheric effect was primarily used for landscape or topographical illustrations. For more detailed coloration, artists relied on hand coloring over the use of multi-color lithography, which only became popular in the second half of the 19th century.

In the main image of this print, DC’s iconic Pennsylvania Avenue is shown in the center right. In the far distance is the Washington Monument, shown in its original design. To the right is the National Observatory; to the left is the Smithsonian Institution. Surrounding the main image is a series of twenty vignette illustrations of prominent buildings and monuments of the time. These include two views of the Capitol, the White house, Navy Yard, Georgetown College, Aqueduct near Georgetown, Post Office, and more.

This view is referenced in Reps’ “Views and Viewmakers” #666; and Deak’s “Picturing America”#577. It can now be viewed and purchased at our Georgetown gallery.

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19th Century Prints, Chromolithograph, Color Lithograph, Early 20th Century, Engraving, Etching, Lithograph, Prints, Sporting, Wood

Yachting Prints

Below are several yachting prints we currently have in active inventory. While the invention of sailing is prehistoric, the racing of sailing boats is believed to have started in the 17th century Netherlands.  Custom-built yachting boats became very popular in England in the 19th century, and helped to increase the popularity of the sport. For years,  brilliant displays of yacht racing, like famous match-races such as The America’s Cup, have been a source of inspiration to artists. We hope you enjoy this quick round-up of prints. We have many more nautical and yachting prints in our Georgetown gallery- so we invite our readers to stop by and see these striking and beautiful prints in person.

To the Commodore & Members of the New-York Yacht Club, this Print of the YACHT AMERICA (Modelled & Built by Geo. Steers, Esq. Of New-York,) is respectfully dedicated.  Published by Brown & Severin, New York. Two-stone lithograph, 1851.

To the Commodore & Members of the New-York Yacht Club, this Print of the YACHT AMERICA (Modelled & Built by Geo. Steers, Esq. Of New-York,) is respectfully dedicated. Published by Brown & Severin, New York. Two-stone lithograph, 1851.

In Down East Waters  Boston Bay. By Fred S. Cozzens. Published by Charles Scribner's Sons, New York. Chromolithograph, 1884.

In Down East Waters Boston Bay. By Fred S. Cozzens. Published by Charles Scribner’s Sons, New York. Chromolithograph, 1884.

Yachts and Barges. By George C. Wales. Soft ground, 1920.

Yachts and Barges. By George C. Wales. Soft ground, 1920.

Nina, 1928. By George C. Wales. Lithograph, 1929.

Nina, 1928. By George C. Wales. Lithograph, 1929.

The Cutter Genesta, R.Y.S. By Charles Parsons. Published by Currier & Ives 115 Nassau St. New York. Lithograph printed in color, 1885.

The Cutter Genesta, R.Y.S. By Charles Parsons. Published by Currier & Ives 115 Nassau St. New York. Lithograph printed in color, 1885.

The Yacht "Sappho" of New York. By Charles Parsons. Published by Currier & Ives, 115 Nassau St. New York. Lithograph, handcolored, 1869.

The Yacht “Sappho” of New York. By Charles Parsons. Published by Currier & Ives, 115 Nassau St. New York. Lithograph, handcolored, 1869.

A Fine Day in Autumn - Miniature Yachting. Published in The Daily Graphic, New York. Wood engraving, hand colored, Nov. 13, 1879.

A Fine Day in Autumn – Miniature Yachting. Published in The Daily Graphic, New York. Wood engraving, hand colored, Nov. 13, 1879.

 

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Early 20th Century, Lithograph, Prints, Two-color Lithograph, Woodcut

Benton Murdoch Spruance

Subway Shift; The Second Front. By Benton Murdoch Spruance. Lithograph, 1943. Edition 30/35.

Benton Murdoch Spruance was one of the most influential and prolific color lithographers in the history of twentieth-century modernism. Innovative in the field of color lithography, Spruance, through his diligence and experimentation,  was able to push the medium to new levels. He developed techniques that are still in use today, including subtractive lithography, a practice which allows the artist to use a single stone for several colors.

Born in 1904, Spruance grew up in an affluent suburb of Philadelphia. He began working as an architectural draftsman after he graduated from high school. While studying in the University of Pennsylvania’s School of Architecture, he attended courses in drawing and etching at the Graphic Sketch Club, a free art school. A life-long interest in the subject of labor began when he worked in a West Virginia logging camp for several months in 1924-25. Following that, he enrolled at the Pennsylvania Academy of the Fine Arts to fulfill his ambition of becoming an artist.

In 1928,  a Cresson scholarship from the Academy enabled Spruance to spend several months in Paris. Spruance studied at the Académie Montparnasse under French painter André Lhote (1885-1962), a practitioner of cubism.  He was introduced to lithography at the distinguished Paris print workshop of Edmond Desjobert, which whom he would later work producing many of his lithographs.  Returning to the states, he taught and served as chair of the Fine Arts department at Beaver College in Pennsylvania, and was later named Director of Graphic Arts at the Philadelphia College of Art. Spruance was the recipient of many prestigious awards, including two grants from the Guggenheim Foundation and two Cresson Scholarships, the second of which helped him continue his studies with Lhote in France.

Reclining Nude or Reclining Figure. By Benton Murdoch Spruance. Two-color woodcut. (Black & Green),1951. Edition 30.

Spruance is primarily recognized as a lithographer of social, mythological and religious subject matter. In the twenties and thirties, Spruance was known for prints that one critic described as his “velvety urban scenes and ‘social conscious’ series,” which chronicled the life of ordinary men and women at work and play. However, Spruance was also a painter and draftsman who during this period took advantage of two Guggenheim fellowships to travel throughout the United States and Europe and sketch landscapes. His later work shifts to include more abstract and evocative imagery. In the forties, Spruance began producing moody, psychologically charged lithographic portraits of women, followed by mystically tinted work, based on biblical passages, that became increasingly subtle and sculptural in effect.

In 1967, the year that Spruance died, a major retrospective of his work was held at the Philadelphia College of Arts. There have also been other exhibitions of his art at the Art Institute of Chicago; The Guggenheim Museum; and the Whitney Museum of American Art. Many institutions, including the National Gallery of Art; the New York Public Library; and the Carnegie Institute, hold permanent collections of his work.

Arrangement for Drums. Benton Murdoch Spruance. Two-color lithograph, 1941. Inscribed “Ed. 30.”

To view more prints by Benton Murdoch Spruance, we invite you to visit the Old Print Shop (our NYC partners) or view the prints on their website.

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